- •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
For a modest improvement over 2-tap averaging, use 4 taps with coefficients [1⁄16, 7⁄16, 7⁄16, 1⁄16].
VERTICAL

TEMPORAL
Figure 35.6 V·T development
VERTICAL

TEMPORAL
Figure 35.7 V·T domain
Figure 35.8 Static lattice in the V·T domain (weave)
Figure 35.9 Interframe averaging in the V·T domain
than simply averaging two lines, improved performance can be attained by using longer FIR filters with suitable tap weights; see Filtering and sampling, on page 191.
Vertical-temporal domain
Interlace-to-progressive conversion can be considered in the vertical-temporal (V·T) domain. Figure 35.6 in the margin sketches the interlaced capture fields of Figure 35.2, in a three-dimensional view. Viewed from the “side,” along the axis of the scan lines, the verticaltemporal domain is projected. The temporal samples are at discrete times corresponding to the field instants; the vertical samples are at discrete intervals of space determined by the scan-line pitch. The four open disks of Figure 35.6 represent samples of original picture information that are available at a certain field instant and line number. A calculation on these samples can synthesize the missing sample value at the center of the pattern. In the diagrams to follow, the reconstructed sample will be drawn as a filled disk. (A similar calculation is performed for every sample along the scan line at the given vertical and temporal coordinate: For BT.601 digital video, the calculation is performed 720 times per scan line.)
In Figure 35.7, I sketch the vertical-temporal domain, now in a two-dimensional view. Conversion from interlace to progressive involves computing some combination of the four samples indicated by open disks, to synthesize the sample at the center of the four (indicated by the filled disk). Techniques utilizing more than these four samples are possible, but involve more complexity than is justified for desktop video.
In Figure 35.8, I sketch the field replication (or weave) technique in the V·T domain. The sample to be computed is simply copied from the previous field. The result is correct spatially, but if the corresponding area of the picture contains an element in motion, tearing will be introduced, as indicated in Figure 35.3.
Instead of copying information forward from the previous field, the previous field and the following field can be averaged. This approach is sketched in
Figure 35.9. This technique also suffers from a form of field tearing, but it is useful in conjunction with an adaptive approach to be discussed in a moment.
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415 |
Figure 35.10 Line replication in the V·T domain (“bob“)
Figure 35.11 Intrafield averaging in the V·T domain
Weston, Martin (1988), U.S.
Patent 4,789,893, Interpolating
Lines of Video Signals.
The line replication technique is sketched in the V·T domain in Figure 35.10. The central sample is simply copied from the line above. Because the copied sample is from the same field, no temporal artifacts are introduced. The line replication technique causes a downward shift of one image row. The shift is evident from Figure 35.4: The disk in the test scene is vertically centered, but in Figure 35.4 it appears off-center.
Intrafield averaging – what some people call the bob technique – is sketched in Figure 35.11. The central sample is computed by averaging samples from lines above and below the desired location. The information being averaged originates at the same instant in time, so no temporal artifact is introduced. Also, the one-row downward shift of line replication is avoided. However, the vertical resolution of a static scene is reduced.
Martin Weston of the BBC found that excellent deinterlacing was possible using two fields and four lines of storage, without adaptivity, using carefully chosen coefficients. His filter coefficients are shown in Table 35.1; the highlighted cell corresponds to the result:
Image |
Field |
Field |
Field |
|
row |
t-1 |
|
t |
t+1 |
i-4 |
32 |
|
|
32 |
i-3 |
|
-27 |
|
|
i-2 |
-119 |
|
|
-119 |
i-1 |
|
539 |
|
|
i |
174 |
|
• |
174 |
i+1 |
|
539 |
|
|
i+1 |
-119 |
|
|
-119 |
i+1 |
|
-27 |
|
|
i+1 |
32 |
|
|
32 |
|
|
|
|
|
Table 35.1 Weston deinterlacer comprises a vertical-temporal FIR filter having the indicated weights, each divided by 1024. The position marked in red is computed. No adaptivity is used.
