DOCSLIB.ORG

ADAPTING ADVANCED VIDEO CODING to CABLE NETWORKS Mukta Kar, Ph.D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ADAPTING ADVANCED VIDEO CODING to CABLE NETWORKS Mukta Kar, Ph.D ADAPTING ADVANCED VIDEO CODING TO CABLE NETWORKS Mukta Kar, Ph.D. and Yasser Syed, Ph.D. Cable Television Laboratories, Inc. Abstract researchers understood the power and flexibility of migrating to digital technology, This paper describes the current cable and it started being practical to do so. environment and what demands it has on development of a cable-friendly AVC video However, the delivery of uncompressed coding stream. It considers what the further digital audio/video to consumer homes is restrictions on AVC are for recreating the not an acceptable solution as it takes a huge same services already provided by MPEG-2 amount of bandwidth to deliver. To tackle plus coexistence in the same network with this problem, researchers had been working MPEG-2 video streams and other digital on how to compress digital audio/video services. The paper also looks at what are effectively for consumer-oriented the requirements for multiplexing, random applications. Towards the end of the last access to support existing broadcast century, audio-video compression services, and how this affects the coding technology matured to the level that it can design. Furthermore it looks at additional be practically used for consumer emerging needs to address services like applications, and MPEG-2 standards were Personal Video Recorders (PVRs), Video- created in 1994 to broadcast digital on-Demand (VOD), and Digital Program audio/video to consumer homes and offices. Insertion (DPI) and how this can constrain MPEG-2 technology takes much less the design on the video stream and the video bandwidth than analog delivery (today coding layer. This paper concludes by approximately 10:1 bandwidth efficiency) saying it is not enough to just have a highly while providing same or better fidelity efficient video coding standard developed, (quality of audio/video) even in a noisy the cable environment (or any application environment. environment) imposes its own set of demands that trades off the advanced video AVC: EMERGING DEMANDS coding design and some compression FOR VIDEO CODING efficiency for expected viewer experience. Over the last few years MPEG-2 INTRODUCTION technology has become very popular and received global acceptance which has led to In the last century television contents many new innovations such as HDTV, PVR (video and audio) have been delivered to (DVR), VOD, streaming media, interactive consumers mostly in analog format. It was TV, etc. These applications were realized then that the fidelity of analog unthinkable in the analog format and did not reception is good in noiseless or less noisy exist as MPEG-2 standards were created. environments, and also the analog system is While these new applications can help either inefficient or inflexible in the generate more revenues for the broadcast important areas such as service security, industries (cable, satellite and terrestrial), bandwidth usage, interactivity, etc. Around they also require more digital bandwidth to the 80’s and 90’s of the last century, deliver. For example, an HDTV channel requires a bandwidth 15-20 Mbits/sec ISO/MPEG (MPEG-4 part 10) and H.264 in whereas a SDTV channel takes only 2-3 ITU in May, 2003 [4]. AVC may be Mbits/sec using the MPEG-2 video standard considered as an aggregation of tools, some [1,2]. of which are enhanced MPEG-2 tools and a few additional new tools that have been Besides broadcast industries, other video added to increase compression efficiency industries such as DVD, streaming media, while providing the same or better picture etc. also needed an advanced video codec quality. In brief, AVC achieved two that has significantly better compression important objectives - better compression than MPEG-2. For example, an HD movie efficiency than MPEG-2 and convergence in cannot be stored on a current DVD disc. As hardware across major consumer video MPEG-2 video needs more bandwidth, applications - but sacrificed backward today’s streaming media technologies use compatibility with the MPEG-2 video proprietary codecs to deliver their content compression standard. However, backward but encounter storage and software compatibility has been addressed by the challenges due to a lack of convergence on a silicon designers at the AVC codec chip compression standard. In another industry, level such that it becomes transparent to conversational video applications (video users. conferencing and video telephony) use another video codec standard, but are also AVC tools consist of enhanced MPEG-2 facing similar challenges to streaming tools, some new tools, and error resiliency media. This shows that each of the major tools. MPEG-AVC or AVC is a large tool video industries today use diverse video box which can meet the needs of most major standards and different hardware platforms video applications such as broadcast video, for delivery and storage