- •Contents
- •Figures
- •Tables
- •Preface
- •Acknowledgments
- •1. Raster images
- •Aspect ratio
- •Geometry
- •Image capture
- •Digitization
- •Perceptual uniformity
- •Colour
- •Luma and colour difference components
- •Digital image representation
- •Square sampling
- •Comparison of aspect ratios
- •Aspect ratio
- •Frame rates
- •Image state
- •EOCF standards
- •Entertainment programming
- •Acquisition
- •Consumer origination
- •Consumer electronics (CE) display
- •Contrast
- •Contrast ratio
- •Perceptual uniformity
- •The “code 100” problem and nonlinear image coding
- •Linear and nonlinear
- •4. Quantization
- •Linearity
- •Decibels
- •Noise, signal, sensitivity
- •Quantization error
- •Full-swing
- •Studio-swing (footroom and headroom)
- •Interface offset
- •Processing coding
- •Two’s complement wrap-around
- •Perceptual attributes
- •History of display signal processing
- •Digital driving levels
- •Relationship between signal and lightness
- •Algorithm
- •Black level setting
- •Effect of contrast and brightness on contrast and brightness
- •An alternate interpretation
- •Brightness and contrast controls in LCDs
- •Brightness and contrast controls in PDPs
- •Brightness and contrast controls in desktop graphics
- •Symbolic image description
- •Raster images
- •Conversion among types
- •Image files
- •“Resolution” in computer graphics
- •7. Image structure
- •Image reconstruction
- •Sampling aperture
- •Spot profile
- •Box distribution
- •Gaussian distribution
- •8. Raster scanning
- •Flicker, refresh rate, and frame rate
- •Introduction to scanning
- •Scanning parameters
- •Interlaced format
- •Interlace and progressive
- •Scanning notation
- •Motion portrayal
- •Segmented-frame (24PsF)
- •Video system taxonomy
- •Conversion among systems
- •9. Resolution
- •Magnitude frequency response and bandwidth
- •Visual acuity
- •Viewing distance and angle
- •Kell effect
- •Resolution
- •Resolution in video
- •Viewing distance
- •Interlace revisited
- •10. Constant luminance
- •The principle of constant luminance
- •Compensating for the CRT
- •Departure from constant luminance
- •Luma
- •“Leakage” of luminance into chroma
- •11. Picture rendering
- •Surround effect
- •Tone scale alteration
- •Incorporation of rendering
- •Rendering in desktop computing
- •Luma
- •Sloppy use of the term luminance
- •Colour difference coding (chroma)
- •Chroma subsampling
- •Chroma subsampling notation
- •Chroma subsampling filters
- •Chroma in composite NTSC and PAL
- •Scanning standards
- •Widescreen (16:9) SD
- •Square and nonsquare sampling
- •Resampling
- •NTSC and PAL encoding
- •NTSC and PAL decoding
- •S-video interface
- •Frequency interleaving
- •Composite analog SD
- •15. Introduction to HD
- •HD scanning
- •Colour coding for BT.709 HD
- •Data compression
- •Image compression
- •Lossy compression
- •JPEG
- •Motion-JPEG
- •JPEG 2000
- •Mezzanine compression
- •MPEG
- •Picture coding types (I, P, B)
- •Reordering
- •MPEG-1
- •MPEG-2
- •Other MPEGs
- •MPEG IMX
- •MPEG-4
- •AVC-Intra
- •WM9, WM10, VC-1 codecs
- •Compression for CE acquisition
