Adaptive Video Compression Using Discrete Cosine and Wavelet Transform
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Data Compression: Dictionary-Based Coding 2 / 37 Dictionary-Based Coding Dictionary-Based Coding
Dictionary-based Coding already coded not yet coded search buffer look-ahead buffer cursor (N symbols) (L symbols) We know the past but cannot control it. We control the future but... Last Lecture Last Lecture: Predictive Lossless Coding Predictive Lossless Coding Simple and effective way to exploit dependencies between neighboring symbols / samples Optimal predictor: Conditional mean (requires storage of large tables) Affine and Linear Prediction Simple structure, low-complex implementation possible Optimal prediction parameters are given by solution of Yule-Walker equations Works very well for real signals (e.g., audio, images, ...) Efficient Lossless Coding for Real-World Signals Affine/linear prediction (often: block-adaptive choice of prediction parameters) Entropy coding of prediction errors (e.g., arithmetic coding) Using marginal pmf often already yields good results Can be improved by using conditional pmfs (with simple conditions) Heiko Schwarz (Freie Universität Berlin) — Data Compression: Dictionary-based Coding 2 / 37 Dictionary-based Coding Dictionary-Based Coding Coding of Text Files Very high amount of dependencies Affine prediction does not work (requires linear dependencies) Higher-order conditional coding should work well, but is way to complex (memory) Alternative: Do not code single characters, but words or phrases Example: English Texts Oxford English Dictionary lists less than 230 000 words (including obsolete words) On average, a word contains about 6 characters Average codeword length per character would be limited by 1 -
MPEG Video in Software: Representation, Transmission, and Playback
High Speed Networking and Multimedia Computing, IS&T/SPIE Symp. on Elec. Imaging Sci. & Tech., San Jose, CA, February 1994. MPEG Video in Software: Representation, Transmission, and Playback Lawrence A. Rowe, Ketan D. Patel, Brian C Smith, and Kim Liu Computer Science Division - EECS University of California Berkeley, CA 94720 ([email protected]) Abstract A software decoder for MPEG-1 video was integrated into a continuous media playback system that supports synchronized playing of audio and video data stored on a file server. The MPEG-1 video playback system supports forward and backward play at variable speeds and random positioning. Sending and receiving side heuristics are described that adapt to frame drops due to network load and the available decoding capacity of the client workstation. A series of experiments show that the playback system adds a small overhead to the stand alone software decoder and that playback is smooth when all frames or very few frames can be decoded. Between these extremes, the system behaves reasonably but can still be improved. 1.0 Introduction As processor speed increases, real-time software decoding of compressed video is possible. We developed a portable software MPEG-1 video decoder that can play small-sized videos (e.g., 160 x 120) in real-time and medium-sized videos within a factor of two of real-time on current workstations [1]. We also developed a system to deliver and play synchronized continuous media streams (e.g., audio, video, images, animation, etc.) on a network [2].Initially, this system supported 8kHz 8-bit audio and hardware-assisted motion JPEG compressed video streams. -
Avid Supported Video File Formats
Avid Supported Video File Formats 04.07.2021 Page 1 Avid Supported Video File Formats 4/7/2021 Table of Contents Common Industry Formats ............................................................................................................................................................................................................................................................................................................................................................................................... 4 Application & Device-Generated Formats .................................................................................................................................................................................................................................................................................................................................................................. 8 Stereoscopic 3D Video Formats ...................................................................................................................................................................................................................................................................................................................................................................................... 11 Quick Lookup of Common File Formats ARRI..............................................................................................................................................................................................................................................................................................................................................................4 -
Video Codec Requirements and Evaluation Methodology