which impede conversational applications, and streaming consumer acceptance of multiple video video. The AVC system has created an applications. opportunity to change the paradigm of coding in AVC. The new tool box allows One of the answers to the problems multiple reference frames to be used for above is to compress digital audio/video predictions as opposed to the two reference even more efficiently than that in MPEG-2 frames allowed in MPEG-2. It also in order to be useable across different introduces spatial prediction in intra-coded industries. A better answer will be to create frame and adaptive motion compensation. a new video standard that will not only Motion compensation resolutions’ block provide significantly better compression size may be 16x16, 8x16, 16x8, 8x8, 8x4, than MPEG-2 but also a convergence in 4x8 or 4x4 pixels. It supports block hardware platforms across major video transforms of 8x8 and 4x4 pixels for luma applications. which may be used adaptively. It also introduces in-loop filtering to smooth the To have better compression efficiency as sharp edges which are an artifact of using well as to eliminate divergent requirements block transforms. AVC also added a few in hardware, the video experts in ITU and error-resilient tools (not present in MPEG-2) ISO/MPEG formed a joint video team (JVT) to support video delivery over non-QOS to investigate a solution. Their collaborative networks such as public IP networks and work over two years resulted in the creation wireless networks. of an advanced video coding (AVC) in CURRENT STATE OF CABLE: and video telephony, using the same AVC THE NEED FOR AVC IN CABLE hardware platform. In a way, to future-proof our industry with respect to delivery of About ten years ago, the cable industry multiple applications, the cable industry was delivering premium TV programs needs to consider all these factors mentioned primarily in analog only format. Over the above. last ten years evolutionary changes have been taking place in cable. Today cable ADAPTING THE AVC STANDARD TO delivers not only analog video but also a few CABLE digital enabled services such as digital TV, high speed data, and telephony. Cable is also Although AVC created profiles and in the process of using non-linear video levels geared towards major video services in addition to scheduled types of applications, still it is not well tailored services. At present cable delivers linear towards the cable environment. The video applications like broadcast television but stream may have a much better compression also is adding non-linear services such as efficiency using all tools in the standard, but VOD, PVR, VOIP. Also we are shifting the expected viewer experience for cable TV from the broadcast television model to a has not been designed in the AVC standard. personal television one. As a result cable The adaptation of MPEG-2 to cable was an faces a real bandwidth crunch as it has to easier process than what is now being support the legacy analog and digital considered because the standard was broadcast television services due to optimized more towards a broadcast regulatory and logistical reasons, while application, while the AVC standard tries to adding an array of the new digital services encompass more than that. Additionally to actively engage with new competition. cable has also been changing at the same VOD, MOD, and PVR services require a time to address other applications than just significant amount of storage at the headend broadcast. and in client devices. So we need better compression of the digital content than Constraints need to be written on the MPEG-2 can provide. AVC will certainly AVC standard (or any future advanced help in delivering more channels over the coding standard) to maintain current same digital bandwidth as well as in storing expected services and viewer experience the digital content at the headend or in while improving the plant bandwidth usage PVRs. efficiencies and expanding on these services. This constraint document will be It was mentioned earlier that MPEG-2 similar to the standard document SCTE 43 technology has been accepted widely across 2005 [6] that is written for MPEG-2 video. the global broadcast industry. It provides The network infrastructure and legacy tremendous business continuity in terms of equipment need to continue operating content, equipment (transmission, storage, without disruption. Existing services such as and test & measurement), etc. It is expected the Electronic Program Guide, Emergency that the general video industry will migrate Alert Messages, and audio-video to AVC in a next few years, especially in the synchronization need to be maintained and area of HDTV delivery and storage. AVC be agnostic to any new video coding may also provide opportunity for adding standard. Viewer experiences like channel new services, such as video conferencing switching/surfing, PVR recording and interactive video services still need to be matured MPEG-2 infrastructure should not maintained transparent to different video be reinvented.