- •AVCHD
- •Compression for IP transport to consumers
- •VP8 (“WebM”) codec
- •Dirac (basic)
- •17. Streams and files
- •Historical overview
- •Physical layer
- •Stream interfaces
- •IEEE 1394 (FireWire, i.LINK)
- •HTTP live streaming (HLS)
- •18. Metadata
- •Metadata Example 1: CD-DA
- •Metadata Example 2: .yuv files
- •Metadata Example 3: RFF
- •Metadata Example 4: JPEG/JFIF
- •Metadata Example 5: Sequence display extension
- •Conclusions
- •19. Stereoscopic (“3-D”) video
- •Acquisition
- •S3D display
- •Anaglyph
- •Temporal multiplexing
- •Polarization
- •Wavelength multiplexing (Infitec/Dolby)
- •Autostereoscopic displays
- •Parallax barrier display
- •Lenticular display
- •Recording and compression
- •Consumer interface and display
- •Ghosting
- •Vergence and accommodation
- •20. Filtering and sampling
- •Sampling theorem
- •Sampling at exactly 0.5fS
- •Magnitude frequency response
- •Magnitude frequency response of a boxcar
- •The sinc weighting function
- •Frequency response of point sampling
- •Fourier transform pairs
- •Analog filters
- •Digital filters
- •Impulse response
- •Finite impulse response (FIR) filters
- •Physical realizability of a filter
- •Phase response (group delay)
- •Infinite impulse response (IIR) filters
- •Lowpass filter
- •Digital filter design
- •Reconstruction
- •Reconstruction close to 0.5fS
- •“(sin x)/x” correction
- •Further reading
- •2:1 downsampling
- •Oversampling
- •Interpolation
- •Lagrange interpolation
- •Lagrange interpolation as filtering
- •Polyphase interpolators
- •Polyphase taps and phases
- •Implementing polyphase interpolators
- •Decimation
- •Lowpass filtering in decimation
- •Spatial frequency domain
- •Comb filtering
- •Spatial filtering
- •Image presampling filters
- •Image reconstruction filters
- •Spatial (2-D) oversampling
- •Retina
- •Adaptation
- •Contrast sensitivity
- •Contrast sensitivity function (CSF)
- •24. Luminance and lightness
- •Radiance, intensity
- •Luminance
- •Relative luminance
- •Luminance from red, green, and blue
- •Lightness (CIE L*)
- •Fundamentals of vision
- •Definitions
- •Spectral power distribution (SPD) and tristimulus
- •Spectral constraints
- •CIE XYZ tristimulus
- •CIE [x, y] chromaticity
- •Blackbody radiation
- •Colour temperature
- •White
- •Chromatic adaptation
- •Perceptually uniform colour spaces
- •CIE L*a*b* (CIELAB)
- •CIE L*u*v* and CIE L*a*b* summary
- •Colour specification and colour image coding
- •Further reading
- •Additive reproduction (RGB)
- •Characterization of RGB primaries
- •BT.709 primaries
- •Leggacy SD primaries
- •sRGB system
- •SMPTE Free Scale (FS) primaries
- •AMPAS ACES primaries
- •SMPTE/DCI P3 primaries
- •CMFs and SPDs
- •Normalization and scaling
- •Luminance coefficients
- •Transformations between RGB and CIE XYZ
- •Noise due to matrixing
- •Transforms among RGB systems
- •Camera white reference
- •Display white reference
- •Gamut
- •Wide-gamut reproduction
- •Free Scale Gamut, Free Scale Log (FS-Gamut, FS-Log)
- •Further reading
- •27. Gamma
- •Gamma in CRT physics
- •The amazing coincidence!
