1 / 86

What’s New in the Video World

What’s New in the Video World. 1. Agenda. 3Gb/s SDI Interface Level A & B. 4K where is it going. HEVC h.265. HDMI, HDCP overview. 3 Gig SDI Level A & Level B. 3Gb/s Standards. Defined by two SMPTE standards SMPTE 424M 3 Gb/s Signal/Data Serial Interface

kristen-mccullough
Télécharger la présentation

What’s New in the Video World

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. What’s New in the Video World 1

  2. Agenda 3Gb/s SDI Interface Level A & B 4K where is it going HEVC h.265 HDMI, HDCP overview

  3. 3 Gig SDI Level A & Level B

  4. 3Gb/s Standards Defined by two SMPTE standards SMPTE 424M 3 Gb/s Signal/Data Serial Interface Defines the transport of bit-serial data structure for 3.0Gb/s Using a single coaxial cable interface Supports either 10 or 12 bits data words Mapped into two virtual interfaces 10 bit parallel data streams (Data Stream One & Data Stream Two) SMPTE 425M 3 Gb/s Signal/Data Serial Interface – Source Image Format Mapping Level A – Four New Mapping structures for various video formats Level B – Supports Dual Link Mapping Structure www.smpte.org 4

  5. SMPTE 425M – Level A • Direct image format mapping (Native 3 Gig) • R’, G’, B’, Y’, C’B, C’R, and A components are mapped into a 20 bit virtual interface • Two parallel 10-bit data streams – data stream 1 and data stream 2 • Each data stream has a frequency of 1.485MHz or 1.485/1.001MHz • Mapping Structure 1: 1080p 50/60 4:2:2 10-bit • Mapping Structure 2: 1080i/p, 720p 4:4:4 10-bit • Mapping Structure 3: 1080i/p 4:4:4 12-bit • Mapping Structure 4: 1080i/p 4:2:2 12-bit

  6. SMPTE 425M – Level B • 2 x SMPTE 292M HD-SDI Interface (Dual Link Mapped into 3 Gig) • Two 10-bit multiplexed, HD interfaces are mapped into a 20 bit virtual interface – Data stream 1 and data stream 2. • Two data streams must have the same line and frame structure and be word aligned. • Each data stream has a frequency of 1.485MHz or 1.485/1.001MHz • Each data stream will have two sets of TRS words, Line Numbers, and CRC code words.

  7. Level A and Level B Muxed output Data Stream 1 Native 3 gig Muxed Output Data Stream 2 Level A Data Stream 1 Dual link Mapped into 3 Gig Muxed Output Data Stream 2 Level B Luma Chroma

  8. SMPTE425M Signal/Data Serial Interface Source Image Format (Level A) 8

  9. Why 3Gb/s SDI and High Speed Data? 9 • Dual Link is not 3 Gig. • 3 Gig implies one Coax not two • 3 Gig uses Half the infrastructure of Dual Link • Cable, Router ports, Patch bays, DA’s, ...... • Both Dual Link and 3 Gig allow work at the highest resolution (Bit Depth and Colorspace) possible prior to rendering the product. • In standard HD-SDI limited to 4:2:2 YCbCr only at 10-bit • With Dual Link & 3Gig, users can: • Increase color range from 10 bits to 12 bits • Switch from 4:2:2 to 4:4:4 Sampling to the total chrominance Bandwidth • Work in the RGB domain for easier integration with Special Effects editors, and Telecine applications • Digital cinema cameras now being adopted for feature films, television shows, and even commercials • Most of which is Dual Link if not all of it

  10. Who is using it? Where is it going? • Who is using it? • Today mostly manufactures • 80% of the 3 Gig SDI equipment we have sold has gone to Manufactures • 10% has gone to network providers • 10% into Post Production • Post is entrenched in Dual Link still • Where is it going? • Most network providers building new infrastructure are installing 3 Gig capable Switchers, Routers, Cabling, and Patch bays • They may not Equip it with 3 Gig • Most Post work will be Level B (Dual Link mapped in to 3 gig)

  11. FIRST HALF OF ACTIVE PICTURE 300h, 198h FOR CABLE EQUALIZER TESTING SECOND HALF OF ACTIVE PICTURE 200h, 110h FOR PHASE LOCKED LOOP TESTING Pathological verses Pathogenic signal Level A Level B FIRST HALF OF ACTIVE PICTURE 300h, 198h FOR CABLE EQUALIZER TESTING SECOND HALF OF ACTIVE PICTURE 200h, 110h FOR PHASE LOCKED LOOP TESTING FIRST HALF OF ACTIVE PICTURE 198h, 198h 300h, 300h FOR CABLE EQUALIZER TESTING SECOND HALF OF ACTIVE PICTURE 110h, 110h200h, 200h FOR PHASE LOCKED LOOP TESTING Level B Pathological Level A Pathological Level B Pathogenic