Load more

Recommended publications
  • LOW COMPLEXITY H.264 to VC-1 TRANSCODER by VIDHYA
    LOW COMPLEXITY H.264 TO VC-1 TRANSCODER by VIDHYA VIJAYAKUMAR Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN ELECTRICAL ENGINEERING THE UNIVERSITY OF TEXAS AT ARLINGTON AUGUST 2010 Copyright © by Vidhya Vijayakumar 2010 All Rights Reserved ACKNOWLEDGEMENTS As true as it would be with any research effort, this endeavor would not have been possible without the guidance and support of a number of people whom I stand to thank at this juncture. First and foremost, I express my sincere gratitude to my advisor and mentor, Dr. K.R. Rao, who has been the backbone of this whole exercise. I am greatly indebted for all the things that I have learnt from him, academically and otherwise. I thank Dr. Ishfaq Ahmad for being my co-advisor and mentor and for his invaluable guidance and support. I was fortunate to work with Dr. Ahmad as his research assistant on the latest trends in video compression and it has been an invaluable experience. I thank my mentor, Mr. Vishy Swaminathan, and my team members at Adobe Systems for giving me an opportunity to work in the industry and guide me during my internship. I would like to thank the other members of my advisory committee Dr. W. Alan Davis and Dr. William E Dillon for reviewing the thesis document and offering insightful comments. I express my gratitude Dr. Jonathan Bredow and the Electrical Engineering department for purchasing the software required for this thesis and giving me the chance to work on cutting edge technologies.
    [Show full text]
  • Video Coding Standards
    Module 8 Video Coding Standards Version 2 ECE IIT, Kharagpur Lesson 23 MPEG-1 standards Version 2 ECE IIT, Kharagpur Lesson objectives At the end of this lesson, the students should be able to : 1. Enlist the major video coding standards 2. State the basic objectives of MPEG-1 standard. 3. Enlist the set of constrained parameters in MPEG-1 4. Define the I- P- and B-pictures 5. Present the hierarchical data structure of MPEG-1 6. Define the macroblock modes supported by MPEG-1 23.0 Introduction In lesson 21 and lesson 22, we studied how to perform motion estimation and thereby temporally predict the video frames to exploit significant temporal redundancies present in the video sequence. The error in temporal prediction is encoded by standard transform domain techniques like the DCT, followed by quantization and entropy coding to exploit the spatial and statistical redundancies and achieve significant video compression. The video codecs therefore follow a hybrid coding structure in which DPCM is adopted in temporal domain and DCT or other transform domain techniques in spatial domain. Efforts to standardize video data exchange via storage media or via communication networks are actively in progress since early 1980s. A number of international video and audio standardization activities started within the International Telephone Consultative Committee (CCITT), followed by the International Radio Consultative Committee (CCIR), and the International Standards Organization / International Electrotechnical Commission (ISO/IEC). An experts group, known as the Motion Pictures Expects Group (MPEG) was established in 1988 in the framework of the Joint ISO/IEC Technical Committee with an objective to develop standards for coded representation of moving pictures, associated audio, and their combination for storage and retrieval of digital media.
