Digital Video and HDTV: Algorithms and Interfaces (The Morgan Kaufmann Series in Computer Graphics)

700 Pages·2002·4.69 MB·English

by  Charles Poynton

Digital Video and HDTV
Algorithms and Interfaces
The Morgan Kaufmann Series in Computer Graphics and Geometric Modeling
Series Editor: Brian A. Barsky, University of California, Berkeley
Digital Video and HDTV Algorithms Andrew Glassner’s Notebook:
and Interfaces Recreational Computer Graphics
Charles Poynton Andrew S. Glassner
Texturing & Modeling: AProcedural Warping and Morphing of Graphical
Approach, Third Edition Objects
David S. Ebert, F. Kenton Musgrave, Jonas Gomes, Lucia Darsa, Bruno
Darwyn Peachey, Ken Perlin, and Costa, and Luiz Velho
Steven Worley
Jim Blinn's Corner: Dirty Pixels
Geometric Tools for Computer Graphics Jim Blinn
Philip Schneider and David Eberly
Rendering with Radiance: The Art
Understanding Virtual Reality: and Science of Lighting Visualization
Interface, Application, and Design Greg Ward Larson and Rob Shakes-
William Sherman and Alan Craig peare
Jim Blinn's Corner: Notation, Introduction to Implicit Surfaces
Notation, Notation Edited by Jules Bloomenthal
Jim Blinn
Jim Blinn’s Corner: ATrip Down
Level of Detail for 3D Graphics the Graphics Pipeline
David Luebke, Martin Reddy, Jim Blinn
Jonathan D. Cohen, Amitabh
Interactive Curves and Surfaces:
Varshney, Benjamin Watson, and
AMultimedia Tutorial on CAGD
Robert Huebner
Alyn Rockwood and Peter Chambers
Pyramid Algorithms: A Dynamic
Wavelets for Computer Graphics:
Programming Approach to Curves and
Theory and Applications
Surfaces for Geometric Modeling
Eric J. Stollnitz, Tony D. DeRose,
Ron Goldman
and David H. Salesin
Non-Photorealistic Computer Graphics:
Principles of Digital Image Synthesis
Modeling, Rendering, and Animation
Andrew S. Glassner
Thomas Strothotte and Stefan
Schlechtweg Radiosity & Global Illumination
François X. Sillion and Claude Puech
Curves and Surfaces for CAGD:
APractical Guide, Fifth Edition Knotty: AB-Spline Visualization
Gerald Farin Program
Jonathan Yen
Subdivision Methods for Geometric
Design: AConstructive Approach User Interface Management Systems:
Joe Warren and Henrik Weimer Models and Algorithms
Dan R. Olsen, Jr.
Computer Animation: Algorithms
and Techniques Making Them Move: Mechanics,
Rick Parent Control, and Animation of Articulated
Figures
The Computer Animator’s Technical
Edited by Norman I. Badler, Brian A.
Handbook
Barsky, and David Zeltzer
Lynn Pocock and Judson Rosebush
Geometric and Solid Modeling:
Advanced RenderMan: Creating CGI
An Introduction
for Motion Pictures
Christoph M. Hoffmann
Anthony A. Apodaca and Larry Gritz
An Introduction to Splines for Use
Curves and Surfaces in Geometric
in Computer Graphics and Geometric
Modeling: Theory and Algorithms
Modeling
Jean Gallier
Richard H. Bartels, John C. Beatty,
and Brian A. Barsky
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Design, illustration, and composition: Charles Poynton
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Library of Congress Control Number: 2002115312
ISBN: 1-55860-792-7
This book is printed on acid-free paper.
Dedication
In memory of my mother,
Marjorie Johnston
1926—2002
and
to Quinn and Georgia,
and the new family tree
Digital Video and HDTV
Algorithms and Interfaces
Charles Poynton
Part 1
Introduction
1 Raster images 3
2 Quantization 17
Brightness contrast
3 and controls 25
4 Raster images in computing 31
5 Image structure 43
6 Raster scanning 51
7 Resolution 65
8 Constant luminance 75
9 Rendering intent 81
10 Introduction to luma and chroma 87
11 Introduction to component SDTV 95
12 Introduction to composite NTSC and PAL 103
13 Introduction to HDTV 111
14 Introduction to video compression 117
15 Digital video interfaces 127
1

