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In 480i systems with setup, the term picture excursion refers to the range from blanking to white, even though strictly speaking the lowest level of the picture signal is 7.5 units, not

0 units.

Back porch is described in Analog horizontal blanking interval, in Chapter 2 of Composite NTSC and PAL: Legacy Video Systems.

Video levels

I introduced 8-bit studio video levels on page 42. Studio video coding provides headroom and footroom. At an 8-bit interface, luma has reference black at

code 16 and reference white at code 235; colour differences are coded in offset binary, with zero at code 128, the negative reference at code 16, and the positive reference at code 240. (It is a nuisance that the positive reference levels differ between luma and chroma.) I use the term reference instead of peak; the peaks of transient excursions may lie outside the reference levels. This range is known as “studio-swing.”

All modern studio interfaces accommodate 10-bit signals, and most equipment today implements 10 bits. In 10-bit systems, the reference levels just mentioned are multiplied by 4; the two LSBs provide additional precision. Reference black is at code 64, and reference white at code 940.

Video levels in 480i systems are historically expressed in IRE units, sometimes simply called units. IRE refers to the Institute of Radio Engineers in the United States, the predecessor of the IEEE. Reference blanking level is defined as 0 IRE; reference white level is 100 IRE. The range between these values is the picture excursion.

In an analog interface, sync is coded at voltage level more negative than black; sync is “blacker than black.” The ratio of picture excursion to sync amplitude is the picture:sync ratio. Two different ratios were standardized: 10:4 is predominant in 480i and computing; 7:3 is universal in 576i and HD, occasionally used in 480i, and rarely used in computing.

Setup (pedestal)

In 480i composite NTSC video in North America, reference black is offset above blanking by 7.5% (340) of the picture excursion. Setup refers to this offset, expressed as a fraction or percentage of the picture excursion. In a 480i system with setup, there are nominally 92.5 IRE units from black to white.

Blanking level at an analog interface is established by a back porch clamp. However, in a system with setup, no signal element is present that enables a receiver to accurately recover black level. If an interface has poor

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VIDEO SIGNAL PROCESSING

381

Voltage, mV

 

IRE units

 

 

Voltage, mV

White 714 2/7

 

 

 

 

 

 

 

 

 

100

 

 

 

 

+700

 

 

 

 

 

 

 

 

Black

53

4/7

 

 

 

 

 

 

 

 

 

 

 

 

7.5

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Blanking

0

 

 

 

 

 

 

 

 

0

 

 

 

 

 

 

 

0

5/7

 

 

 

 

 

 

 

 

 

 

 

 

 

Synctip -285

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

-40

 

 

 

 

 

 

 

 

-300

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

7.5% setup

 

Zero setup

Zero setup

 

 

 

 

 

 

10:4 picture:sync

10:4 picture:sync

7:3 picture:sync

Figure 31.2 Comparison of 7.5% and zero setup. The left-hand third shows the video levels of composite 480i video, with 7.5% setup and 10:4 picture-to-sync ratio. This coding is used in some studio equipment and in most computer display interfaces. The middle third shows zero setup and 10:4 picture-to-sync, as used in 480i video in Japan. EBU N10 component video, 576i systems, and HD use zero setup, 700 mV picture, and 300 mV sync, as shown at the right.

Consumer video equipment purchased in Japan has zero setup. Some Japanese CE equipment has setup confugurable 0/7.5; sometimes the 0 setting goes by marketing terms like “enhanced black.”

tolerance, calibration error, or drift, setup causes problems in maintaining accurate black-level reproduction. Consequently, setup has been abolished from modern video systems: Zero setup is a feature of EBU N10 component video, all variants of 576i video, and HD. In all of these systems, blanking level also serves as the reference level for black.

480i video in Japan originally used setup. However, in about 1987, zero setup was adopted; 10:4 picture- to-sync ratio was retained. Consequently, there are now three level standards for SD analog video interface. Figure 31.2 shows these variations.

The archaic EIA RS-343-A standard specified monochrome operation, 2:1 interlace with 60.00 Hz field rate, 7 µs horizontal blanking, and other parameters that have no place in modern video systems. Unfortunately, most PC graphics display standards have inherited RS-343-A’s 10:4 picture-to-sync ratio and 7.5% setup. (Some high-end workstations have zero setup.)

The term pedestal refers to the absolute value of the offset from blanking level to black level, in IRE units or millivolts: Composite 480i NTSC incorporates a pedestal of 7.5 IRE. Pedestal includes any deliberate offset

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DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES

added to R’, G’, or B’ components, to luma, or to

a composite video signal, to achieve a desired technical or æsthetic intent. In Europe, this is termed lift.

(I prefer the term black level to either pedestal or lift.)

BT.601 to computing

The coding difference between computer graphics and studio video necessitates image data conversion at the interface. Figure 31.3 overleaf shows the transfer function that converts 8-bit BT.601 studio R’G’B’ into computer R’G’B’. The footroom and headroom regions of BT.601 are clipped, and the output signal omits 36 code values. This coding difference between computer graphics and studio video is one of many challenges in taking studio video into the computer domain.

Enhancement

This section and several subsequent sections discuss enhancement, median filtering, coring, chroma transition improvement (CTI), and scan-velocity modulation (SVM). Each of these operations superficially resembles FIR filtering: A “window” involving a small set of neighboring samples slides over the input data. For each new input sample, the filtering operation delivers one output sample that has been subject to some fixed time delay with respect to the input. Unlike FIR filtering, with the exception of the most benign forms of enhancement these operations are nonlinear. They cannot, in general, be undone.

The term “enhancement” is widely used in image processing and video. It has no precise meaning. Evidently, the goal of enhancement is to improve, in some sense, the quality of an image. In principle, this can be done only with knowledge of the process or processes that degraded the image’s quality. In practice, it is extremely rare to have access to any history of the processes to which image data has been subject, so no systematic approach to enhancement is possible.

In some applications, it may be known that image data has been subject to processes that have introduced specific degradations or artifacts. In these cases, enhancement may refer to techniques designed to reduce these degradations. A common example involves degraded frequency response due to aperture

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VIDEO SIGNAL PROCESSING

383

255

Full-swing code, computing

0

FOOTROOM

 

 

-15 0 1 16

HEADROOM

AVERAGE

SLOPE

 

255

=

219

 

SLOPE=1

131

128

127

124

MISSING

CODES

109 110

BT.601 code, processing levels (black at zero)

219

238

BT.601 code, interface levels

235

254

Figure 31.3 The 8-bit BT.601 to full-range (computer) R’G’B’ conversion involves multiplying by a scale factor of 255219 (about 1.16), to account for the difference in range. This causes the footroom and headroom regions of the studio video signal to be clipped, and causes the output signal to be missing several code values. The detail shows the situation at mid-scale; the transfer function is symmetrically disposed around input pair [109, 110] and output pair [127, 128]. This graph shows a linear relationship from black to white. The linear relationship is suitable in computer systems where a ramp is loaded into the lookup table (LUT) between the framebuffer and the display; in that case, R’G’B’ data is displayed on the computer display comparably to the way R’G’B’ is displayed in video; see Gamma, on page 315.

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DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES

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