- •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
Eq 29.6
Eq 29.7
To obtain 8-bit BT.601 Y’CBCR from R’G’B’ ranging 0 to 1, scale the rows of the matrix in Equation 29.3 by the factors 219, 224, and 224, corresponding to the excursions of each of Y’, CB, and CR, respectively:
|
601Y’ |
16 |
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65.481 |
128.553 |
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24.966 |
R’ |
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219 |
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CB |
= 128 |
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+ |
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37.797 |
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74.203 |
112 |
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· G’ |
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C |
R |
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128 |
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112 |
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93.786 |
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18.214 |
B’ |
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Summing the top row of this matrix yields 219, the luma excursion. The lower two rows sum to zero. The two entries of 112 reflect the positive CB and CR extrema, at the blue and red primaries.
To recover R’G’B’ in the range [0…+1] from 8-bit BT.601 Y’CBCR, invert Equation 29.6:
R’ |
0.00456621 |
0 |
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0.00625893 |
601Y’ |
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16 |
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219 |
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G’ |
= 0.00456621 |
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0.00153396 |
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0.00318811 |
· |
CB |
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128 |
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0.00791071 |
0 |
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CR |
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B’ |
0.00456621 |
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128 |
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You can determine the excursion that an encoding matrix is designed to produce – often 1, 219, 255, or 256 – by summing the coefficients in the top row. In Equation 29.8, the sum is 256. If you find an unexpected sum, suspect an error in the matrix.
Eq 29.8
This matrix contains entries larger than 256; the corresponding multipliers will need capability for more than 8 bits.
When rounding the matrix coefficients, take care to preserve the intended row sums, in this case, [1, 0, 0]. You must take care to prevent overflow due to roundoff error or other conditions: Use saturating arithmetic.
At the interface, after adding the offsets, clip all three components to the range 1 through 254 inclusive, to avoid the prohibited codes 0 and 255.
Y’CBCR from studio RGB
In studio equipment, 8-bit R’G’B’ components usually have the same 219 excursion as the luma component of Y’CBCR. To encode 8-bit BT.601 Y’CBCR from R’G’B’ in the range [0…219], scale the encoding matrix of Equation 29.6 by 256⁄219:
219601Y' |
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16 |
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1 |
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76.544 |
150.272 |
29.184 |
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219R' |
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CB |
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128 |
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43.366 |
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85.136 |
128.502 |
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219G' |
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256 |
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CR |
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128 |
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128.502 |
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107.604 |
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20.898 |
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219B' |
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For implementation in binary arithmetic, the multiplication by 1⁄256 can be accomplished by shifting. To
364 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
decode to R’G’B’ in the range [0…219] from 8-bit BT.601 Y’CBCR, invert Equation 29.8:
|
219R’ |
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256 |
0 |
350.901 |
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219601Y’ |
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16 |
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Eq 29.9 |
G’ |
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1 |
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256 |
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86.132 |
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178.738 |
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C |
B |
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128 |
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219 |
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256 |
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219B’ |
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256 |
443.506 |
0 |
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CR |
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128 |
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The entries of 256 in this matrix indicate that the corresponding component can simply be added; there is no need for a multiplication operation. These transforms assume that the R’G’B’ components incorporate gamma correction, such as that specified by BT.709; see page 333.
Y’CBCR from computer RGB
In computing it is conventional to use 8-bit R’G’B’ components, with no headroom and no footroom: Black is at code 0 and white is at 255. To encode 8-bit BT.601 Y’CBCR from R’G’B’ in this range, scale the matrix of Equation 29.6 by 256⁄255:
|
Y’ |
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16 |
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1 |
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65.738 |
129057. |
25.064 |
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255R’ |
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Eq 29.10 |
CB |
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128 |
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37.945 |
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74.494 |
112439. |
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255 |
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256 |
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CR |
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128 |
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112439. |
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94.154 |
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18.285 |
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255B’ |
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To decode R’G’B’ in the range [0…255] from 8-bit
BT.601 Y’CBCR, use the transform of Equation 29.11:
|
255R’ |
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298082. |
0 |
408.583 |
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219601Y’ |
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16 |
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Eq 29.11 |
255G’ |
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1 |
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298082. |
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100291. |
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208120. |
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CB |
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128 |
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256 |
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255B’ |
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298082. |
516411. |
0 |
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CR |
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128 |
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BT.601 Y’CBCR uses the extremes of the coding range to handle signal overshoot and undershoot. Clipping is required when decoding to an R’G’B’ range that has no headroom or footroom.