- •Gamma in video
- •Opto-electronic conversion functions (OECFs)
- •BT.709 OECF
- •SMPTE 240M OECF
- •sRGB transfer function
- •Transfer functions in SD
- •Bit depth requirements
- •Gamma in modern display devices
- •Estimating gamma
- •Gamma in video, CGI, and Macintosh
- •Gamma in computer graphics
- •Gamma in pseudocolour
- •Limitations of 8-bit linear coding
- •Linear and nonlinear coding in CGI
- •Colour acuity
- •RGB and R’G’B’ colour cubes
- •Conventional luma/colour difference coding
- •Luminance and luma notation
- •Nonlinear red, green, blue (R’G’B’)
- •BT.601 luma
- •BT.709 luma
- •Chroma subsampling, revisited
- •Luma/colour difference summary
- •SD and HD luma chaos
- •Luma/colour difference component sets
- •B’-Y’, R’-Y’ components for SD
- •PBPR components for SD
- •CBCR components for SD
- •Y’CBCR from studio RGB
- •Y’CBCR from computer RGB
- •“Full-swing” Y’CBCR
- •Y’UV, Y’IQ confusion
- •B’-Y’, R’-Y’ components for BT.709 HD
- •PBPR components for BT.709 HD
- •CBCR components for BT.709 HD
- •CBCR components for xvYCC
- •Y’CBCR from studio RGB
- •Y’CBCR from computer RGB
- •Conversions between HD and SD
- •Colour coding standards
- •31. Video signal processing
- •Edge treatment
- •Transition samples
- •Picture lines
- •Choice of SAL and SPW parameters
- •Video levels
- •Setup (pedestal)
- •BT.601 to computing
- •Enhancement
- •Median filtering
- •Coring
- •Chroma transition improvement (CTI)
- •Mixing and keying
- •Field rate
- •Line rate
- •Sound subcarrier
- •Addition of composite colour
- •NTSC colour subcarrier
- •576i PAL colour subcarrier
- •4fSC sampling
- •Common sampling rate
- •Numerology of HD scanning
- •Audio rates
- •33. Timecode
- •Introduction
- •Dropframe timecode
- •Editing
- •Linear timecode (LTC)
- •Vertical interval timecode (VITC)
- •Timecode structure
- •Further reading
- •34. 2-3 pulldown
- •2-3-3-2 pulldown
- •Conversion of film to different frame rates
- •Native 24 Hz coding
- •Conversion to other rates
- •Spatial domain
- •Vertical-temporal domain
- •Motion adaptivity
- •Further reading
- •36. Colourbars
- •SD colourbars
- •SD colourbar notation
- •Pluge element
- •Composite decoder adjustment using colourbars
- •-I, +Q, and Pluge elements in SD colourbars
- •HD colourbars
- •References
- •38. SDI and HD-SDI interfaces
- •Component digital SD interface (BT.601)
- •Serial digital interface (SDI)
- •Component digital HD-SDI
- •SDI and HD-SDI sync, TRS, and ancillary data
- •Analog sync and digital/analog timing relationships
- •Ancillary data
- •SDI coding
- •HD-SDI coding
- •Interfaces for compressed video
- •SDTI
- •Switching and mixing
- •Timing in digital facilities
- •Summary of digital interfaces
- •39. 480i component video
- •Frame rate
- •Interlace
- •Line sync
- •Field/frame sync
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Picture center, aspect ratio, and blanking
- •Halfline blanking
- •Component digital 4:2:2 interface
- •Component analog R’G’B’ interface
- •Component analog Y’PBPR interface, EBU N10
- •Component analog Y’PBPR interface, industry standard
- •40. 576i component video
- •Frame rate
- •Interlace
- •Line sync
- •Analog field/frame sync
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Picture center, aspect ratio, and blanking
- •Component digital 4:2:2 interface
- •Component analog 576i interface
- •Scanning
- •Analog sync
- •Picture center, aspect ratio, and blanking
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Component digital 4:2:2 interface
- •Scanning
- •Analog sync
- •Picture center, aspect ratio, and blanking
- •R’G’B’ EOCF and primaries
- •Luma (Y’)
- •Component digital 4:2:2 interface
- •43. HD videotape
- •HDCAM (D-11)
- •DVCPRO HD (D-12)
- •HDCAM SR (D-16)
- •JPEG blocks and MCUs
- •JPEG block diagram
- •Level shifting
- •Discrete cosine transform (DCT)
- •JPEG encoding example
- •JPEG decoding
- •Compression ratio control
- •JPEG/JFIF
- •Motion-JPEG (M-JPEG)
- •Further reading
- •46. DV compression
- •DV chroma subsampling
- •DV frame/field modes
- •Picture-in-shuttle in DV
- •DV overflow scheme
- •DV quantization
- •DV digital interface (DIF)
- •Consumer DV recording
- •Professional DV variants
- •47. MPEG-2 video compression