Video Codec Requirements 47pt 30pt and Evaluation Methodology Color::white : LT Medium Font to be used by customers and : Arial www.huawei.com draft-filippov-netvc-requirements-01 Alexey Filippov, Huawei Technologies 35pt Contents Font to be used by customers and partners : • An overview of applications • Requirements 18pt • Evaluation methodology Font to be used by customers • Conclusions and partners : Slide 2 Page 2 35pt Applications Font to be used by customers and partners : • Internet Protocol Television (IPTV) • Video conferencing 18pt • Video sharing Font to be used by customers • Screencasting and partners : • Game streaming • Video monitoring / surveillance Slide 3 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : • Basic requirements: . Random access to pictures 18pt Random Access Period (RAP) should be kept small enough (approximately, 1-15 seconds); Font to be used by customers . Temporal (frame-rate) scalability; and partners : . Error robustness • Optional requirements: . resolution and quality (SNR) scalability Slide 4 35pt Internet Protocol Television (IPTV) Font to be used by customers and partners : Resolution Frame-rate, fps Picture access mode 2160p (4K),3840x2160 60 RA 18pt 1080p, 1920x1080 24, 50, 60 RA 1080i, 1920x1080 30 (60 fields per second) RA Font to be used by customers and partners : 720p, 1280x720 50, 60 RA 576p (EDTV), 720x576 25, 50 RA 576i (SDTV), 720x576 25, 30 RA 480p (EDTV), 720x480 50, 60 RA 480i (SDTV), 720x480 25, 30 RA Slide 5 35pt Video conferencing Font to be used by customers and partners : • Basic requirements: . Delay should be kept as low as possible 18pt The preferable and maximum delay values should be less than 100 ms and 350 ms, respectively Font to be used by customers . -
1. in the New Document Dialog Box, on the General Tab, for Type, Choose Flash Document, Then Click______
1. In the New Document dialog box, on the General tab, for type, choose Flash Document, then click____________. 1. Tab 2. Ok 3. Delete 4. Save 2. Specify the export ________ for classes in the movie. 1. Frame 2. Class 3. Loading 4. Main 3. To help manage the files in a large application, flash MX professional 2004 supports the concept of _________. 1. Files 2. Projects 3. Flash 4. Player 4. In the AppName directory, create a subdirectory named_______. 1. Source 2. Flash documents 3. Source code 4. Classes 5. In Flash, most applications are _________ and include __________ user interfaces. 1. Visual, Graphical 2. Visual, Flash 3. Graphical, Flash 4. Visual, AppName 6. Test locally by opening ________ in your web browser. 1. AppName.fla 2. AppName.html 3. AppName.swf 4. AppName 7. The AppName directory will contain everything in our project, including _________ and _____________ . 1. Source code, Final input 2. Input, Output 3. Source code, Final output 4. Source code, everything 8. In the AppName directory, create a subdirectory named_______. 1. Compiled application 2. Deploy 3. Final output 4. Source code 9. Every Flash application must include at least one ______________. 1. Flash document 2. AppName 3. Deploy 4. Source 10. In the AppName/Source directory, create a subdirectory named __________. 1. Source 2. Com 3. Some domain 4. AppName 11. In the AppName/Source/Com directory, create a sub directory named ______ 1. Some domain 2. Com 3. AppName 4. Source 12. A project is group of related _________ that can be managed via the project panel in the flash. -
Digital Video Quality Handbook (May 2013
Digital Video Quality Handbook May 2013 This page intentionally left blank. Executive Summary Under the direction of the Department of Homeland Security (DHS) Science and Technology Directorate (S&T), First Responders Group (FRG), Office for Interoperability and Compatibility (OIC), the Johns Hopkins University Applied Physics Laboratory (JHU/APL), worked with the Security Industry Association (including Steve Surfaro) and members of the Video Quality in Public Safety (VQiPS) Working Group to develop the May 2013 Video Quality Handbook. This document provides voluntary guidance for providing levels of video quality in public safety applications for network video surveillance. Several video surveillance use cases are presented to help illustrate how to relate video component and system performance to the intended application of video surveillance, while meeting the basic requirements of federal, state, tribal and local government authorities. Characteristics of video surveillance equipment are described in terms of how they may influence the design of video surveillance systems. In order for the video surveillance system to meet the needs of the user, the technology provider must consider the following factors that impact video quality: 1) Device categories; 2) Component and system performance level; 3) Verification of intended use; 4) Component and system performance specification; and 5) Best fit and link to use case(s). An appendix is also provided that presents content related to topics not covered in the original document (especially information related to video standards) and to update the material as needed to reflect innovation and changes in the video environment. The emphasis is on the implications of digital video data being exchanged across networks with large numbers of components or participants. -