  12. SDI Checkfield Test Pattern for 3G-SDI Or, “why are the colors wrong?” In order to produce the same pathological patterns in the serial bit stream, the 10 bit words must be sequenced in the same order This results in different colors from the familiar magenta/gray for various 3G mapping structures Data stream 1 carries the Y samples and data stream 2 carries the Cb/Cr samples, so the multiplexing is similar to HD-SDI and the pattern has the familiar colors. In dual link, lines alternate between the two links. Therefore, in Level B, odd lines have one word for both Y and Cb/Cr samples, and even lines have the other word for both Y and Cb/Cr samples. Level A MS1 (1080p) Level B 1080p

  13. SDI Checkfield Test Pattern for 3G-SDI • As it appears for other Level B formats: • Verify with data mode (not video mode) of data display 4:4:4 YCbCr 10-bit 4:4:4 GBR 12-bit 4:2:2:4 YCbCrA 12-bit

  14. HD Eye Measurement Amplitude Auto Measure Rise Time 80% Fall Time 20%

  15. 4K Video Overview The Bigger Picture

  16. Motivation for the 4K Digital Conversion • 35 mm Film Process: • 35mm film can distribution • Expensive ($1,200 per screen) • Slow • Inflexible • Manual process for assembling shows • Studios spend $2 - $3 billion per year on release prints • 4K emulates the resolution of 35mm Film • 2K emulates the resolution of 16mm Film • Film prints get scratched and dirty after only a few plays, 4K D Cinema keep a pristine image at all times.

  17. Why high 4K formats?Market Drivers • Cost effective technology enables theatres to provide the best quality to end consumers • Movie companies seek to attract high-end viewers through a rich visual experience • Larger picture formats • Diverse color spaces for improved color fidelity • Increased bit resolution • Higher refresh rates • High bit rate provides more flexibility to Production and Post-Production companies • Work at the highest resolution prior to rendering the product. • Optimize use of facilities using joint transmission • Use of new tools (such as alpha channel) • Emulate traditional film quality using digital technology

  18. 4K x 2K Resolutions • Resolution on par with state-of-the-art Digital Cinema projectors used in the local multiplexes will it be coming to your living rooms? 4K resolution supports 3840x2160 and 4096x2160.

  19. Ultra HD- Aimed at Consumer Television 22 4K - 3840 × 2160 16:9 8.3M Pixels Has twice the resolution of the 1080p with four times as many pixels 8K- 7680 × 4320 16:9 33.2M Pixels.

  20. Examples of 4K Cameras 23 Astrodesign AH-4413 – 2012 3840 × 2160 (8.3 megapixels) RED ONE – 2007 4096 × 2304 (9.4 megapixels) RED EPIC – 2011 DCI 4K (4096 × 2160, 8.8 megapixels) RED Scarlet-X – 2011 XXXXX JVC GY-HMQ10 – 2012 UHD 4K (3840 × 2160, 8.3 megapixels) Sony CineAlta F65 – 2012 and records at DCI 4K Canon EOS C500 – 2012 and records in DCI 4K Canon EOS-1D C DSLR –2012 and records at DCI 4K GoPro HERO3 Black – 2012 DCI 4K (limited to 15 fps)

  21. SMPTE 2048 24

  22. SMPTE 2048 25

  23. Quad SDI approach • In SDI we break the screen into 4 quadrants using 3gig per Quadrant

  24. SMPTE 435-1 Sampling • 4 way division square 30 fps • 4 way Interleave at 30 fps

  25. SMPTE 2048- Data Interface- Fiber 28

  26. XYZ and 2020 Color Space • To emulate rich film-based cinema colors, the XYZ color space allows for richer colors on digital cinema applications. • Rec. 2020 color space covers 75.8%, of CIE 1931 Rec. 709 covers 35.9% XYZ color space

  27. HEVC H.265 Compression Contrast and compare MPEG2, and AVC (h.264) to HEVC (h.265) New tools and compression techniques in HEVC Steve Holmes Sr. Video Applications Engineer Steven.r.holmes@tek.com

  28. Compression Basics • Goal of compression: Optimize coding efficiency • The goal of compression is to remove or reduce redundant information from the given source • Intra(spatial) coding and Inter (Temporal) coding • Compression allows better quality picture same bandwidth • Different coding tools defined by the standard

  29. Scope of Standard • Specifying the format of the data to be produced by a conforming encoder • Decoder processes the “compliant bit stream” to original source • Standard defines bit-stream structure and constraints • Gives freedom for encoder implementations for efficient and complex designs

