- •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
Figure 22.10 The response |
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Figure 22.12 Inseparable spatial filter examples
Figure 22.10 shows the response of the comb filter, expressed in terms of its response in the vertical direction. Here magnitude response is shown normalized for unity gain at DC; the filter has a response of about 0.707 (i.e., it is 3 db down) at one-quarter the vertical sampling frequency.
Spatial filtering
Placing a [1, 1] horizontal lowpass filter in tandem (cascade) with a [1, 1] vertical lowpass filter is equivalent to computing a weighted sum of spatial samples using the weights indicated in the matrix on the left in Figure 22.11. Placing a [1, 2, 1] horizontal lowpass filter in tandem with a [1, 2, 1] vertical lowpass filter is equivalent to computing a weighted sum of spatial samples using the weights indicated in the matrix on the right in Figure 22.11. These are examples of spatial filters. These particular spatial filters are separable: They can be implemented using horizontal and vertical filters in tandem.
Many spatial filters are inseparable: Their computation must take place directly in the two-dimensional spatial domain; they cannot be implemented using cascaded one-dimensional horizontal and vertical filters. Examples of inseparable filters are given in the matrices in Figure 22.12.
Image presampling filters
In a video camera, continuous information must be subjected to a presampling (“antialiasing”) filter. Aliasing is minimized by optical spatial lowpass filtering that is effected in the optical path, prior to conversion of the image signal to electronic form. MTF limitations in the lens impose some degree of filtering. An additional filter can be implemented as a discrete optical
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Schreiber, William F., and Donald E. Troxel (1985), “Transformations between continuous and discrete representations of images: A perceptual approach,” in IEEE Tr. on Pattern Analysis and Machine Intelligence PAMI-7 (2): 178–186 (Mar.).
A raised cosine distribution is roughly similar to a Gaussian. See page 542.
Schreiber and Troxel suggest reconstruction with a sharpened Gaussian having σ =0.3. See their paper cited in the marginal note above.
element (often employing the optical property of birefringence). Additionally, or alternatively, some degree of filtering may be imposed by optical properties of the photosensor itself.
In resampling, signal power is not constrained to remain positive; filters having negative weights can be used. The ILPF (see page 198) and other sinc-based filters have negative weights, but those filters often ring and exhibit poor visual performance. Schreiber and Troxel found well-designed sharpened Gaussian filters with σ =0.375 to have superior performance to the ILPF. A filter that is optimized for a particular mathematical criterion does not necessarily produce the bestlooking picture!
Image reconstruction filters
On page 76, I introduced “box filter” reconstruction. This is technically known as sample-and-hold, zero-order hold, or nearest-neighbor reconstruction.
In theory, ideal image reconstruction would be obtained by using a PSF which has a two-dimensional sinc distribution. This would be a two-dimensional version of the ILPF that I described for one dimension on page 198. However, a sinc function involves negative excursions. Light power cannot be negative, so
a sinc filter cannot be used for presampling at an image capture device, and cannot be used as a reconstruction filter at a display device. A box-shaped distribution of sensitivity across each element of a sensor is easily implemented, as is a box-shaped distribution of intensity across each pixel of a display. However, like the one-dimensional boxcar of Chapter 20, a box distribution has significant response at high frequencies. Used at a sensor, a box filter will permit aliasing. Used in
a display, scan-line or pixel structure is likely to be visible. If an external optical element such as a lens attenuates high spatial frequencies, then a box distribution might be suitable. A simple and practical choice for either capture or reconstruction is a Gaussian having
a judiciously chosen half-power width. A Gaussian is a compromise that can achieve reasonably high resolution while minimizing aliasing and minimizing the visibility of the pixel (or scan-line) structure.
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Oversampling to double the number of lines displayed during a frame time is called line doubling.
Spatial (2-D) oversampling
In image capture, as in reconstruction for image display, ideal theoretical performance would be obtained by using a PSF with a sinc distribution. However, a sinc function cannot be used directly in a transducer of light, because light power cannot be negative: Negative weights cannot be implemented. As in display reconstruction, a simple and practical choice for a direct presampling or reconstruction filter is a Gaussian having
a judiciously chosen half-power width.
I have been describing direct sensors, where samples are taken directly from sensor elements, and direct displays, where samples directly energize display elements. In Oversampling, on page 224, I described
a technique whereby a large number of directly acquired samples can be filtered to a lower sampling rate. That section discussed downsampling in one dimension, with the main goal of reducing the complexity of analog presampling or reconstruction filters. The oversampling technique can also be applied in two dimensions: A sensor can directly acquire a fairly large number of samples using a crude optical presampling filter, then use a sophisticated digital spatial filter to downsample.
The advantage of interlace – reducing scan-line visibility for a given bandwidth, spatial resolution, and flicker rate – is built upon the assumption that the sensor (camera), data transmission, and display all use identical scanning. If oversampling is feasible, the situation changes. Consider a receiver that accepts progressive image data (as in the top left of Figure 8.8, on page 91), but instead of displaying this data directly, it synthesizes data for a larger image array (as in the middle left of Figure 8.8). The synthetic data can be displayed with a spot size appropriate for the larger array, and all of the scan lines can be illuminated in each 1⁄60 s instead of just half of them. This technique is spatial oversampling or upsampling. For a given level of scan-line visibility, this technique enables closer viewing distance than would be possible for progressive display.
Oversampling provides a mechanism for a sensor PSF or a display PSF to have negative weights, yielding a spatially “sharpened” filter. For example, a sharpened Gaussian PSF (such as anticipated by Schreiber 25 years
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ago) can be obtained, and can achieve performance better than a Gaussian. With a sufficient degree of oversampling, using sophisticated filters having sinc-like PSFs, the interchange signal can come arbitrarily close to the Nyquist limit. However, mathematical excellence does not necessarily translate to improved visual performance. Sharp filters are liable to ring, and thereby produce objectionable artifacts.
If negative weights are permitted in a PSF, then negative signal values can potentially result. Standard studio digital interfaces provide footroom that enables conveying moderate undershoot or overshoot. Using negative weights typically improves filter performance even if negative values are clipped after downsampling. Similarly, if a display has many elements for each digital sample, a sophisticated digital upsampler can use negative weights. Negative values resulting from the
filter’s operation will eventually be clipped at the display itself, but again, improved performance could result.
If oversampling had been technologically feasible in 1941, or in 1953, then the NTSC would have undoubtedly chosen a progressive transmission standard.
However, oversampling was not economical for SD studio systems until about 2005, when HD production became so prevalent that HD was in essence the oversampled studio standard for SDTV. Oversampling at consumer displays was not economical until about 2005. So, until about 2005, interlace retained an economic advantage both in the studio and in consumers’ premises. However, in my view this advantage has now eroded, and it is likely that all future video system standards will have progressive scanning.
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