    [Show full text]
  • AVC to the Max: How to Configure Encoder
    Contents Company overview …. ………………………………………………………………… 3 Introduction…………………………………………………………………………… 4 What is AVC….………………………………………………………………………… 6 Making sense of profiles, levels, and bitrate………………………………………... 7 Group of pictures and its structure..………………………………………………… 11 Macroblocks: partitioning and prediction modes….………………………………. 14 Eliminating spatial redundancy……………………………………………………… 15 Eliminating temporal redundancy……...……………………………………………. 17 Adaptive quantization……...………………………………………………………… 24 Deblocking filtering….….…………………………………………………………….. 26 Entropy encoding…………………………………….……………………………….. 2 8 Conclusion…………………………………………………………………………….. 29 Contact details..………………………………………………………………………. 30 2 www.elecard.com Company overview Elecard company, founded in 1988, is a leading provider of software products for encoding, decoding, processing, monitoring and analysis of video and audio data in 9700 companies various formats. Elecard is a vendor of professional software products and software development kits (SDKs); products for in - depth high - quality analysis and monitoring of the media content; countries 1 50 solutions for IPTV and OTT projects, digital TV broadcasting and video streaming; transcoding servers. Elecard is based in the United States, Russia, and China with 20M users headquarters located in Tomsk, Russia. Elecard products are highly appreciated and widely used by the leaders of IT industry such as Intel, Cisco, Netflix, Huawei, Blackmagic Design, etc. For more information, please visit www.elecard.com. 3 www.elecard.com Introduction Video compression is the key step in video processing. Compression allows broadcasters and premium TV providers to deliver their content to their audience. Many video compression standards currently exist in TV broadcasting. Each standard has different properties, some of which are better suited to traditional live TV while others are more suited to video on demand (VoD). Two basic standards can be identified in the history of video compression: • MPEG-2, a legacy codec used for SD video and early digital broadcasting.
    [Show full text]
  • Video Coding Standards 1 Videovideo Codingcoding Standardsstandards
    VideoVideo CodingCoding StandardsStandards • H.120 • H.261 • MPEG-1 and MPEG-2/H.262 • H.263 • MPEG-4 Thomas Wiegand: Digital Image Communication Video Coding Standards 1 VideoVideo CodingCoding StandardsStandards MPEG-2 digital TV 2 -6 Mbps ITU-R 601 166 Mbit/s H.261 ISDN 64 kbps Picture phone H.263 PSTN < 28.8 kbps picture phone Thomas Wiegand: Digital Image Communication Video Coding Standards 2 H.120:H.120: TheThe FirstFirst DigitalDigital VideoVideo CodingCoding StandardStandard • ITU-T (ex-CCITT) Rec. H.120: The first digital video coding standard (1984) • v1 (1984) had conditional replenishment, DPCM, scalar quantization, variable-length coding, switch for quincunx sampling • v2 (1988) added motion compensation and background prediction • Operated at 1544 (NTSC) and 2048 (PAL) kbps • Few units made, essentially not in use today Thomas Wiegand: Digital Image Communication Video Coding Standards 3 H.261:H.261: TheThe BasisBasis ofof ModernModern VideoVideo CompressionCompression • ITU-T (ex-CCITT) Rec. H.261: The first widespread practical success • First design (late ’80s) embodying typical structure that dominates today: 16x16 macroblock motion compensation, 8x8 DCT, scalar quantization, and variable-length coding • Other key aspects: loop filter, integer-pel motion compensation accuracy, 2-D VLC for coefficients • Operated at 64-2048 kbps • Still in use, although mostly as a backward- compatibility feature – overtaken by H.263 Thomas Wiegand: Digital Image Communication Video Coding Standards 4 H.261&3H.261&3 MacroblockMacroblock
    [Show full text]
  • Motion Compensation on DCT Domain
    EURASIP Journal on Applied Signal Processing 2001:3, 147–162 © 2001 Hindawi Publishing Corporation Motion Compensation on DCT Domain Ut-Va Koc Lucent Technologies Bell Labs, 600 Mountain Avenue, Murray Hill, NJ 07974, USA Email: [email protected] K. J. Ray Liu Department of Electrical and Computer Engineering and Institute for Systems Research, University of Maryland, College Park, MD 20742, USA Email: [email protected] Received 21 May 2001 and in revised form 21 September 2001 Alternative fully DCT-based video codec architectures have been proposed in the past to address the shortcomings of the conven- tional hybrid motion compensated DCT video codec structures traditionally chosen as the basis of implementation of standard- compliant codecs. However, no prior effort has been made to ensure interoperability of these two drastically different architectures so that fully DCT-based video codecs are fully compatible with the existing video coding standards. In this paper, we establish the criteria for matching conventional codecs with fully DCT-based codecs. We find that the key to this interoperability lies in the heart of the implementation of motion compensation modules performed in the spatial and transform domains at both the encoder and the decoder. Specifically,if the spatial-domain motion compensation is compatible with the transform-domain motion compensation, then the states in both the coder and the decoder will keep track of each other even after a long series of P-frames. Otherwise, the states will diverge in proportion to the number of P-frames between two I-frames. This sets an important criterion for the development of any DCT-based motion compensation schemes.
    [Show full text]
  • White Paper Version of July 2015
    White paper Digital Video File Recommendation Version of July 2015 edited by Whitepaper 1 DIGITAL VIDEO FILE RECOMMENDATIONS ............................ 4 1.1 Preamble .........................................................................................................................4 1.2 Scope ...............................................................................................................................5 1.3 File Formats ....................................................................................................................5 1.4 Codecs ............................................................................................................................5 1.4.1 Browsing .................................................................................................... 5 1.4.2 Acquisition ................................................................................................. 6 1.4.3 Programme Contribution ........................................................................... 7 1.4.4 Postproduction .......................................................................................... 7 1.4.5 Broadcast ................................................................................................... 7 1.4.6 News & Magazines & Sports ..................................................................... 8 1.4.7 High Definition ........................................................................................... 8 1.5 General Requirements ..................................................................................................9
    [Show full text]
  • Axis Communications – Have Experienced Increasing Overlap in Their Standardization Efforts
    WHITE PAPER An explanation of video compression techniques. Table of contents 1. Introduction to compression techniques 4 2. Standardization organizations 4 3. Two basic standards: JPEG and MPEG 4 4. The next step: H.264 5 5. The basics of compression 5 5.1 Lossless and lossy compression 6 5.2 Latency 6 6. An overview of compression formats 6 6.1 JPEG 6 6.2 Motion JPEG 7 6.3 JPEG 2000 7 6.4 Motion JPEG 2000 7 6.5 H.261/H.263 8 6.6 MPEG-1 8 6.7 MPEG-2 9 6.8 MPEG-3 9 6.9 MPEG-4 9 6.10 H.264 10 6.11 MPEG-7 10 6.12 MPEG-21 10 7. More on MPEG compression 10 7.1 Frame types 11 7.2 Group of Pictures 11 7.3 Variable and constant bit rates 12 25. MPEG comparison 12 26. Conclusion – Still pictures 13 27. Conclusion – Motion pictures 13 28. Acronyms 15 1. Introduction to compression techniques JPEG, Motion JPEG and MPEG are three well-used acronyms used to describe different types of image compression format. But what do they mean, and why are they so relevant to today’s rapidly expanding surveillance market? This White Paper describes the differences, and aims to provide a few answers as to why they are so important and for which surveillance applications they are suitable. When designing a networked digital surveillance application, developers need to initially consider the following factors: > Is a still picture or a video sequence required? > What is the available network bandwidth? > What image degradation is allowed due to compression – so called artifacts? > What is the budget for the system? When an ordinary analog video sequence is digitized according to the standard CCIR 601, it can consume as much as 165 Mbps, which is 165 million bits every second.