Motion adaptivity
Analyzing the conversion in the V·T domain suggests that an improvement could be made by converting stationary scene elements using the static technique, but converting elements in motion using line averaging. This improvement can be implemented by detecting, for each result pixel, whether that pixel is
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DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
Figure 35.12 Interstitial spatial filter coefficients
Figure 35.13 Cosited spatial filter coefficients
likely to belong to a scene element in motion. If the element is likely to be in motion, then intrafield averaging is used (avoiding spatial artifacts). If the element is likely to be stationary, then interfield averaging is used (avoiding resolution loss).
Motion can be detected by comparing one field to a previous field. Ideally, a like field would be used – if motion is to be estimated for field 1, then the previous field 1 should be used as a point of reference. However, this approach demands that a full framestore be available for motion detection. Depending on the application, it may suffice to detect motion from the opposite field, using a single field of memory.
Whether a field or a frame of memory is used to detect motion, it is important to apply a spatial lowpass filter to the available picture information, in order to prevent small details, or noise, from causing abrupt changes in the estimated motion. Figure 35.12 shows the coefficients of a spatial lowpass filter that computes a spatial sample halfway between the scan lines. The shaded square indicates the effective location of the result. This filter requires a linestore (or a dual-ported memory). The weighted sums can be implemented by three cascaded [1, 1] sections, each of which requires a single adder.
A low-pass filtered sample cosited (spatially coincident) with a scan line can be computed using the weights indicated in Figure 35.13. Again, the shaded square indicates the central sample, whose motion is being detected. This filter can also be implemented using just linestores and cascaded [1, 1] sections. The probability of motion is estimated as the absolute value of the difference between the two spatial filter results.
The spatial filters of Figure 35.12 and Figure 35.13 incorporate transverse filters having coefficients
[1, 4, 6, 4, 1]. These particular coefficients enable implementation using cascaded [1, 1]-filters. The 2-line spatial filter of Figure 35.12 can be implemented using a linestore, two [1, 4, 6, 4, 1] transverse filters, and an adder. The 3-line spatial filter of Figure 35.13 can be implemented using two linestores, three [1, 4, 6, 4, 1] transverse filters – one of them having its result doubled to implement coefficients 2, 8, 12, 8, 2 – and two adders.
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417 |
Interfieldproportion, relative |
0 |
|
|
|
|
1 |
|
|
|
|
|
|
|
|
|
0 |
1 |
||
|
Absolute difference, |
|||
|
relative |
|
|
|
Figure 35.14 A window function in deinterlacing
A simple adaptive filter switches from interframe averaging to interfield averaging when the motion estimate exceeds some threshold. However, abrupt switching can result in artifacts: Two neighboring samples may have very similar values, but if one is judged to be stationary and the other judged to be in motion, the samples computed by the deinterlace filter may have dramatically different values. These differences can be visually objectionable. These artifacts can be reduced by mixing proportionally – in other words, fading – between the interframe and interfield averages instead of switching abruptly. Mixing can be controlled by a window function of the motion difference, as sketched in Figure 35.14 in the margin.
Further reading
Bellers and de Haan have written the definitive book on deinterlacing techniques. The book concentrates on techniques patented by Philips and available in VLSI from NXP. A summary of deinterlacing techniques is found in de Haan and Braspenning’s chapter in Madisetti’s book.
Bellers, Erwin B. and de Haan, Gerard (2000), De-inter- lacing: A key technology for scan rate conversion
(Elsevier/North-Holland).
de Haan, Gerard and Braspenning, Ralph (2010), “Video Scanning Format Conversion and Motion Estimation,” in
Madisetti, Vijay K., The digital signal processing handbook,
Second edition, Vol. 2 (Boca Raton, Fla., U.S.A.: CRC Press/Taylor & Francis).
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DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES |
