多媒體技術(shù)原理 視頻中的基本概念.ppt

1、Chapter 5Fundamental Concepts in Video,5.1 Types of Video Signals 5.2 Analog Video 5.3 Digital Video 5.4 Further Exploration,5.1 Types of Video Signals,Component video（分量視頻） Composite video（復(fù)合視頻） S-Video（超視頻）,5.1 Types of Video Signals,Component video Higher-end video systems make use of three separ

2、ate video signals for the red, green, and blue image planes Each color channel is sent as a separate video signal. Most computer systems use Component Video, with separate signals for R, G, and B signals. For any color separation scheme, Component Video gives the best color reproduction since there

3、is no “crosstalk” between the three channels. This is not the case for S-Video or Composite Video, discussed next. Component video, however, requires more bandwidth and good synchronization of the three components.,5.1 Types of Video Signals,Component video,Composite Video One Signal,Composite video

4、 color (“chrominance”) and intensity (“l(fā)uminance”) signals are mixed into a single carrier wave. Chrominance is a composition of two color components (I and Q, or U and V). In NTSC TV, e.g., I and Q are combined into a chroma signal, and a color subcarrier is then employed to put the chroma signal a

5、t the high-frequency end of the signal shared with the luminance signal. The chrominance and luminance components can be separated at the receiver end and then the two color components can be further recovered.,Composite Video One Signal,Composite video When connecting to TVs or VCRs, Composite Vide

6、o uses only one wire and video color signals are mixed, not sent separately. The audio and sync signals are additions to this one signal. Since color and intensity are wrapped into the same signal, some interference between the luminance and chrominance signals is inevitable.,Composite Video One Sig

7、nal,Composite video,S-Video Two Signals,S-Video as a compromise, (separated video, or Super-video, e.g., in S-VHS) uses two wires, one for luminance and another for a composite chrominance signal. As a result, there is less crosstalk between the color information and the crucial gray-scale informati

8、on.,S-Video Two Signals,S-Video The reason for placing luminance into its own part of the signal is that black-and-white information is most crucial for visual perception. In fact, humans are able to differentiate spatial resolution in grayscale images with a much higher acuity than for the color pa

9、rt of color images. As a result, we can send less accurate color information than must be sent for intensity information we can only see fairly large blobs of color, so it makes sense to send less color detail.,S-Video Two Signals,S-Video small round connector with two separate video signals, one ca

10、rrying brightness (luminance ), the other carrying color (chroma ). Also referred to as Y/C video,電視掃描和同步,掃描分類 非隔行掃描（逐行掃描）(progressive scanning) 計算機顯示器 隔行掃描(interlaced scanning) 電視,5.2 Analog Video,In TV, and in some monitors and multimedia standards as well, another system, called “interlaced” scan

11、ning is used: The odd-numbered lines are traced first, and then the even-numbered lines are traced. This results in “odd” and “even” fields two fields make up one frame. In fact, the odd lines (starting from 1) end up at the middle of a line at the end of the odd field, and the even scan starts at a

12、 half-way point.,5.2 Analog Video,Figure 5.1 shows the scheme used. First the solid (odd) lines are traced, P to Q, then R to S, etc., ending at T; then the even field starts at U and ends at V. The jump from Q to R, etc. in Figure 5.1 is called the horizontal retrace, during which the electronic be

13、am in the CRT is blanked. The jump from T to U or V to P is called the vertical retrace.,Fig. 5.1: Interlaced raster scan,5.2 Analog Video,5.2 Analog Video,Because of interlacing, the odd and even lines are displaced in time from each other generally not noticeable except when very fast action is ta

14、king place on screen, when blurring may occur. For example, in the video in Fig. 5.2, the moving helicopter is blurred more than is the still background.,5.2 Analog Video,Fig. 5.2: Interlaced scan produces two fields for each frame. (a) The video frame, (b) Field 1, (c) Field 2, (d) Difference of Fi

15、elds,5.2 Analog Video,Since it is sometimes necessary to change the frame rate, resize, or even produce stills from an interlaced source video, various schemes are used to “de-interlace” it. The simplest de-interlacing method consists of discarding one field and duplicating the scan lines of the oth