- •MPEG-2 profiles and levels
- •Picture structure
- •Frame rate and 2-3 pulldown in MPEG
- •Luma and chroma sampling structures
- •Macroblocks
- •Picture coding types – I, P, B
- •Prediction
- •Motion vectors (MVs)
- •Coding of a block
- •Frame and field DCT types
- •Zigzag and VLE
- •Refresh
- •Motion estimation
- •Rate control and buffer management
- •Bitstream syntax
- •Transport
- •Further reading
- •48. H.264 video compression
- •Algorithmic features, profiles, and levels
- •Baseline and extended profiles
- •High profiles
- •Hierarchy
- •Multiple reference pictures
- •Slices
- •Spatial intra prediction
- •Flexible motion compensation
- •Quarter-pel motion-compensated interpolation
- •Weighting and offsetting of MC prediction
- •16-bit integer transform
- •Quantizer
- •Variable-length coding
- •Context adaptivity
- •CABAC
- •Deblocking filter
- •Buffer control
- •Scalable video coding (SVC)
- •Multiview video coding (MVC)
- •AVC-Intra
- •Further reading
- •49. VP8 compression
- •Algorithmic features
- •Further reading
- •Elementary stream (ES)
- •Packetized elementary stream (PES)
- •MPEG-2 program stream
- •MPEG-2 transport stream
- •System clock
- •Further reading
- •Japan
- •United States
- •ATSC modulation
- •Europe
- •Further reading
- •Appendices
- •Cement vs. concrete
- •True CIE luminance
- •The misinterpretation of luminance
- •The enshrining of luma
- •Colour difference scale factors
- •Conclusion: A plea
- •Radiometry
- •Photometry
- •Light level examples
- •Image science
- •Units
- •Further reading
- •Glossary
- •Index
- •About the author
Further reading
For an approachable introduction to the concepts, theory, and mathematics of digital signal processing (DSP), see Lyons. For an alternative point of view, see Rorabaugh’s book; it includes the source code for programs to design filters – that is, to evaluate filter coefficients. For comprehensive and theoretical coverage of DSP, see Mitra and Kaiser.
Lyons, Richard G. (1997), Understanding Digital Signal Processing (Reading, Mass.: Addison Wesley).
McClellan, James H. and Parks, Thomas W. (2005), “A personal history of the Parks-McClellan algorithm,” IEEE Signal Processing Magazine 22 (2): 82–86.
Mitra, Sanjit K., and James F. Kaiser (1993), Handbook for Digital Signal Processing (New York: Wiley).
Rorabaugh, C. Britton (1999), DSP Primer (New York:
McGraw-Hill).
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DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
Resampling, interpolation,
and decimation |
21 |
In video and audio signal processing, it is often necessary to take a set of sample values and produce another set that approximates the samples that would have resulted had the original sampling occurred at different instants – at a different rate, or at a different phase. This is called resampling. (In PC parlance, resampling for the purpose of picture resizing is called scaling.) Resampling is an essential part of video processes such as these:
•Chroma subsampling (e.g., 4:4:4 to 4:2:2)
•Downconversion (e.g., HD to SD) and upconversion (e.g., SD to HD)
•Aspect ratio conversion (e.g., 4:3 to 16:9)
•Conversion among different sample rates of digital video standards (e.g., 4fSC to 4:2:2, 13.5 MHz)
•Picture resizing in digital video effects (DVE)
One-dimensional resampling applies directly to digital audio, in applications such as changing sample rate from 48 kHz to 44.1 kHz. In video, 1-D resampling can be applied horizontally or vertically. Resampling can be extended to a two-dimensional array of samples. Two approaches are possible. A horizontal filter, then a vertical filter, can be applied in cascade (tandem) – this is the separable approach. Alternatively, a direct form of 2-D spatial interpolation can be implemented.
Upsampling produces more result samples than input samples. In audio, new samples can be estimated at
a higher rate than the input, for example when digital audio sampled at 44.1 kHz is converted to the 48 kHz professional rate used with video. In video, upsampling is required in the spatial upconversion from 1280× 720
221
I write resampling ratios in the form input samples:output samples. With my convention, a ratio less than unity is upsampling.
