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    Digital Video

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    Richurajan
    The document provides an overview of digital TV formats and compression techniques used for digitizing and transmitting video content. Key points: 1. Digital formats allow for multiple copies without quality degradation, special effects, and easier editing compared to analog formats. Compression is needed prior to transmission and bit-rate is important. 2. Video signals are digitized by sampling at least twice the maximum frequency to retain integrity. Compression uses DCT, quantization, and variable length coding to reduce file size while maintaining quality. 3. MPEG standards define compression for movies using I, P, and B frames with motion compensation between to achieve higher compression rates than JPEG.

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    Digital Video

    Uploaded by

    Richurajan
    62 views26 pages
    The document provides an overview of digital TV formats and compression techniques used for digitizing and transmitting video content. Key points: 1. Digital formats allow for multiple copies without quality degradation, special effects, and easier editing compared to analog formats. Compression is needed prior to transmission and bit-rate is important. 2. Video signals are digitized by sampling at least twice the maximum frequency to retain integrity. Compression uses DCT, quantization, and variable length coding to reduce file size while maintaining quality. 3. MPEG standards define compression for movies using I, P, and B frames with motion compensation between to achieve higher compression rates than JPEG.

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    The document provides an overview of digital TV formats and compression techniques used for digitizing and transmitting video content. Key points: 1. Digital formats allow for multiple copies without quality degradation, special effects, and easier editing compared to analog formats. Compression is needed prior to transmission and bit-rate is important. 2. Video signals are digitized by sampling at least twice the maximum frequency to retain integrity. Compression uses DCT, quantization, and variable length coding to reduce file size while maintaining quality. 3. MPEG standards define compression for movies using I, P, and B frames with motion compensation between to achieve higher compression rates than JPEG.

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    Download as ppt, pdf, or txt
    62 views26 pages

    Digital Video

    Uploaded by

    Richurajan
    The document provides an overview of digital TV formats and compression techniques used for digitizing and transmitting video content. Key points: 1. Digital formats allow for multiple copies without quality degradation, special effects, and easier editing compared to analog formats. Compression is needed prior to transmission and bit-rate is important. 2. Video signals are digitized by sampling at least twice the maximum frequency to retain integrity. Compression uses DCT, quantization, and variable length coding to reduce file size while maintaining quality. 3. MPEG standards define compression for movies using I, P, and B frames with motion compensation between to achieve higher compression rates than JPEG.

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    of 26

    DIGITAL TV LECTURE 1

    ANJANA.N

    INTRODUCTION

    The main advantages of these digital formats are:

    Allow multiple copies to be made without any degradation in quality Allow the creation of special effects They simplify editing of all kinds, as well as permitting international exchange independent of the broadcast standard.

    Drawbacks are
    Prior signal compression is needed. Bit-rate is crucial.

    DIGITIZATION FORMATS

    Necessary to sample its value with a sampling frequency Fs of atleast twice the maximum frequency of this signal to keep its integrity (Shannon sampling theorem). avoid the negative aliasing effects of spectrum fall-back. sampling a signal creates two parasitic sidebands above and below the sampling frequency, which range from Fs Fmax to Fs+Fmax. signal to be digitized needs to be efficiently filtered in order to ensure that its bandwidth does not exceed Fmax = Fs/2.

    SOURCE CODING

    Compression methods use general data compression algorithms applicable to any kind of data, and exploit the spatial redundancy and the specificities of visual perception for fixed pictures (JPEG), and the very high temporal redundancy between successive images in the case of moving pictures (MPEG).

    GENERAL DATA COMPRESSION PRINCIPLES

    Run length coding (RLC)

    When an information source emits successive message elements which can deliver relatively long series of identical elements it is advantageous to transmit the code of this element and the number of successive occurrences rather than to repeat the code of the element. This type of coding which does not lose any information is defined as reversible. Commonly employed for file compression related to disk storage or transmission by computers.

