Poynton Digital Video and HD

Algorithms and Interfaces
2. Auflage 2012
ISBN: 978-0-12-391932-8
Verlag: Elsevier Science & Techn.
Format: EPUB
Kopierschutz: 6 - ePub Watermark

E-Book, Englisch, 752 Seiten

Reihe: The Morgan Kaufmann Series in Computer Graphics

Digital Video and HD: Algorithms and Interfaces provides a one-stop shop for the theory and engineering of digital video systems. Equally accessible to video engineers and those working in computer graphics, Charles Poynton's revision to his classic text covers emergent compression systems, including H.264 and VP8/WebM, and augments detailed information on JPEG, DVC, and MPEG-2 systems. This edition also introduces the technical aspects of file-based workflows and outlines the emerging domain of metadata, placing it in the context of digital video processing. - Basic concepts of digitization, sampling, quantization, gamma, and filtering - Principles of color science as applied to image capture and display - Scanning and coding of SDTV and HDTV - Video color coding: luma, chroma (4:2:2 component video, 4fSC composite video) - Analog NTSC and PAL - Studio systems and interfaces - Compression technology, including M-JPEG and MPEG-2 - Broadcast standards and consumer video equipment

Charles Poynton is an independent contractor specializing in digital color imaging systems, including digital video, HDTV, and digital cinema. A Fellow of the Society of Motion Picture and Television Engineers (SMPTE), Poynton was awarded the Society's prestigious David Sarnoff Gold Medal for his work to integrate video technology with computing and communications. Poynton is the author of the widely respected book, A Technical Introduction to Digital Video, published in 1996. Engineers (SMPTE), and in 1994 was awarded the Society's David Sarnoff Gold Medal for his work to integrate video technology with computing and communications. He is also the author of A Technical Introduction to Digital Video.

Autoren/Hrsg.

Poynton, Charles

Leseproben

Figures

Preface

P.1 Scanning a raster

Part 1 — Introduction

1

Raster images

1.1 Pixel arrays 1.2 Aspect ratio 1.3 The choice of 16:9 aspect ratio 1.4 Cartesian coordinates 1.5 Scene, lens, image plane 1.6 Digitization 1.7 Audio taper 1.8 Grey paint samples 1.9 Comparison of aspect ratios 1.10 SD to HD pixel mapping 1.11 Aspect ratio changes 1.12 When centre-cut 1.13 Pan-and-scan 1.14 Letterbox format 1.15 Pillarbox format 1.16 Squeeze to 3/4 1.17 A normal image 1.18 Stretch to 4/3

2

Image acquisition and presentation

2.1 Image acquisition 2.2 Colour as a dramatic device 2.3 Image approval 2.4 Stages of production 2.5 Consumer origination

3

Linear-light and perceptual uniformity

3.1 The ITU-R BT.815 pattern 3.2 A contrast sensitivity test pattern 3.3 The “code 100” problem 3.4 The “code 100” problem is mitigated 3.5 Agreyscale ramp 3.6 Agreyscale ramp, augmented

4

Quantization

4.1 A Quantizer transfer function 4.2 Peak-to-peak, peak, and RMS values 4.3 Full-swing 8-bit quantization 4.4 Footroom and headroom 4.5 A Mid-tread quantizer for B and R

5

Contrast, brightness, CONTRAST, and BRIGHTNESS

5.1 Relationship between pixel value and * 5.2 Effect of gain control 5.3 Effect of offset control 5.4 Effect of gain control 5.5 Effect of offset control 5.6 Contrast ratio and lightness (*) 5.7 BLACK LEVEL and WHITE LEVEL controls 5.8 The BRIGHTNESS (or BLACK LEVEL) control in video 5.9 The CONTRAST (or VIDEO LEVEL) control in video 5.10 The BRIGHTNESS control in Photoshop 5.11 The CONTRAST control in Photoshop 5.12 Photoshop CONTRAST control’s gain factor

6

Raster images in computing

6.1 Raster image data 6.2 Truecolour (24-bit) graphics 6.3 Pseudocolour (8-bit) graphics

7

Image structure

7.1 “Box” reconstruction 7.2 Gaussian reconstruction 7.3 Diagonal line reconstruction 7.4 Contone image reconstruction 7.5 One frame of an animated sequence 7.6 A Moiré pattern 7.7 Bitmapped graphic image, rotated 7.8 Gaussian spot size

8

Raster scanning

8.1 Adual-bladed shutter 8.2 Blanking intervals 8.3 The Production aperture 8.4 The Clean aperture 8.5 Interlaced format 8.6 Twitter 8.7 Horizontal and vertical drive 8.8 Progressive and interlaced scanning 8.9 Modern image format notation

9

Resolution

9.1 Magnitude frequency response 9.2 Snellen chart 9.3 The astronomers’ rule of thumb 9.4 The viewing distance 9.5 The picture angle 9.6 Picture height 9.7 A Resolution wedge

10

Constant luminance

10.1 Formation of relative luminance 10.2 Hypothetical chroma components (linear-light) 10.3 Encoding nonlinearly coded relative luminance 10.4 Decoding nonlinearly coded relative luminance 10.5 The CRT transfer function 10.6 Compensating the CRT transfer function 10.7 Rearranged decoder 10.8 Simplified decoder 10.9 Rearranged encoder 10.10 Chroma components 10.11 Subsampled chroma components 10.12 and B/ R waveforms at the green-magenta transition 10.13 Luminance waveform at the green-magenta transition 10.14 Failure to adhere to constant luminance

11

Picture rendering

11.1 Surround effect 11.2 Imposition of picture rendering at decoder, hypothetical 11.3 Imposition of picture rendering at encoder

12

Introduction to luma and chroma

12.1 Chroma subsampling 12.2 Chroma subsampling notation 12.3 Subsampling schemes 12.4 An Interstitial chroma filter for JPEG/JFIF 12.5 A cosited chroma filter for BT.601, 4:2:2 12.6 A cosited chroma filter for MPEG-2, 4:2:0

13

Introduction to component SD

13.1 SD digital video rasters 13.2 SD sample rates 13.3 Interlacing in 480 13.4 Interlacing in 576 13.5 Interlacing in MPEG-2

14

Introduction to composite NTSC and PAL

14.1 NTSC chroma modulation and frequency interleaving 14.2 The S-video interface

15

Introduction to HD

15.1 HD rasters at 30 and 60 frames per second 15.2 HD rasters at 24 Hz and 25 Hz

16

Introduction to video compression

16.1 16.1 Interpicture coding 16.3 An MPEG P-picture 16.4 An MPEG B-picture 16.5 The three-level MPEG picture hierarchy 16.6 Example GoP 16.7 Example 9-picture GoP without B-pictures 16.8 GoP reordered for transmission

Part 2 — Theory

20

Filtering and sampling

20.1 Cosine waves less than and greater than 0.5 S 20.2 Cosine waves at exactly 0.5 S 20.3 Point sampling 20.4 The Box weighting function 20.5 Boxcar filtering 20.6 Aliasing due to boxcar filtering 20.7 Frequency response of a boxcar filter 20.8 The sinc weighting function 20.8 A Gaussian function 20.10 Waveforms of three temporal extents 20.11 Fourier transform pairs 20.12 A [1, 1] FIR filter 20.13 A [1, -1] FIR filter 20.14 A [1, 0, 1] FIR filter 20.15 A [1, 0, -1] FIR filter 20.16 A very...