16、er field. The information in one field is lost completely using this simple technique. Other more complicated methods that retain information from both fields are also possible.,TV Standards,NTSC 美國、加拿大等大部分西半球國家，以及日本、韓國、菲律賓 PAL 德國、英國等一些西歐國家，及中國、朝鮮等國家 SECAM 法國、及東歐國家,World TV Standards,NTSC,PAL,SECAM,

17、PAL/SECAM,Unknown,NTSC Video,NTSC (National Television System Committee) TV standard uses the familiar 4:3 aspect ratio (i.e., the ratio of picture width to its height) and uses 525 scan lines per frame at 30 frames per second (fps). It is mostly used in North America and Japan.,NTSC Video,Features

18、of NTSC NTSC follows the interlaced scanning system, and each frame is divided into two fields, with 262.5 lines/field. Thus the horizontal sweep frequency is 52529.97 15, 734 lines/sec, so that each line is swept out in 1/15.734 103 sec 63.6sec. Since the horizontal retrace takes 10.9 sec, this lea

19、ves 52.7 sec for the active line signal during which image data is displayed (see Fig.5.3).,NTSC Video,Fig. 5.4 shows the effect of “vertical retrace Direct access is possible, which makes nonlinear video editing achievable as a simple, rather than a complex, task; Repeated recording does not degrad

20、e image quality; Ease of encryption and better tolerance to channel noise.,Chroma Subsampling,Since humans see color with much less spatial resolution than they see black and white, it makes sense to “decimate” the chrominance signal. Interesting (but not necessarily informative!) names have arisen

21、to label the different schemes used.,Chroma Subsampling,Subsampling 對亮度信號和色差信號采用相同的采樣頻率進行采樣 對亮度信號和色差信號采用不同的采樣頻率進行采樣 圖像子采樣的概念 對色差信號使用的采樣頻率比對亮度信號使用的采樣頻率低的采樣方法,Chroma Subsampling,Subsampling 在數(shù)字圖像壓縮技術(shù)中得到廣泛應(yīng)用 最簡便的圖像壓縮技術(shù)恐怕就要算圖像子采樣?；疽罁?jù)是人的視覺系統(tǒng)所具有的兩個特性 人眼對色度信號的敏感程度比對亮度信號的敏感程度低，利用這個特性可把顏色信號去掉一些而使人不易察覺 人眼對圖像

22、細節(jié)的分辨能力有一定的限度，利用這個特性可把圖像中的高頻信號去掉而使人不易察覺,Chroma Subsampling,Subsampling 4:4:4 這種采樣格式不是子采樣格式，它是指在每條掃描線上每4個連續(xù)的采樣點取4個亮度Y樣本、4個紅色差Cr樣本和4個藍色差Cb樣本，每個像素用3個樣本表示 4:2:2 在每條掃描線上，每4個連續(xù)的采樣點取4個亮度Y樣本、2個紅色差Cr樣本和2個藍色差Cb樣本，平均每個像素用2個樣本表示 4:1:1 在每條掃描線上，每4個連續(xù)的采樣點取4個亮度Y樣本、1個紅色差Cr樣本和1個藍色差Cb樣本，平均每個像素用1.5個樣本表示 4:2:0 在水平和垂直方向上

23、，每2個連續(xù)采樣點上取2個亮度Y樣本、1個紅色差Cr樣本和1個藍色差Cb樣本，每個像素用1.5個樣本表示,Chroma Subsampling,To begin with, numbers are given stating how many pixel values, per four original pixels, are actually sent: The chroma subsampling scheme “4:4:4” indicates that no chroma subsampling is used each pixels Y, Cb and Cr values are

24、transmitted, 4 for each of Y, Cb, Cr. The scheme “4:2:2” indicates horizontal subsampling of the Cb, Cr signals by a factor of 2. of four pixels horizontally labelled as 0 to 3, all four Ys are sent, and every two Cbs and two Crs are sent, as (Cb0, Y0)(Cr0, Y1)(Cb2, Y2)(Cr2, Y3)(Cb4, Y4), and so on

