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Video Compression Basics

Video Compression Basics. Nimrod Peleg Update: Nov. 1999. Video Compression: list of topics. Analog and Digital Video Concepts Block-Based Motion Estimation Resolution Conversion H.261: A Standard for VideoConferencing MPEG-1: A Standard for CD-ROM Based App.

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Video Compression Basics

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  1. Video CompressionBasics Nimrod Peleg Update: Nov. 1999

  2. Video Compression: list of topics • Analog and Digital Video Concepts • Block-Based Motion Estimation • Resolution Conversion • H.261: A Standard for VideoConferencing • MPEG-1: A Standard for CD-ROM Based App. • MPEG-2 and HDTV: All Digital TV • H.263: A Standard for VideoPhone • MPEG-4: Content-Based Description

  3. Analog Video Signal: Raster Scan

  4. Analog Video Signal: Image line (NTSC) Black White 53.5microSec 10uSec

  5. Analog Video Standards • All video standards are in color • Almost any color can be reproduced by mixing the 3 additive primaries: R (red), G (green) and B (blue) • 3 main different representations: • Component • Composite • S-Video (Y/C)

  6. Component Analog Video • Each primary is considered as a separate monochromatic video signal • Basic presentation: RGB • Other RGB based: • YIQ • YCrCb • YUV • HSI

  7. Composite Video Signal Encoding the Chrominance over Luminance into one signal (saving bandwidth): • NTSC (National TV System Committee) North America, Japan • PAL (Phased Alternation Line) Europe (Including Israel) • SECAM (Systeme Electronique Color Avec Memoire) France

  8. Analog Standards Comparison NTSC PAL/SECAM Defined 1952 1960 Scan Lines/Field 525/262.5 625/312.5 Active lines 485 525 Subcarrier Freq. 3.58MHz 4.43MHz Interlacing 2:1 2:1 Aspect ratio 4:3 4:3 Horiz. Resol.(el/lin) 452 Frames/Sec 29.97 25 Component Color TUV YCbCr

  9. NTSC/525 Advantages • Higher Frame Rate - Use of 30 frames per second (really 29.97) reduces visible flicker. • Atomic Color Edits - With NTSC it is possible to edit at any field boundary point without disturbing the color signal. • Less inherent picture noise - Almost all pieces of video equipment achieve better signal to noise characteristics in their NTSC/525 form than in their PAL/625.

  10. NTSC/525 Disadvantages • Lower Number of Scan Lines - Reduced clarity on large screen TVs, line structure more visible. • Smaller Luminance Signal Bandwidth - Due to the placing of the color sub-carrier at 3.58MHz, picture defects such as moire, cross-color, and dot interference become more pronounced. This is because of the greater likelihood of interaction with the monochrome picture signal at the lower sub-carrier frequency.

  11. NTSC/525 Disadvantages (cont’d) • Susceptablity to Hue Fluctuation - Variations in the color sub-carrier phase cause shifts in the displayed color, requiring that the TV receivers be equipped with a Hue adjustment to compensate. • Lower Gamma Ratio - The gamma value for NTSC/525 is set at 2.2 as opposed to the slightly higher 2.8 defined for PAL/625. This means that PAL/625 can produce pictures of greater contrast.

  12. NTSC/525 Disadvantages (cont’d) • Undesirable Automatic Features - Many NTSC TV receivers feature an Auto-Tint circuit to make hue fluctuations less visible to uncritical viewers. This circuit changes all colors approximating to flesh tone into a "standard" flesh-tone, thus hiding the effects of hue fluctuation. This does mean however that a certain range of color shades cannot be displayed correctly by these sets. Up-market models often have this (mis)feature switchable, cheaper sets do not.

  13. PAL/625 Advantages • Greater Number of Scan Lines - more picture detail. • Wider Luminance Signal Bandwidth - The placing of the color Sub-Carrier at 4.43MHz allows a larger bandwidth of monochrome information to be reproduced than with NTSC/525. • Stable Hues - Due to reversal of sub-carrier phase on alternate lines, any phase error will be corrected by an equal and opposite error on the next line, correcting the original error.

  14. PAL/625 Advantages (cont’d) • Higher Gamma Ratio - The gamma value for PAL/625 is set at 2.8 as opposed to the lower 2.2 figure of NTSC/525. This permits a higher level of contrast than on NTSC/525 signals. This is particularly noticeable when using multi-standard equipment as the contrast and brightness settings need to be changed to give a similar look to signals of the two formats.

  15. PAL/625 Disadvantages • More Flicker - Due to the lower frame rate, flicker is more noticable on PAL/625 transmissions; particularly so for people used to viewing NTSC/525 signals. • Lower Signal to Noise Ratio - The higher bandwidth requirements cause PAL/625 equipment to have slightly worse signal to noise performance than it's equivalent NTSC/525 version. • Loss of Color Editing Accuracy - Due to the alternation of the phase of the color signal, the phase and the color signal only reach a common point once every 8 fields/4 frames. This means that edits can only be performed to an accuracy of +/- 4 frames (8 fields).

  16. PAL/625 Disadvantages (cont’d) • Variable Color Saturation - Since PAL achieves accurate color through canceling out phase differences between the two signals, the act of canceling out errors can reduce the color saturation while holding the hue stable. Fortunately, the human eye is far less sensitive to saturation variations than to hue variations, so this is very much the lesser of two evils.