Consider resampling pseudocolour data. If you treat the data as continuous, the resulting image is liable to contain colours not in the source. If you use nearest-neighbour resampling to avoid generating “new” sample values, geometry will suffer.
HD to 1920× 1080 HD: 1280 samples in each input line must be converted to 1920 samples in the output, an upsampling ratio of 2:3.
One way to accomplish upsampling by an integer ratio of 1:n is to interpose n-1 zero samples between each pair of input samples. This causes the spectrum of the original signal to repeat at multiples of the original sampling rate. The repeated spectra are called “images.” (This is a historical term stemming from radio; it has nothing to do with pictures!) These “images” are then eliminated (or at least attenuated) by an anti-imaging lowpass filter. In some upsampling structures, such as the Lagrange interpolator that I will describe later in this chapter, filtering and upsampling are intertwined.
Downsampling produces fewer result samples than input samples. In audio, new samples can be created at a lower rate than the input. In video, downsampling is required when converting 4fSC NTSC digital video to BT.601 (”4:2:2“) digital video: 910 samples in each input line must be converted to 858 samples in the output, a downsampling ratio of 35:33; for each 35 input samples, 33 output samples are produced.
In an original sample sequence, signal content from DC to nearly 0.5fS can be represented. After downsampling, though, the new sample rate may be lower than that required by the signal bandwidth. After downsampling, meaningful signal content is limited by the Nyquist criterion at the new sampling rate – for example, after 4:1 downsampling, signal content is limited to 1⁄8 of the original sampling rate. To avoid the introduction of aliases, lowpass filtering is necessary prior to, or in conjunction with, downsampling. The corner frequency depends upon the downsampling ratio; for example, a 4:1 ratio requires a corner less than 0.125fS. Downsampling with an integer ratio of n:1 can be thought of as prefiltering (antialias filtering) for the new sampling rate, followed by the discarding of n-1 samples between original sample pairs.
Resampling produces new samples that assume that neighbouring input samples are related by a continuous function. If the underlying function is not continuous, problems can be expected. For example, pseudocolour images are not continuous: They cannot be meaningfully resampled without creating artifacts.
222 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
Figure 21.1 Two-times upsampling starts by interposing zero samples between original sample pairs. This would result in the folded spectral content of the original signal appearing in-band at the new rate. These “images” are removed by a resampling filter.
Figure 21.2 An original signal exhibits folding around half the sampling frequency. This is inconsequential providing that the signal is properly reconstructed. When the signal is upsampled or downsampled, the folded portion must be handled properly or aliasing will result.
1 
0
0
1 
0
0
1:2-upsampled signal
Folded spectrum (“image”) prior to resampling (anti-imaging) filter
Folded spectrum
following resampling filter
0.5 1.0 Frequency, 1:2-upsampled fs
UPSAMPLING
Original signal
Folding around half-sampling frequency
0.5 |
1.0 Frequency, original fs |
DOWNSAMPLING
Figure 21.3 Two-to-one downsampling requires a resampling filter to meet the Nyquist criterion at the new sampling rate. The solid green line shows the spectrum of the filtered signal; the shaded line shows its folded portion. Resampling without filtering would preserve the original baseband spectrum, but folding around the new sampling rate would cause alias products shown here in the crosshatched region.
1 |
2:1-downsampled |
|
signal |
Folded spectrum
without resampling
Alias products
Signal spectrum
(antialiasing) filter
0 










00.5 1 Frequency, 2:1-downsampled fs
Figure 21.2, at the center above, sketches the spectrum of an original signal. Figure 21.1 shows the frequency domain considerations of upsampling; Figure 21.3 shows the frequency domain considerations of downsampling. These examples show ratios of 1:2 and 2:1; however, the concepts apply to resampling at any ratio.
CHAPTER 21 |
RESAMPLING, INTERPOLATION, AND DECIMATION |
223 |