    [Show full text]
  • Video Coding with Superimposed Motion-Compensated Signals
    Video Coding with Superimposed Motion-Compensated Signals Videocodierung mituberlagerten ¨ bewegungskompensierten Signalen Der Technischen Fakult¨at der Friedrich-Alexander-Universit¨at Erlangen-N¨urnberg zur Erlangung des Grades Doktor-Ingenieur vorgelegt von Markus Helmut Flierl Erlangen, 2003 Als Dissertation genehmigt von der Technischen Fakult¨at der Friedrich-Alexander-Universit¨at Erlangen-N¨urnberg Tag der Einreichung: 13.03.2003 Tag der Promotion: 27.06.2003 Dekan: Prof. Dr. rer. Nat. A. Winnacker Berichterstatter: Prof. Dr.-Ing. B. Girod Prof. Dr.-Ing. A. Kaup Acknowledgments This work required a substantial effort and I am very grateful to many people who made this endeavor possible. I would like to thank my supervisor Prof. Bernd Girod for the opportunity to join his group in Erlangen and Stanford as well as to benefit from the inspiring environment. I would also like to thank Prof. Andr´e Kaup for his interest in my work and reviewing my thesis as well as Prof. Heinrich Niemann and Prof. Wolfgang Koch for joining the committee. I am thankful to my fellow students Anne Aaron, Chuo-Ling Chang, Jacob Charareski, Joachim Eggers, Peter Eisert, Niko F¨arber, Sang-Eun Han, Frank Hartung, Mark Kalman, Yi Liang, Marcus Magnor, James Mammen, Prashant Ramanathan, Shantanu Rane, Marion Schabert, Eric Setton, Wolfgang S¨orgel, Eckehard Steinbach, Klaus Stuhlm¨uller, Jonathan Su, Matthias Teschner, Lutz Trautmann, Thomas Wiegand, and Rui Zhang for many stimulating discussions, joint work, and proofreading. In addition, I am thankful for helpful discussions with Dr. Nick Kingsbury. I am also grateful to the people at the Telecommunications Laboratory and Information Systems Laboratory, especially to Ursula Arnold and Kelly Yilmaz for their invaluable adminis- trative support.
    [Show full text]
  • MPEG-2 Fundamentals for Broadcast and Post-Production Engineers
    Mpeg2 Page 1 of 21 MPEG-2 Fundamentals for Broadcast and Post-Production Engineers A Video and Networking Division White Paper By Adolfo Rodriguez, David K. Fibush and Steven C. Bilow July, 1996 INTRODUCTION This paper will discuss the digital representation of video as defined in the MPEG-2 standard and will examine some crucial, strategic issues regarding the newly adopted 4:2:2 profile at main level. Specifically, we will cover the rationale for this new profile and will illustrate the benefits it provides to the broadcast and post-production communities. The intent of this paper is to articulate the appropriate applications of the various MPEG profiles and levels, and to demonstrate the fundamental necessity for the new 4:2:2 profile. We will also address the encoder/decoder compatibility required by the standard, the pervasive need for a 4:2:2 video representation, and the method by which the 4:2:2 profile at main level allows MPEG-2 to provide these advantages in a cost-effective manner. The new MPEG 4:2:2 profile at main level has recently become an official part of the MPEG standard. To broadcasters and production houses that do not accept the low chroma bandwidth options provided by previous MPEG main level profiles, the 4:2:2 profile at main level will prove to be the long-awaited solution for contribution quality MPEG compressed video. The Tektronix perspective is the result of a 50-year history of instrumentation, broadcast, and video equipment design. It is also the product of our success in helping the MPEG-2 standards body toward the provision of this new, cost-effective support for broadcast-quality video.
    [Show full text]
  • Multiview Video Coding Extension of the H.264/AVC Standard
    Multiview Video Coding Extension of the H.264/AVC Standard Ognjen Nemþiü 1, Snježana Rimac-Drlje 2, Mario Vranješ 2 1 Supra Net Projekt d.o.o., Zagreb, Croatia, [email protected] 2 University of Osijek, Faculty of Electrical Engineering, Osijek, Croatia, [email protected] Abstract - An overview of the new Multiview Video Coding approved an amendment of the ITU-T Rec. H.264 & ISO/IEC (MVC) extension of the H.264/AVC standard is given in this 14996-10 Advanced Video Coding (AVC) standard on paper. The benefits of multiview video coding are examined by Multiview Video Coding. encoding two data sets captured with multiple cameras. These sequences were encoded using MVC reference software and the results are compared with references obtained by encoding II. MULTIVIEW VIDEO CODING multiple views independently with H.264/AVC reference MVC was designed as an amendment of the H.264/AVC software. Experimental quality comparison of coding efficiency is and uses improved coding tools which have made H.264/AVC given. The peak signal-to-noise ration (PSNR) and Structural so superior over older standards. It is based on conventional Similarity (SSIM) Index are used as objective quality metrics. block-based motion-compensated video coding, with several new features which significantly improve its rate-distortion Keywords - H.264/AVC, MVC, inter-view prediction, temporal performance. The main new features of H.264/AVC, also used prediction, video quality by MVC, are the following: • I. INTRODUCTION variable block-size motion-compensated prediction with the block size down to 4x4 pixels; The H.264/AVC is the state-of-the-art video coding standard, [1], developed jointly by the ITU-T Video Coding • quarter-pixel motion vector accuracy; Experts Group (VCEG) and the ISO/IEC Moving Pictures • Experts Group (MPEG).