  17. Analog Video Equipment • Cameras (Vidicon, Film, CCD) • Video Tapes (magnetic): Betacam, VHS, SVHS, U-matic, 8mm .... • Optical Video Disk • Displays All for all video standards !

  18. Digital Video • Developed with CD-ROM Technology • Brings computers and communication together in a truly revolutionary matter: • Personal computer • VideoPhone, FAX, HDTV, Live video (with processing), Local image printer, Video Conferencing, ......

  19. Digital Video Formats • For a number of years: professional TV studios used D1 (component) and D2 (composite) digital formats. • CCIR digitization (CCIR601) and interfacing (CCIR656) for digital video is base line for all formats, using component form known as 4:2:2 (Y, Cb, Cr).

  20. CCIR Digitization • For component video signals (studio source) with BW=6MHz, CCIR sampling rate is 13.5MHz, independent of scanning standard • This rate represents 864 x Fh for 625 systems and 858 x Fh for 525 systems. • Active lines per frame is 720 for both. • For 8 bits/sample: 13.5M x 8 = 108 bit/sec.

  21. Orthogonal Sampling • In the CCIR method, samples are at the same fixed place on all lines in a frame, and also from frame to frame, such that they are situated on a rectangular grid. • Other sampling schemes are not line-locked and their sampling grid is not rectangular.

  22. Digital Video (CCIR 601) • Coded Signals: Y, Cb, Cr • Samples/line: 858 (NTSC) / 864 (PAL) for color components: 429 / 432 • Active samples: 720 for color components: 360 • Quantizer: Uniform PCM , 8 bit/sample (Y,Cb,Cr) • Gray levels Scale: 0 - 255 • Y: 220 Q levels (black:16, gray-white:235) • Cb,Cr: 225 Q levels (zero: 128)

  23. Digital Video Signal • TrueColor: RGB , 24 bit (~16M colors) • Resolution: lack of sufficient resolution causes pixellation (blockization). • Synchronization: No need (“computer made”). • Conversion: A/D & D/A after cameras and before display (still too expensive). • The bottleneck: BITRATE

  24. BitRates • CD Quality digital audio: 44.1KHz * 16bps *2 (stereo) = ~1.4Mbps • HDTV: about 1Gbps One picture worth (almost) a 1000 words...

  25. Digital Video Resolution (CCIR601, 4:2:2) 525/60(NTSC) 625/50(PAL) CIF Active pel/line Lum (Y) 720 720 360 Chroma(U,V) 360 360 180 Active lines/pic Lum (Y) 480 576 288 Chroma(U,V) 480 576 144 Interlacing 2:1 2:1 1:1 Rate/Aspect Ratio 60/4:3 50/4:3 30/4:3

  26. Network protocols and Bitrates • Conventional telephone 0.3-56Kbps • ISDN 64-144Kbps • T-1 1.5Mbps • EtherNet (Packet based LAN) 10Mbps • Broadband ISDN 100-200Mbps • ATM (Cell based LAN/WAN) 155-620Mbps

  27. Image Compression Standards • CCITT G3/G4 Binary Images (FAX) • JBIG FAX and Documents • JPEG Still Images (b/w, color) • H.263 VideoPhone (<16Kbps) (upto h.261) • H.261 VideoConferencing (Px64Kbps) • MPEG-1 CD-ROM (1.5Mbps) • MPEG-2 Broadcasting (10-20Mbps) • MPEG-4 ? ~4-8Kbps

  28. Proprietary Video Formats • DVI, Indeo Intel • QuickTime Apple • CD-I Philips • PhotoCD Eastman Kodak • CDTV Commodore

  29. Why Digital Video? • Quality • Error correction • Interactivity • Computer control (s/w) • Real-time playback and all kinds of editing • Integration of many multimedia platforms • .......

  30. A Summary of Video Formats • CCIR Size (D1) Progressive Pictures: • NTSC - 720x480 (29.97 Pictures/Sec) • PAL - 720x576 (25 Pictures/Sec) • CCIR Size (D1) Interlaced Pictures: • NTSC - 720x(240x2) (29.97 Pictures/Sec) • PAL - 720x(288x2) (25 Pictures/Sec) • HD1 (Half D1) Progressive Pictures: • NTSC – 352x480 (29.97 Pictures/Sec) • PAL – 352x576 (25 Pictures/Sec) • HD1 (Half D1) Interlaced Pictures: • NTSC – 352x(240x2) (29.97 Pictures/Sec) • PAL – 352x(288x2) (25 Pictures/Sec)

  31. Video Formats (Cont’d) • SIF (Source Input Format) : • NTSC – 352x240 (29.97 Pictures/Sec) • PAL – 352x288 (25 Pictures/Sec) • QSIF : • NTSC – 176x112 (29.97 Pictures/Sec) • PAL – 176x144 (25 Pictures/Sec) • CIF (Common Intermediate Format) : • 352x288 (30 Pictures/Sec) • QCIF Size Pictures: • 176x144 (30 Pictures/Sec

  32. YCbCr 4:x:y Chroma Formats YCbCr 4:4:4

  33. YCbCr 4:2:2

  34. YCbCr 4:1:1

  35. YCbCr 4:2:0 Centered (MPEG-1 Style)

  36. YCbCr 4:2:0 Co-Sited (MPEG-2 Style)

  37. Hebrew Literature… • טלוויזיה בשחור-לבן ובצבע ,מט”ח - 1982 • אוניברסיטה פתוחה

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