“Full-swing” Y’CBCR
The Y’CBCR coding used in JPEG/JFIF stillframes in computing conventionally uses “full-swing” coding with no footroom and no headroom. Luma (Y’) is scaled to an excursion of 255 and represented in 8 bits: Black is at code 0 and white is at code 255. Obviously, luma codes 0 and 255 are not prohibited! Colour difference
CHAPTER 29 |
COMPONENT VIDEO COLOUR CODING FOR SD |
365 |
Figure 29.5 CBCR “fullrange” components used in JPEG/JFIF are shown. CB and CRare scaled to ±127.5; however, they are encoded into a two’s complement range of -128 to +127. Chroma codes +127.5 are clipped; fully saturated blue and red cannot be preserved. No provision is made for undershoot or overshoot. The accompanying luma signal ranges 0 through 255.
R |
|
CR axis |
|
127.5 |
Mg |
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Yl |
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127.5 |
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-127.5 |
0 |
B |
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G |
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Cy |
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-127.5 |
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CR code +127.5 clipped; 100% red not coded
CB code +127.5 clipped; 100% blue not coded
CB axis
(clipped) |
+127.5 |
+127 |
0 |
-128 |
components are scaled to an excursion of ±127.5; each colour difference component nominally has the same excursion as luma. However, an offset of +128 is applied (instead of the +127.5 that you might expect), apparently so that pure grey has an integer code value. The +128 offset causes pure blue and pure red to take post-offset values of 255.5, which clip. Figure 29.4 shows the transfer function of the colour difference
0quantizer, emphasizing that pre-offset chroma code
Figure 29.4 A “full-swing” CBCR quantizer is used in JPEG/JFIF. Code +127.5 – required to represent pure blue or red – is clipped.
Eq 29.12
+127.5 (pure blue, or pure red) causes clipping. As
a consequence, pure blue and pure red are liable to fail to make the “round-trip” accurately through JPEG/JFIF compression and decompression. Figure 29.5 above shows the full-range CBCR colour difference plane.
To encode from R’G’B’ in the range [0…255] into 8-bit Y’CBCR, with luma in the range [0…255] and CB and CR each ranging ±128, use this transform:
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76.544 |
150.272 |
29.184 |
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255R’ |
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601Y’ |
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255 |
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= |
1 |
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− 43.366 |
−85.136 |
128.502 |
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C |
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• |
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G’ |
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256 |
255 |
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B |
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128.502 |
−107.604 |
−20.898 |
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B’ |
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C |
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R |
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255 |
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To decode into R’G’B’ in the range [0…255] from fullrange 8-bit Y’CBCR, use the transform in Equation 29.13:
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R' |
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1 |
256 |
0 |
357.510 |
601Y' |
||||
Eq 29.13 |
|
255 |
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255 |
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255G' |
= |
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256 |
−87.755 |
−182.105 |
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451.860 |
0 |
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255B' |
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256 |
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C |
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R |
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366 |
DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
Y’UV, Y’IQ confusion
Ihave detailed Y’PBPR and Y’CBCR. These are both based on [B’-Y’, R’-Y’] components, but they have different
scale factors suitable for component analog and component digital interface, respectively.
Colour differences pairs [U, V] and [I, Q] are also based on B’-Y’ and R’-Y’, but have yet another set of scale factors. UV scaling – or IQ scaling and rotation – is appropriate only when the signals are destined for composite encoding, as in NTSC or PAL.
Unfortunately, the notation Y’UV – or worse, YUV – is sometimes loosely applied to any form of colour difference coding based on [B’-Y’, R’-Y’]. Do not be misled by video equipment having connectors labelled Y’UV or Y’, B’-Y’, R’-Y’, or these symbols without primes, or by JPEG being described as utilizing Y’UV coding. In fact
the analog connectors convey signals with Y’PBPR scaling, and the JPEG standard itself specifies what
Iwould denote 255601Y’CBCR.
When the term Y’UV (or YUV) is encountered in a computer graphics or image-processing context, usually BT.601 Y’CBCR is meant, but beware!
•Any image data supposedly coded to the original 1953 NTSC primaries is suspect, because it has been roughly four decades since any equipment using these primaries has been built.
•Generally no mention is made of the transfer function of the underlying R’G’B’ components, and no account is taken of the nonlinear formation of luma.
When the term Y’IQ (or YIQ) is encountered, beware!
•Image data supposedly coded in Y’IQ is suspect since no analog or digital interface for Y’IQ components has ever been standardized.
•NTSC encoders and decoders built since 1970 have been based upon Y’UV components, not Y’IQ. Contrary to much published information, Y’IQ components have not been used for “NTSC” for about 4 decades.
CHAPTER 29 |
COMPONENT VIDEO COLOUR CODING FOR SD |
367 |
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