    [Show full text]
  • Fundamentals of Digital Video Compression
    FUNDAMENTALS OF DIGITAL VIDEO COMPRESSION MPEG Compression Streaming Video and Progressive Download © 2016 Pearson Education, Inc., Hoboken, NJ. All 1 rights reserved. In this lecture, you will learn: • Basic concepts of MPEG compression • Types of MPEG • Applications of MPEG • What GOP (group of pictures) in MPEG is • How GOP settings affect MPEG video file size • How GOP settings affect MPEG picture quality • What streaming video and progressive download are © 2016 Pearson Education, Inc., Hoboken, NJ. All 2 rights reserved. MPEG • Moving Pictures Experts Group Committee who derives standards for encoding video • Allow high compression • MPEG-1, MPEG-2, MPEG-4 © 2016 Pearson Education, Inc., Hoboken, NJ. All 3 rights reserved. What Happend to MPEG-3? • NOT MP3 (which is audio format) • Intended for HDTV • HDTV specifications was merged into MPEG-2 © 2016 Pearson Education, Inc., Hoboken, NJ. All 4 rights reserved. MPEG-1 • Video quality comparable to VHS • Originally intended for Web and CD-ROM playback • Frame sizes up to 352 × 240 pixels • Video format for VCD (VideoCD) before DVD became widespread © 2016 Pearson Education, Inc., Hoboken, NJ. All 5 rights reserved. MPEG-2 • Supports DVD-video, HDTV, HDV standards • For DVD video production: Export video into DVD MPEG-2 format • For HDV video production: Export video into HDV's MPEG-2 format © 2016 Pearson Education, Inc., Hoboken, NJ. All 6 rights reserved. MPEG-4 • Newer standard of MPEG family • Different encoding approach from MPEG-1 and MPEG-2 (will discuss after MPEG-1 and MPEG-2 compression in this lecture) © 2016 Pearson Education, Inc., Hoboken, NJ. All 7 rights reserved.
    [Show full text]
  • Application Note Introduction Video Basics
    Application Note Contents Title IP Video Encoding Explained Introduction...........................................................1 Series Understanding IP Video Performance Video Basics .........................................................1 Date May 2008 Video Codecs ........................................................2 Video Frame Types and the Group of Pictures............3 Overview Video Compression .................................................3 IP networks are increasingly used to deliver Encapsulation and Transmission ..........................5 video services for entertainment, education, business and commercial applications. Impairment Types .................................................6 Performance Management of IP Video.................8 This Application Note explains how video is encoded and transmitted over IP, describes Summary .............................................................10 common impairments that can affect video perceptual quality, and lists some basic approaches to IP video performance management. Introduction This Application Note will explain the video encoding process, as well as describing some common types of IP video (a.k.a. “Video over IP”) refers to any number impairments and performance management strategies of services in which a video signal is digitized, for ensuring the quality of IP-based video. compressed, and transmitted over an IP network to its destination, where it can then be decompressed, Video Basics decoded, and played. Typical services include IPTV, Video on Demand
    [Show full text]