Digital Video and HD. Algorithms and Interfaces

704 Pages·07.723 MB·Russian

by  Кулагин Н. И.

SECOND EDITION
DIGITAL
Digital Video and HD
Algorithms and Interfaces
VIDEO HD
D
N
SECOND EDITION
A
ALGORITHMS
AND INTERFACES
SECOND EDITION
DIGITAL
Digital Video and HD
Algorithms and Interfaces
VIDEO HD
D
N
SECOND EDITION
A
ALGORITHMS
AND INTERFACES
CHARLES POYNTON
Acquiring editor: Laura Lewin
Development Editor: Graham Smith
Project Manager: Sarah W. Binns
Design, illustration, and composition: Charles Poynton
Copy editor/proofreader: Charles Roumeliotis
Cover Design: Joanne Blank
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ISBN: 978-0-12-391926-7
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Dedication
Dedicated to
my dear friend
James C. (Jamie) Avis
1949–2011
This book is set in the Syntax typeface. Syntax was
designed by Hans Eduard Meier, and first issued by
Stempel in 1969. This book uses Linotype’s revision
issued in 2000 that includes bold italics, small caps, and
old-style figures. The body type is 10.2 points, leaded
to 12.8 points, set ragged-right.
The mathematical work underlying this book
was accomplished using Mathematica, from Wolfram
Research. The illustrations were executed in Adobe
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was used. The equations were set using Design Science
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The work was accomplished using various Apple
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Figures
Preface P.1 Scanning araster xxxvii
Part 1 – Introduction 1
1 Raster images 1.1 Pixel arrays 3
1.2 Aspect ratio 4
1.3 The choice of 16:9 aspect ratio 5
1.4 Cartesian coordinates 6
1.5 Scene, lens, image plane 7
1.6 Digitization 7
1.7 Audio taper 8
1.8 Grey paint samples 9
1.9 Comparison of aspect ratios 15
1.10 SD to HD pixel mapping 16
1.11 Aspect ratio changes 16
1.12 When centre-cut 16
1.13 Pan-and-scan 17
1.14 Letterbox format 17
1.15 Pillarbox format 17
1.16 Squeeze to 3/ 17
4
1.17 Anormal image 17
1.18 Stretch to 4/ 17
3
2 Image acquisition and 2.1 Image acquisition 19
presentation 2.2 Colour as adramatic device 21
2.3 Image approval 22
2.4 Stages of production 23
2.5 Consumer origination 25
3 Linear-light and 3.1 The ITU-R BT.815 pattern 30
perceptual uniformity 3.2 Acontrast sensitivity test pattern 31
xxi
3.3 The “code 100” problem 31
3.4 The “code 100” problem is mitigated 31
3.5 Agreyscale ramp 35
3.6 Agreyscale ramp, augmented 35
4 Quantization 4.1 AQuantizer transfer function 37
4.2 Peak-to-peak, peak, and RMS values 40
4.3 Full-swing 8-bit quantization 42
4.4 Footroom and headroom 42
4.5 AMid-tread quantizer for C and C 46
B R
5 Contrast, brightness, 5.1 Relationship between pixel value and L* 52
contrast, and 5.2 Effect of gain control 53
brightness 5.3 Effect of offset control 53
5.4 Effect of gain control 55
5.5 Effect of offset control 55
5.6 Contrast ratio and lightness (L*) 58
5.7 Black level and white level controls 60
5.8 The brightness (or black level) control in
video 61
5.9 The contrast (or video level) control in
video 61
5.10 The brightness control in Photoshop 63
5.11 The contrast control in Photoshop 63
5.12 Photoshop contrast control’s gain factor 64
6 Raster images 6.1 Raster image data 66
in computing 6.2 Truecolour (24-bit) graphics 69
6.3 Pseudocolour (8-bit) graphics 71
7 Image structure 7.1 “Box” reconstruction 76
7.2 Gaussian reconstruction 76
7.3 Diagonal line reconstruction 77
7.4 Contone image reconstruction 77
7.5 One frame of an animated sequence 78
7.6 AMoiré pattern 78
7.7 Bitmapped graphic image, rotated 79
7.8 Gaussian spot size 81
8 Raster scanning 8.1 Adual-bladed shutter 84
8.2 Blanking intervals 85
8.3 The Production aperture 87
8.4 The Clean aperture 87
8.5 Interlaced format 88
xxii DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES
8.6 Twitter 89
8.7 Horizontal and vertical drive 90
8.8 Progressive and interlaced scanning 91
8.9 Modern image format notation 92
9 Resolution 9.1 Magnitude frequency response 98
9.2 Snellen chart 99
9.3 The astronomers’ rule of thumb 100
9.4 The viewing distance 101
9.5 The picture angle 101
9.6 Picture height 101