Video Coding Standards
Video coding standards Video signals represent sequences of images or frames which can be transmitted with a rate from 15 to 60 frames per second (fps), that provides the illusion of motion in the displayed signal. Unlike images they contain the so-called temporal redundancy. Temporal redundancy arises from repeated objects in consecutive frames of the video sequence. Such objects can remain, they can move horizontally, vertically, or any combination of directions (translation movement), they can fade in and out, and they can disappear from the image as they move out of view. Temporal redundancy Motion compensation A motion compensation technique is used to compensate the temporal redundancy of video sequence. The main idea of the this method is to predict the displacement of group of pixels (usually block of pixels) from their position in the previous frame. Information about this displacement is represented by motion vectors which are transmitted together with the DCT coded difference between the predicted and the original images. Motion compensation Image VLC DCT Quantizer Buffer - Dequantizer Coded DCT coefficients. IDCT Motion compensated predictor Motion Motion vectors estimation Decoded VL image Buffer Dequantizer IDCT decoder Motion compensated predictor Motion vectors Motion compensation Previous frame Current frame Set of macroblocks of the previous frame used to predict the selected macroblock of the current frame Motion compensation Previous frame Current frame Macroblocks of previous frame used to predict current frame Motion compensation Each 16x16 pixel macroblock in the current frame is compared with a set of macroblocks in the previous frame to determine the one that best predicts the current macroblock. -
Annual Report 2016
ANNUAL REPORT 2016 PUNJABI UNIVERSITY, PATIALA © Punjabi University, Patiala (Established under Punjab Act No. 35 of 1961) Editor Dr. Shivani Thakar Asst. Professor (English) Department of Distance Education, Punjabi University, Patiala Laser Type Setting : Kakkar Computer, N.K. Road, Patiala Published by Dr. Manjit Singh Nijjar, Registrar, Punjabi University, Patiala and Printed at Kakkar Computer, Patiala :{Bhtof;Nh X[Bh nk;k wjbk ñ Ò uT[gd/ Ò ftfdnk thukoh sK goT[gekoh Ò iK gzu ok;h sK shoE tk;h Ò ñ Ò x[zxo{ tki? i/ wB[ bkr? Ò sT[ iw[ ejk eo/ w' f;T[ nkr? Ò ñ Ò ojkT[.. nk; fBok;h sT[ ;zfBnk;h Ò iK is[ i'rh sK ekfJnk G'rh Ò ò Ò dfJnk fdrzpo[ d/j phukoh Ò nkfg wo? ntok Bj wkoh Ò ó Ò J/e[ s{ j'fo t/; pj[s/o/.. BkBe[ ikD? u'i B s/o/ Ò ô Ò òõ Ò (;qh r[o{ rqzE ;kfjp, gzBk óôù) English Translation of University Dhuni True learning induces in the mind service of mankind. One subduing the five passions has truly taken abode at holy bathing-spots (1) The mind attuned to the infinite is the true singing of ankle-bells in ritual dances. With this how dare Yama intimidate me in the hereafter ? (Pause 1) One renouncing desire is the true Sanayasi. From continence comes true joy of living in the body (2) One contemplating to subdue the flesh is the truly Compassionate Jain ascetic. Such a one subduing the self, forbears harming others. (3) Thou Lord, art one and Sole. -
CHAPTER 10 Basic Video Compression Techniques Contents
Multimedia Network Lab. CHAPTER 10 Basic Video Compression Techniques Multimedia Network Lab. Prof. Sang-Jo Yoo http://multinet.inha.ac.kr The Graduate School of Information Technology and Telecommunications, INHA University http://multinet.inha.ac.kr Multimedia Network Lab. Contents 10.1 Introduction to Video Compression 10.2 Video Compression with Motion Compensation 10.3 Search for Motion Vectors 10.4 H.261 10.5 H.263 The Graduate School of Information Technology and Telecommunications, INHA University 2 http://multinet.inha.ac.kr Multimedia Network Lab. 10.1 Introduction to Video Compression A video consists of a time-ordered sequence of frames, i.e.,images. Why we need a video compression CIF (352x288) : 35 Mbps HDTV: 1Gbps An obvious solution to video compression would be predictive coding based on previous frames. Compression proceeds by subtracting images: subtract in time order and code the residual error. It can be done even better by searching for just the right parts of the image to subtract from the previous frame. Motion estimation: looking for the right part of motion Motion compensation: shifting pieces of the frame The Graduate School of Information Technology and Telecommunications, INHA University 3 http://multinet.inha.ac.kr Multimedia Network Lab. 10.2 Video Compression with Motion Compensation Consecutive frames in a video are similar – temporal redundancy Frame rate of the video is relatively high (30 frames/sec) Camera parameters (position, angle) usually do not change rapidly. Temporal redundancy is exploited so that not every frame of the video needs to be coded independently as a new image. The difference between the current frame and other frame(s) in the sequence will be coded – small values and low entropy, good for compression. -
Arithmetic Coding