Raster images 1
This chapter introduces the basic features of the pixel
array. Iexplain how the pixel array is digitized from the
image plane, how pixel values are related to brightness
and color, and why most imaging systems use pixel
values that are nonlinearly related to light intensity.
Imaging
In human vision, the three-dimensional world is imaged
by the lens of the eye onto the retina, which is popu-
lated with photoreceptor cells that respond to light
having wavelengths ranging from about 400 nm to
700 nm. In video and in film, we build acamera having
alens and aphotosensitive device, to mimic how the
world is perceived by vision. Although the shape of the
retina is roughly asection of asphere, it is topologi-
cally two dimensional. In acamera, for practical
reasons, we employ aflat image plane, sketched in
Figure 1.1 below, instead of asection of asphere. Image
science concerns analyzing the continuous distribution
of optical power that is incident on the image plane.
Figure 1.1 Scene,
lens, image plane
3
Figure 1.2 Aspect ratio of video,
Widescreen SDTV, HDTV, and film are compared.
Video Video HDTV Aspect ratio is properly written
image 4:3 16:9 width:height (not height:width).
1.33:1 1.78:1
Film 35 mm still film
image 3:2 Cinema film Cinema film
1.5:1 1.85:1 2.39:1
Aspect ratio
Schubin, Mark, “Searching for the Aspect ratio is simply the ratio of an image’s width to its
Perfect Aspect Ratio,” in SMPTE height. Standard aspect ratios for film and video are
Journal 105 (8): 460–478 (Aug.
sketched, to scale, in Figure 1.2 above. Conventional
1996). The 1.85:1 aspect ratio is
standard-definition television (SDTV) has an aspect ratio
achieved with aspherical lens (as
opposed to the aspherical lens of 4:3. Widescreen refers to an aspect ratio wider than
used for anamorphic images). 4:3. Widescreen television and high-definition televi-
sion (HDTV) have an aspect ratio of 16:9. Cinema film
commonly uses 1.85:1 (“flat,” or “spherical”). In Europe
and Asia, 1.66:1 is usually used.
The 2.39:1 ratio for cinema film is To obtain 2.39:1 aspect ratio (“Cinemascope,” or collo-
recent; formerly, 2.35:1 was used. quially, “scope”), film is typically shot with an aspher-
The term anamorphic in video usually
ical lens that squeezes the horizontal dimension of the
refers to a16:9 widescreen variant
image by afactor of two. The projector is equipped
of abase video standard, where the
horizontal dimension of the 16:9 with asimilar lens, to restore the horizontal dimension
image is transmitted in the same of the projected image. The lens and the technique are
time interval as the 4:3 aspect ratio
called anamorphic. In principle, an anamorphic lens can
standard. See page 99.
have any ratio; in practice, aratio of two is ubiquitous.
Film can be transferred to 4:3 video by cropping the
sides of the frame, at the expense of losing some
picture content. Pan-and-scan, sketched in Figure 1.3
opposite, refers to choosing, on ascene-by-scene basis
during film transfer, the 4:3 region to be maintained.
Many directors and producers prefer their films not to
be altered by cropping, so many movies on VHS and
DVD are released in letterbox format, sketched in
Figure 1.4 opposite. In letterbox format, the entire film
image is maintained, and the top and bottom of the 4:3
frame are unused. (Either gray or black is displayed.)
4 DIGITAL VIDEO AND HDTV ALGORITHMS AND INTERFACES