9.7 AResolution wedge 104
10 Constant luminance 10.1 Formation of relative luminance 108
10.2 Hypothetical chroma components (linear-
light) 109
10.3 Encoding nonlinearly coded relative
luminance 109
10.4 Decoding nonlinearly coded relative
luminance 109
10.5 The CRT transfer function 110
10.6 Compensating the CRT transfer function 110
10.7 Rearranged decoder 110
10.8 Simplified decoder 111
10.9 Rearranged encoder 111
10.10 Chroma components 112
10.11 Subsampled chroma components 112
10.12 Y’ and C /C waveforms at the green-magenta
B R
transition 113
10.13 Luminance waveform at the green-magenta
transition 113
10.14 Failure to adhere to constant luminance 113
11 Picture rendering 11.1 Surround effect 116
11.2 Imposition of picture rendering at decoder,
hypothetical 118
11.3 Imposition of picture rendering at encoder 118
12 Introduction to luma 12.1 Chroma subsampling 124
and chroma 12.3 Chroma subsampling notation 125
12.2 Subsampling schemes 126
12.4 An Interstitial chroma filter for JPEG/JFIF 127
12.5 Acosited chroma filter for BT.601, 4:2:2 127
12.6 Acosited chroma filter for MPEG-2, 4:2:0 127
xxiii
13 Introduction to 13.1 SD digital video rasters 130
component SD 13.2 SD sample rates 131
13.3 Interlacing in 480i 132
13.4 Interlacing in 576i 132
13.5 Interlacing in MPEG-2 132
14 Introduction to 14.1 NTSC chroma modulation and frequency
composite NTSC and interleaving 138
PAL 14.2 The S-video interface 139
15 Introduction to HD 15.1 HD rasters at 30 and 60 frames per second 142
15.2 HD rasters at 24 Hz and 25 Hz 144
16 Introduction to video 16.1 Interpicture coding 152
compression
16.3 An MPEG P-picture 154
16.4 An MPEG B-picture 155
16.5 The three-level MPEG picture hierarchy 155
16.6 Example GoP 156
16.7 Example 9-picture GoP without B-pictures 156
16.8 GoP reordered for transmission 157
Part 2 – Theory 189
20 Filtering and sampling 20.1 Cosine waves less than and greater than
0.5f 192
S
20.2 Cosine waves at exactly 0.5f 193
S
20.3 Point sampling 194
20.4 The Box weighting function 194
20.5 Boxcar filtering 194
20.6 Aliasing due to boxcar filtering 195
20.7 Frequency response of aboxcar filter 197
20.8 The sinc weighting function 199
20.9 AGaussian function 200
20.10 Waveforms of three temporal extents 200
20.11 Fourier transform pairs 201
20.12 A[1, 1] FIR filter 203
20.13 A[1, -1] FIR filter 203
20.14 A[1, 0, 1] FIR filter 203
20.15 A[1, 0, -1] FIR filter 203
20.16 Avery simple 5-tap FIR filter 204
20.17 A5-tap FIR filter including multipliers 205
20.18 5-tap FIR filter responses 205
20.19 Asimple comb filter 206
xxiv DIGITAL VIDEO AND HD ALGORITHMS AND INTERFACES
20.20 The simple comb filter’s response 206
20.21 Linear phase 209
20.22 An IIR (“recursive”) filter 210
20.23 Lowpass filter characterization 212
20.24 BT.601 filter templates 213
20.25 Halfband filter 215
20.26 A25-tap lowpass FIR filter 216
20.27 Sampling and reconstruction 217
20.28 Reconstruction close to 0.5f 217
S
20.29 D-to-A conversion with aboxcar waveform 218
20.30 “(sin x)/x” correction 219
21 Resampling, 21.1 Two-times upsampling 223
interpolation, and 21.2 An original signal 223
decimation 21.3 Two-to-one downsampling 223
21.4 An analog filter for direct sampling 225
21.5 An analog filter for 2×-oversampling 225
21.6 Cubic interpolation 228
22 Image digitization and 22.1 Spatiotemporal domains 237
reconstruction 22.2 Horizontal domain 238
22.3 Vertical domain 238
22.4 Temporal domain 238
22.5 Spatial domain 238
22.6 Horizontal spatial frequency domain 239
22.7 Vertical spatial frequency domain 240
22.8 The spatial frequency spectrum of 480i
luma 240
22.9 Two samples, vertically arranged 241
22.10 The response of a[1, 1] FIR filter 242
22.11 Separable spatial filter examples 242
22.12 Inseparable spatial filter examples 242
23 Perception and visual 23.1 Luminance range of vision 248
acuity 23.2 Adaptation 248
23.3 Acontrast sensitivity test pattern 249
23.4 Contrast sensitivity 250
23.5 The contrast sensitivity function (CSF) 252
24 Luminance and lightness 24.1 Luminous efficiency functions 257
24.2 Luminance and lightness 260
25 The CIE system 25.1 Example coordinate system 265
of colorimetry
xxv