Arithmetic Coding Arithmetic coding is the most efficient method to code symbols according to the probability of their occurrence. The average code length corresponds exactly to the possible minimum given by information theory. Deviations which are caused by the bit-resolution of binary code trees do not exist. In contrast to a binary Huffman code tree the arithmetic coding offers a clearly better compression rate. Its implementation is more complex on the other hand. In arithmetic coding, a message is encoded as a real number in an interval from one to zero. Arithmetic coding typically has a better compression ratio than Huffman coding, as it produces a single symbol rather than several separate codewords. Arithmetic coding differs from other forms of entropy encoding such as Huffman coding in that rather than separating the input into component symbols and replacing each with a code, arithmetic coding encodes the entire message into a single number, a fraction n where (0.0 ≤ n < 1.0) Arithmetic coding is a lossless coding technique. There are a few disadvantages of arithmetic coding. One is that the whole codeword must be received to start decoding the symbols, and if there is a corrupt bit in the codeword, the entire message could become corrupt. Another is that there is a limit to the precision of the number which can be encoded, thus limiting the number of symbols to encode within a codeword. There also exist many patents upon arithmetic coding, so the use of some of the algorithms also call upon royalty fees. Arithmetic coding is part of the JPEG data format. -
Lecture 11 : Discrete Cosine Transform Moving Into the Frequency Domain
Lecture 11 : Discrete Cosine Transform Moving into the Frequency Domain Frequency domains can be obtained through the transformation from one (time or spatial) domain to the other (frequency) via Fourier Transform (FT) (see Lecture 3) — MPEG Audio. Discrete Cosine Transform (DCT) (new ) — Heart of JPEG and MPEG Video, MPEG Audio. Note : We mention some image (and video) examples in this section with DCT (in particular) but also the FT is commonly applied to filter multimedia data. External Link: MIT OCW 8.03 Lecture 11 Fourier Analysis Video Recap: Fourier Transform The tool which converts a spatial (real space) description of audio/image data into one in terms of its frequency components is called the Fourier transform. The new version is usually referred to as the Fourier space description of the data. We then essentially process the data: E.g . for filtering basically this means attenuating or setting certain frequencies to zero We then need to convert data back to real audio/imagery to use in our applications. The corresponding inverse transformation which turns a Fourier space description back into a real space one is called the inverse Fourier transform. What do Frequencies Mean in an Image? Large values at high frequency components mean the data is changing rapidly on a short distance scale. E.g .: a page of small font text, brick wall, vegetation. Large low frequency components then the large scale features of the picture are more important. E.g . a single fairly simple object which occupies most of the image. The Road to Compression How do we achieve compression? Low pass filter — ignore high frequency noise components Only store lower frequency components High pass filter — spot gradual changes If changes are too low/slow — eye does not respond so ignore? Low Pass Image Compression Example MATLAB demo, dctdemo.m, (uses DCT) to Load an image Low pass filter in frequency (DCT) space Tune compression via a single slider value n to select coefficients Inverse DCT, subtract input and filtered image to see compression artefacts. -
(A/V Codecs) REDCODE RAW (.R3D) ARRIRAW
What is a Codec? Codec is a portmanteau of either "Compressor-Decompressor" or "Coder-Decoder," which describes a device or program capable of performing transformations on a data stream or signal. Codecs encode a stream or signal for transmission, storage or encryption and decode it for viewing or editing. Codecs are often used in videoconferencing and streaming media solutions. A video codec converts analog video signals from a video camera into digital signals for transmission. It then converts the digital signals back to analog for display. An audio codec converts analog audio signals from a microphone into digital signals for transmission. It then converts the digital signals back to analog for playing. The raw encoded form of audio and video data is often called essence, to distinguish it from the metadata information that together make up the information content of the stream and any "wrapper" data that is then added to aid access to or improve the robustness of the stream. Most codecs are lossy, in order to get a reasonably small file size. There are lossless codecs as well, but for most purposes the almost imperceptible increase in quality is not worth the considerable increase in data size. The main exception is if the data will undergo more processing in the future, in which case the repeated lossy encoding would damage the eventual quality too much. Many multimedia data streams need to contain both audio and video data, and often some form of metadata that permits synchronization of the audio and video. Each of these three streams may be handled by different programs, processes, or hardware; but for the multimedia data stream to be useful in stored or transmitted form, they must be encapsulated together in a container format.