- •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 25.9 SPDs of blackbody radiators at several temperatures are graphed here. As the temperature increases, the absolute power increases and the peak of the spectral distribution shifts toward shorter wavelengths.
Relative power
1.5
5500 K
1.0 |
5000 K |
4500 K
0.5
4000 K
3500 K
0.0
400 |
500 |
600 |
700 |
Wavelength [nm]
locus). Blackbody radiators will be discussed in the next section.
An SPD that appears white has CIE [X, Y, Z] values of about [1, 1, 1], and [x, y] coordinates in the region of [1⁄3, 1⁄3]: White plots in the central area of the chromaticity diagram. In the section White, on page 278, I will describe the SPDs associated with white.
Any all-positive (physical, or realizable) SPD plots as a single point in the chromaticity diagram, within the region bounded by the spectral locus and the line of purples. All colours lie within this region; points outside this region are not associated with colours. It is silly to qualify “colour” by “visible,” because colour is itself defined by vision – if it’s invisible, it’s not a colour!
In the projective transformation that forms x and y, any additive mixture (linear combination) of two SPDs – or two tristimulus values – plots on a straight line in the [x, y] plane. However, distances are not preserved, so chromaticity values do not combine linearly. Neither
[X, Y, Z] nor [x, y] coordinates are perceptually uniform.
Blackbody radiation
Max Planck determined that the SPD radiated from
a hot object – a blackbody radiator – is a function of the temperature to which the object is heated. Figure 25.9 above shows the SPDs of blackbody radiators at several temperatures. As temperature increases, the absolute
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Figure 25.10 SPDs of blackbody radiators, normalized to equal power at 555 nm, are graphed here. The dramatically different spectral character of blackbody radiators at different temperatures is evident.
Relative power
9300 K
1.5
6500 K
1.0
5500 K
5000 K
0.5
3200 K
0.0
400 |
500 |
600 |
700 |
Wavelength [nm]
The symbol for Kelvin is properly written K (with no degree sign).
To a colour scientist, it’s paradoxical that cold water faucets are colour-coded blue and hot water faucets are colour-coded red!
The 1960 [u, v] coordinates are described in the marginal note on page 281.
power increases and the spectral peak shifts toward shorter wavelengths. If the power of blackbody radiators is normalized at an arbitrary wavelength, dramatic differences in spectral character become evident, as illustrated in Figure 25.10 above.
Many sources of illumination have, at their core,
a heated object, so it is useful to characterize an illuminant by specifying the absolute temperature (in units of kelvin, K) of a blackbody radiator having the same hue.
The blackbody locus is the path traced in [x, y] coordinates as the temperature of a blackbody source is raised. At low temperature, the source appears red (“red hot”). When a viewer is adapted to a white reference of CIE D65, which I will describe in a moment, at about 2000 K, the source appears orange. Near 4000 K, it appears yellow; at about 6000 K, white. Above 10,000 K, it is blue hot.
Colour temperature
An illuminant may be characterized by a single colour temperature number – the temperature of a blackbody radiator that exactly matches the chromaticity of the source. If the match is approximate, the term correlated colour temperature (CCT) is used.
Colour temperature is sometimes augmented by a second number giving the closest distance in the deprecated CIE 1960 [u, v] coordinates of the colour
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The CIE D illuminants are properly denoted with a two-digit subscript. CIE Illuminant D65 has a correlated colour temperature of about 6504 K.
Concerning 9300 K, see page 311.
from the blackbody locus – the arcane “minimum perceptible colour difference” (MPCD) units. I consider it more sensible to specify colour temperature in kelvin for intuitive purposes, accompanied by [x, y] or [u’, v’] chromaticity coordinates.
When a blackbody source’s temperature sweeps from a low value (say 1000 K) to a high value (say 20,000 K), the chromaticity coordinate of the source sweeps out a path called the blackbody locus in the chromaticity diagram. (See Figure 25.8, on page 275.) Such a plot distributes temperatures in a highly nonuniform manner.
White
As I mentioned a moment ago, there is no unique definition of white: To achieve accurate colour, you must specify the SPD or the chromaticity of white. In additive mixture, to be detailed on page 288, the white point is the set of tristimulus values (or the luminance and chromaticity coordinates) of the colour reproduced by equal contributions of the red, green, and blue primaries. The colour of white is a function of the ratio – or balance – of power among the primary components. (In subtractive reproduction, the colour of white is determined by the SPD of the illumination, multiplied by the SPD of the uncoloured media.)
It is sometimes convenient for purposes of calculation to define white as an SPD whose power is uniform throughout the visible spectrum. This white reference is known as the equal-energy illuminant, denoted CIE Illuminant E; its CIE [x, y] coordinates are [1⁄3, 1⁄3].
A more realistic reference, approximating daylight, has been numerically specified by the CIE as Illuminant D65. You should use this unless you have a good reason to use something else. The print industry commonly uses D50 and photography commonly uses D55; these represent compromises between the conditions of indoor (tungsten) and daylight viewing. Figure 25.11 shows the SPDs of several standard illuminants; chromaticity coordinates are given in Table 25.1.
Many computer displays and many consumer television receivers have a default colour temperature setting of 9300 K. That white reference contains too much blue to achieve acceptable image reproduction in Europe or
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400 |
450 |
500 |
550 |
600 |
650 |
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750 |
800 |
Wavelength [nm]
Figure 25.11 CIE illuminants are graphed here. Illuminant A is an obsolete standard representative of tungsten illumination; its SPD resembles the blackbody radiator at 3200 K shown in Figure 25.10, on page 277. Illuminant C was an early standard for daylight; it too is obsolete. The family of D illuminants represents daylight at several colour temperatures.
America; transform from D65 to 9300 K involves multiplying the BT.709 blue tristimulus value by about 1.3. However, there is a cultural preference in Asia for
a more bluish reproduction than D65; 9300 K is common in Asia (e.g., in studio displays in Japan).
Table 25.1 enumerates the chromaticity coordinates of several common white references:
Notation |
x |
y |
z |
u’n |
v’n |
1666.7 K (6000 mirek) |
0.37683 |
0.38050 |
0.24267 |
0.2213 |
0.5027 |
CIE Ill. A (obsolete), ~2856 K |
0.44757 |
0.40745 |
0.14498 |
0.2560 |
0.5243 |
CIE Ill. C (obsolete) |
0.31006 |
0.31616 |
0.37378 |
0.2009 |
0.4609 |
CIE Ill. D50 |
0.3457 |
0.3587 |
0.2956 |
0.2091 |
0.4882 |
CIE Ill. D55 |
0.3325 |
0.3476 |
0.3199 |
0.2044 |
0.4801 |
CIE Ill. D65, ~6504 K |
0.312727 |
0.329024 |
0.358250 |
0.1978 |
0.4683 |
CIE Ill. E (equal-energy) |
0.333334 |
0.333330 |
0.333336 |
0.2105 |
0.4737 |
9300 K (used in studio |
0.2830 |
0.2980 |
0.4190 |
0.1884 |
0.4463 |
standards in Asia) |
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∞ (0 mirek) |
0.23704 |
0.236741 |
0.526219 |
0.1767 |
0.3970 |
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Table 25.1 White references. The CIE D65 standard ubiquitous in SD and HD is highlighted.
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