25、(or averaging is used),Chroma Subsampling,The scheme “4:1:1” subsamples horizontally by a factor of 4. The scheme “4:2:0” subsamples in both the horizontal and vertical dimensions by a factor of 2. Theoretically, an average chroma pixel is positioned between the rows and columns as shown Fig.5.6. Sc

26、heme 4:2:0 along with other schemes is commonly used in JPEG and MPEG (see later chapters in Part 2).,Chroma Subsampling,Fig. 5.6: Chroma subsampling,CCIR Standards for Digital Video,CCIR is the Consultative Committee for International Radio, and one of the most important standards it has produced i

27、s CCIR-601, for component digital video. This standard has since become standard ITU-R-601, an international standard for professional video applications adopted by certain digital video formats including the popular DV video. The CCIR 601 standard uses an interlaced scan, so each field has only hal

28、f as much vertical resolution (e.g., 240 lines in NTSC). Table 5.3 shows some of the digital video specifications, all with an aspect ratio of 4:3.,CCIR Standards for Digital Video,CIF stands for Common Intermediate Format specified by the CCITT. The idea of CIF is to specify a format for lower bitr

29、ate. CIF is about the same as VHS quality. It uses a progressive (non-interlaced) scan. All the CIF/QCIF resolutions are evenly divisible by 8, and all except 88 are divisible by 16; QCIF stands for “Quarter-CIF”. it provides convenience for block-based video coding in H.261 and H.263 which will be

30、discussed later in Chapter 10.,CCIR Standards for Digital Video,Note, CIF is a compromise of NTSC and PAL in that it adopts the NTSC frame rate and half of the number of active lines as in PAL.,Table 5.3: Digital video specifications,HDTV (High Definition TV),The main thrust of HDTV (High Definition

31、 TV) is not to increase the “definition” in each unit area, but rather to increase the visual field especially in its width. The first generation of HDTV was based on an analog technology developed by Sony and NHK in Japan in the late 1970s. MUSE (MUltiple sub-Nyquist Sampling Encoding) was an impro

32、ved NHK HDTV with hybrid analog/digital technologies that was put in use in the 1990s. It has 1,125 scan lines, interlaced (60 fields per second), and 16:9 aspect ratio. Since uncompressed HDTV will easily demand more than 20 MHz bandwidth, which will not fit in the current 6 MHz or 8 MHz channels,

33、various compression techniques are being investigated. It is also anticipated that high quality HDTV signals will be transmitted using more than one channel even after compression.,A brief history of HDTV evolution,In 1987, the FCC decided that HDTV standards must be compatible with the existing NTS

34、C standard and be confined to the existing VHF (Very High Frequency) and UHF (Ultra High Frequency) bands. In 1990, the FCC announced a very different initiative, i.e., its preference for a full-resolution HDTV, and it was decided that HDTV would be simultaneously broadcast with the existing NTSC TV

35、 and eventually replace it.,A brief history of HDTV evolution,Witnessing a boom of proposals for digital HDTV, the FCC made a key decision to go all-digital in 1993. A “grand alliance” was formed that included four main proposals, by General Instruments, MIT, Zenith, and AT&T, and by Thomson, Philip

36、s, Sarnoff and others. This eventually led to the formation of the ATSC (Advanced Television Systems Committee) it is responsible for the standard for TV broadcasting of HDTV. In 1995 the U.S. FCC Advisory Committee on Advanced Television Service recommended that the ATSC Digital Television Standard

37、 be adopted.,HDTV Standard,The standard supports video scanning formats shown in Table 5.4. In the table, “I” mean interlaced scan and “P” means progressive (non-interlaced) scan.,Table 5.4: Advanced Digital TV formats supported by ATSC,HDTV,For video, MPEG-2 is chosen as the compression standard. For audio, AC-3 is the standard. It supports the so-called 5.1 channel Dolby surround sound, i.e., five surround channels plus a subwoofer channel. The salient difference between conventional TV and HDTV: HDTV has a much wider aspect ratio of 16:9 instead of 4:3. HDTV moves toward progres