    Variable length coding (VLC) or entropy coding


    In order to reduce the bit-rate required to transmit the sequences generated by the source, it is advantageous to encode the most frequent elements with less than n bits and the less frequent elements with more bits, resulting in an average length that is less than a fixed length of n bits. Implies a previous knowledge of the probability of occurrence of each possible element generated by the source. the information quantity Q transmitted by an element is equal to the logarithm (base 2) of the inverse of its probability of appearance p:

    entropy, H, of the source:

    The goal of variable length coding (VLC), or entropy coding, is to approach, as near as is possible, the entropic bit-rate.

    COMPRESSION APPLIED TO IMAGES: THE DISCRETE COSINE TRANSFORM (DCT)


    Discrete cosine transform is a particular case of the Fourier transform applied to discrete (sampled) signals. Decomposes a periodic signal into a series of sine and cosine harmonic functions. Picture signal is a sampled bi dimensional signal. Bidimensional DCT (horizontal and vertical directions) transforms the luminance (or chrominance) discrete values of a block of N N pixels into another block (or matrix) of N N coefficients representing the amplitude of each of the cosine harmonic functions.

    Coefficients on the horizontal axis represent increasing horizontal frequencies from left to right Coefficients on the vertical axis they represent increasing vertical frequencies from top to bottom First coefficient in the top left corner (coordinates: 0, 0) represents null horizontal and vertical frequencies, called the DC coefficient. The block size chosen is generally 88 pixels Depending on the number of details contained in the original block, the high frequency coefficients will be bigger or smaller, but generally the amplitude decreases rather quickly with the frequency.

    DCT has the remarkable property Concentrates the energy of the block on a relatively low number of coefficients situated in the top left corner of the matrix. These coefficients are decorrelated from each other. Up to this point, there is no information loss DCT transform process is reversible. It is possible, without perceptible degradation of the picture quality, to eliminate the values below a certain threshold function of the frequency. Eliminated values are replaced by 0 (thresholding); this part of the process is not reversible, as some data are thrown away. Remaining coefficients are then quantized with an accuracy decreasing with the increasing spatial frequencies. Process is not reversible, but it has little effect on the perceived picture quality.

    The thresholding and quantization parameters can be used dynamically to regulate the bit-rate required to transmit moving pictures. A serial bitstream is obtained by zig-zag reading of the coefficients. Allows relatively long series of null coefficients to be obtained as quickly as possible.

    COMPRESSION OF FIXED PICTURES


    JPEG compression can be either lossy or lossless (reversible), depending on the application and the desired compression factor. Lossy method allows compression factors of more than 10. Lossy JPEG compression can be described in six main steps:

    Decomposition of the picture into blocks.


    The picture, generally in Y, Cb, Cr format, is divided into elementary blocks of 88 pixels. Each block is made up of 64 numbers ranging from 0 to 255 (when digitized on 8 bits) for luminance, and -128 to +127 for chrominance Cr and Cb.

    Discrete cosine transform


    The DCT applied to each Y, Cb, Cr block generates for each one a new 88 matrix made up of the coefficients of increasing spatial frequency as one moves away from the origin which contains the DC component representing the average luminance or chrominance of the block. Value of these coefficients decreases quickly when going away from the origin of the matrix.

    Thresholding and quantization


    Takes into account the specificities of human vision, particularly the fact that the eye does not distinguish fine details below a certain luminance level. Consists of zeroing the coefficients below a predetermined threshold, and quantizing the remaining ones with decreasing accuracy as the frequency increases.

    Zig-zag scan

    the 63 AC coefficients are read using a zig-zag scan in order to transform the matrix into a flow of data best suited for the next coding steps.

    Run length coding

    The number of occurrences of zero is coded, followed by the next non-zero value, which reduces the amount of information to transmit. uses a conversion table in order to encode the most frequently occurring values with a short length, and the less frequent values with a longer one.

    Variable length coding (Huffmann coding)

    RLC and VLC alone ensure a compression factor of between 2 and 3.

