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Pre-Workshop Tutorial HD Transport, Timing and Compression Paul Hightower CEO Instrumentation Technology Systems

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Pre-Workshop Tutorial HD Transport, Timing and Compression Paul Hightower CEO Instrumentation Technology Systems Pre-Workshop Tutorial HD Transport, Timing and Compression Paul Hightower CEO Instrumentation Technology Systems www.ITSamerica.com May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 1 HD Video New Concerns Benefits Resolution is a more complex subject Order of magnitude improvement in More formats imagery High transport data rates Wider color gamut Large volumes of data for archive Recording and reproduction can be Alias artifacts in images identical to raw video Single Frames approach snap shot quality Metadata space built in to the SMPTE frames May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 2 Translating between NTSC (analog) & HD-SDI (digital) Video NTSC video -color bar test pattern May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 3 Translating between NTSC (analog) & HD-SDI (digital) Video At the SDI source At the end of a 100 meter cable May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 4 HD-SDI Imagery Chain ITU-R-BT-xxx Image sampling standards SMPTE 296/274 709 includes 4:2:2 HD Format Sampling Standards SMPTE 291 (720/1080) HD Metadata Standard SMPTE 292/424 HD-SDI Serialization Standards (720p & 1080i/1080p-3G May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 5 Translating between NTSC (analog) & HD-SDI (digital) Video Attribute Analog Video SDI Digital Video 480 SD NTSC 480/frame 576 (PAL) SD Visible Scan Lines PAL 576/frame 720 HD (750 total/frame) 1080 HD (1125 total/frame) This depends on the source and signal SD 720 pixels Resolution/Line quality but ranges to the equivalent of HD 1280 (1650 total/line) pixels and 300 to 720 pixels 1920 pixels ( 2200 total/line) pixels YUV encoding samples intensity every pixel and color differently depending on the encoding chosen. 4:2:2 is most Continuous time domain signal, frequently used Color Sampling intensity swings are limited by the Sample rate = 74MHz (720p/1080i) available 1.5 MHz bandwidth Color BW 6≈ 10 MHz Sample rate = 148MHz (1080p) Color BW ≈ 20 MHz May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 6 Translating between NTSC (analog) & HD-SDI (digital) Video Attribute Analog Video SDI Digital Video Complex AM, FM and phase modulated signal Serial encoded bit stream at bit rates from Raw Video requiring 6 MHz bandwidth 270 Mbits/s to 3000 Mbits/sec (12 GB for 4K) Pedestal and color burst sync areas scaled A reserved bit patterns (SAV & EAV) defined by Sync generally below the black level SMPTE in the image frame ANC space between EAV & SAV is Horizontal “blanking” data space, ANC space between SAV Blanking A predetermined voltage level in the video signal and EAV from first line to line 40 (1080) or 25 (720) is Vertical “blanking” data space. A stream of video samples between SAV & EAV the An AM signal with overlaid phase modulated Active Video number of which and format varies with resolution, color information sampling scheme and color depth RS 170 60Hz /30 Hz Field/Frame RS170A 7 Frame/Field (NTSC) 59.94 (60/1.001) Many from 24.975 to 60 Hz and beyond Rate CCIR 50Hz /25Hz field/frame Progressive, segmented and Interlaced Progressive and Interlaced May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 7 Quick Idea About Subsampling 4:2:2 subsampling causes two luma samples to share one pair (Cr and Cb) of color samples Graphic from “Chrominance Subsampling in Digital Images”, by Douglas Kerr May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 8 Video Data 4:2:2 10 Bit Color Sample Color Sample Cr0-1 Y0 Cb0-1 Y1 Cr2-3 Y2 Cb2-3 Y3 Active Video Data Stream Sample Pair Sample Pair Sample Pair Sample Pair Cb = blue color value Pixel 0 Pixel 1 Pixel 2 Pixel 3 Cr= red color value Y = luma value LN= line count ANC is ancillary data Each Y sample represents a pixel > 1920 pixels on a line=1920 Y samples space CA = color channel Each Y sample is coupled to ½ of a color sample as shown Y = Luma channel Ancillary data is Each Pixel then is comprised of 1 Y and ½ Chroma @ 10-Bits each placed in Luma Each pixel is 20 bits as a way of thinking about it channel first until full A 1920x1080 frame = 20x1920x1080 bits =41,472,000 bits or 5,184,000 bytes (image only) Add in the EAV, SAV, Line Count, CRC, HANC and VANC space; Frame = 2200 S x 1125 L • 2200 samples x1125 lines = 20x2200x1125/8=6,187,500 bytes/frame • At 60 FPS; Data rate = 371,250,000 bytes/second • Archive 1 minute of video = 22,275 Mbytes Frame Rate only affects Data Rate May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 9 Image Frame Organization The Samples build a frame 720 Frame Parameters Frame size = [750 lines x 1650 samples x 20 bits/pixel ]/(8 bits/byte) = 3,093,750 bytes/frame VANC Space 25 Lines * 1280 samples = 32K Cinema & broadcast generally only use lines 14-15 for scene switch & closed captioning HANC Space 370 Samples x 750 >2000 data items Example Packets • 16 channel audio snippets EAV SAV CRC EAV • Film Codes Line Count • Payload data • Workflow data • Copyright data • V-chip data • Billing data • Logging Info Buffer Space Lines 746‐750 HANC 1280 luma samples 1650 luma samples May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 10 SDI = Frame Data Serialization 4:2:2 Multiplexed Encoded SDI Video Stream Byte level stack up SDI Serial Stream IAW SMPTE 292 or 454 When serialized 720p/60 =3,093,750 bytes/frame * 60 fps =185,625,000 bytes/second 185,625,000 bytes/second *8 = 1,485,000,000 bps. May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 11 Imagery Movies Frame Rate (pictures per second) • Set to give the illusion of smooth motion; beyond persistence of vision frequency. • Rates above 16 images/second yield smooth motion • 24 fps is used in movies • 25/30 fps used in TV (PAL/NTSC) Illumination Rate (flashes per second) • Flicker fusion is the frequency that pulsing light looks steady • Illumination rate is pushed high enough to achieve flicker fusion • Film generally uses 48 Hz flicker rate • TV targets 60 Hz flicker rate Interlace TV scanning is 2x the frame rate; Odd lines then even lines Progressive 30 FPS TV displays the same frame twice @ 60 Hz Progressive 60 FPS displays each frame @ 1/60th of a second May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 12 NTSC National Television System Committee (NTSC) Did set the standards for analog TV format Color upgrade for TV in the 50s required B&W TVs to receive Color Signal 60Hz scan rate slowed to make room for color burst signal = 59.94 flicker 29.97 frame rate Digital Video on modern displays don’t need this Legacy rate is predominant and remains May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 13 Imagery May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 14 Imagery Resolution is 3 dimensional Line Count Pixel Count/Line Bit Depth/Pixel Lines Pixels May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 15 Imagery More Bits = More Shades = More detail 2 4 8 May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 16 Imagery 2 bits = 4 colors All pictures have the same number of pixels 4 bits = 16 colors 8 bits = 256 colors 24 bits = 16 million colors According to http://en.wikipedia.org/wiki/Color, humans can distinguish up to 10 million colors Pictures from http://en.wikipedia.org/wiki/Color_depth May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 17 17 Imagery Rendering Effects of Pixels and Bit Depth Same Image Few pixels Many pixels Many pixels Many shades Few shades Many shades May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 18 18 Imagery Sampling RGB; the primary colors Intensity; luminescence, (luma), the black & white information How many samples per image? (pixel count) How many shades per sample of each color? (bit depth) Many Bits/Color One Bit/Color May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 19 Imagery 4:2:2 Subsampling is not new Analog Color TV has a color content bandwidth of 1.5 MHz, BW info is 3.0 Mhz. Human physiology • More sensitive to changes in intensity than changes in color 4:4:4 Sampling Equivalent to RGB In motion imagery, 4:2:2 sampling is not discernable from 4:4:4 Bit/Pixel Benefit 4:4:4 @ 8 bits/color =24 bits/ pixel 4:2:2 @ 10 bits + ½ 20 bit color sample = 20 bits • 16.6% savings in data with no visual motion imagery degradation May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 20 Imagery Subsampling Created to reduce bandwidth to transport video Takes advantage of human physiology where • The eye far more sensitive to intensity changes vs. color changes In Analog • Intensity (Luma) plus TWO of the color (chroma) components is used • Phase modulation used to encode color is about 1.5 MHz (vs. 3.25 for Intensity) In Digital • One color sample per luma = 4:4:4 equivalent to RGB Bits/frame = 1080*1920*24 (16 million colors) = 49,766,400 • One color sample per two luma = 4:2:2, equivalent to broadcast analog TV Bits/Frame = 1080*1920*(10 -bit luma + 10-bit Red or Blue sample) = 41,472,000 (16% reduction) • Side effect: Saves storage capacity requirements as well • No effect on human perception of the imagery • EXCEPT there is a color alias at edges when the edge is between luma samples with shared color sample. May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 21 Imagery Subsampling Effects May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 22 Imagery Good Side effect for overlay • Natural “surround” Color Alias when intensity changes on a constant color • Y-b-r = g •Y-Δ –b-r = g –Δ Changes the ratio of RGB which changes the color, not just the brightness May 3, 2016 ITEA 20th Test Instrumentation Workshop Sheet 23 Pixels & Bit Count & Data Rate Key Points to Remember Each pixel = a Y (luma) sample Vertical blanking space adds lines; e.g.
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