    COMPRESSION OF MOVING PICTURES (MPEG)


    MPEG (Motion Pictures Experts Group). The MPEG-1 standard consists of three distinct parts, published in November 1992:

    MPEG-1 system (ISO/IEC 11172-1): defines the MPEG1 multiplex structure MPEG-1 video (ISO/IEC 13818-2): defines MPEG-2 video coding MPEG-1 audio (ISO/IEC 13818-3): defines MPEG-2 audio coding.

    Picture quality of MPEG-1 was not suitable for broadcast applications. It did not take into account the coding of interlaced pictures or evolution toward HDTV

    As its predecessor, MPEG-2 is specified in three distinct parts, published in November 1994:
    MPEG-2 system (ISO/IEC 13818-1): defines the MPEG2 streams MPEG-2 video (ISO/IEC 13818-2): defines MPEG-2 video coding; MPEG-2 audio (ISO/IEC 13818-3): defines MPEG-2 audio coding.

    MPEG-2 is the source coding standard used by the European DVB (Digital Video Broadcasting) TV broadcasting system.

    The different types of MPEG pictures MPEG defines three types of pictures

    I (intra) pictures
    coded without reference to other pictures. they contain all the information necessary for their reconstruction by the decoder. they are the essential entry point for access to a video sequence. compression rate is relatively low and comparable to a JPEG coded picture of a similar resolution.

    P (predicted) pictures
    coded from the preceding I or P picture using the techniques of motion-compensated prediction. used as the basis for next predicted pictures, not possible to extend the number of P pictures between two I pictures. compression rate is higher.

    B (bi-directional or bi-directionally predicted) pictures


    coded by bi-directional interpolation between the I or P picture not used for coding subsequent pictures do not propagate coding errors offer the highest compression rate.

    NOTE
    Depending on the complexity of the encoder used, it is possible to encode I only, I and P, or I, P, and B pictures Two parameters, M and N, describe the succession of I, P, and B pictures. M is the distance (in number of pictures) between two successive P pictures. N is the distance between two successive I pictures, defining a group of pictures (GOP). The parameters generally used are M = 3 and N = 12, in order to obtain a satisfactory video quality with an acceptable random access time (<0.5 s) within a bit-rate of 1.15 Mb/s.

    Decomposition of an MPEG video sequence in layers

    defines a hierarchy of layers within a video sequence

    Starting from the top level, the successive layers are: Sequence:

    highest layer which defines the context valid for the whole sequence (basic video parameters, etc.). determines the random access to the sequence, which always starts with an I picture.

    Group of pictures (GOP).

    Picture.

    elementary display unit, which can be of one of the three types (I, P, or B).

    Slice
    layer for intra frame addressing and (re)synchronization, for instance for error recovery. defined as a suite of contiguous macroblocks. ensemble of the slices covers the whole picture without any overlap size of a slice range from one macroblock to the whole picture

    Macroblock.
    layer used for movement estimation/compensation. macroblock has a size of 1616 pixels made up of four blocks of luminance and two blocks of chrominance (one Cr and one Cb) covering the same area

    Block
    A picture is divided into blocks of 88 pixels. The block is the layer where the DCT takes place.

    MPEG-2 LEVELS AND PROFILES


    Has Four levels which define the resolution of the picture, ranging from SIF to HDTV Has Five profiles which 52 determine the set of compression tools used. The four levels can be described as follows:

    the low level corresponds to the SIF resolution used in MPEG-1 (up to 360288); the main level corresponds to standard 4:2:0 resolution (up to 720576); the high-1440 level is aimed at HDTV (resolution up to 14401152); the high level is optimized for wide screen HDTV (resolution up to 19201152).

    In the case of profiles

    Simple profile
    defined in order to simplify the encoder and the decoder, at the expense of a higher bit-rate. use bi-directional prediction (B pictures

    Main profile
    best compromise between compression rate and cost today, uses all three image types (I, P, B) leads to a more complex encoder and decoder.

    Scalable profile((hierarchy coding)


    allow transmission of a basic quality picture (base layer) in terms of spatial resolution (spatially scalable profile) or quantization accuracy (SNR scalable profile) picture characteristics are be enhanced.

    High profile

    intended for HDTV broadcast applications

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