  30. HEVC: Overview • HEVC: High Efficiency Video Codec • Joint standard of ISO-IEC/MPEG and ITU-T/VCEG • ITU- H.265 and ISO- MPEG H Part 2 • Successor of H.264/MPEG AVC • 10x More Complex Encoding 3x Decode Algorithm • Improved compression relative to existing standards • 50% bit rate reductions compared to H.264 • 75% bit rate reductions compared to MPEG-2 • Targets the existing applications of H.264 and focus on • Increased video resolution • Increased use of parallel processing architectures

  31. HEVC : Applications • More channels over satellite, cable and IPTV • Lowered cost of video storage and distribution • Bandwidth-constrained mobile and IPTV operator • Improved QOE of OTT services to match traditional broadcast delivery

  32. Why does Compression work • Video is a sequence of still pictures • 30 frames per second, maybe 60 frames per second • pixel by pixel, line by line, continuously “drawn” • Temporal redundancy: Very little change between consecutive pictures • Spatial redundancy: Very little change between adjacent pixels (luma, chroma) • Exploit limitations in the human visual system • limited luma, highly limited chroma response • reduced sensitivity to noise at object edges and high luma areas • “Psycho-visually” objective is zero loss

  33. Visual Perception: Persistence and Receptor Overload

  34. HEVC Profiles Levels, and Tiers • Profile:defines collection of coding tools • Main : 8-bit video in YUV4:2:0 format • Main 10 : Same as Main with up to 10-bit • Main Still Picture: same as Main, • one picture only • Level: constrains decoder processing load and memory requirements like: max sample rate, picture size, bit rate, DPB (decode picture buffer) and CPB (coded picture buffer) size,.. • Tier: New Concept for buffering and bitrate capability • “Main” tier for most applications • “High” tier for use in the most demanding applications

  35. HEVC versus other codecs

  36. HEVC Performance

  37. Coding Tree Units (CTU) • HEVC divides the picture into CTUs • 64x64, 32x32 or 16x16 • A Unit in HEVC is a Coding Logic

  38. Coding Tree Unit (CTU) • HEVC Picture is partitioned into square coding tree blocks (CTBs). • Analogous to AVC Macroblock (16x16) CTUHeader CU Hdr CU Data CU Hdr CU Data * * * *

  39. Coding Tree Blocks (CTB) • Coding Tree Unit is a Logical Unit with Three Blocks • One Luma (Y) Block • Two Chroma Blocks (Cb and Cr) • CTB 64x64, 32x32, 16x16 same size as CTU

  40. Coding Tree Blocks (CTB) • Where H.264 used macroblocks with a maximum size of 16x16, HEVC uses coding tree blocks, or CTBs, with a maximum size of 64x64 pixels. Larger block sizes are more efficient when encoding larger frame sizes, like 4K resolution.

  41. Coding Blocks (CB) • Coding Tree Blocks split in to Coding Blocks • CB is Decision Point for Intra or Inter Prediction • From 64x64 down to 8x8

  42. Prediction Blocks (PB) • Coding Block too big for Motion Vectors • Each Coding Block Split in Prediction Blocks • Temporal and/or Spatial Predictability

  43. Prediction • The decision of prediction is made at Coding Unit level • Intra picture prediction has 35 modes as compared to 9 modes in AVC

  44. Transform Block (TB) • Each Coding Block split into Transform Blocks (TB) • The TB does not have to be aligned with Prediction Block • DCT applied- Spatial to Frequency Domain • Flat to High Frequency Vertical and Horizontal

  45. Random Access Point (RAP) • AVC bit-stream would always start with Instantaneous Decoder Refresh (IDR) access unit: Closed GOP • HEVC supports Random Access Points. • Decoders can start decoding from Random Access Points • Supports “Open GOP” structure • This feature enables channel switching, seek operations and dynamic streaming

  46. In Loop Filters • Sample Adaptive Offset (SAO) Filter • Similar to AVC Deblocking • Band and Edge Offsets Decoder Signaling • Not Limited to Block Boundaries

  47. Interlaced Video • Interlaced Legacy Transcoding • Interlaced Tools MBAFF and PAFF, are Not Supported in HEVC. • Picture Adaptive Frame/Field (PAFF) - In field based coding, the top field and bottom field in the interlaced frame are coded as a separated picture • Macroblock Adaptive Frame/Field (MBAFF) - frame picture partitioned into 32x16 macroblock pairs, and both macroblocks in each macroblock-pair are coded in frame mode or field mode • Meta-stream Sent Telling How the Interlaced Video was Sent. • Sent Either by Coding Each Field as a Separate Picture or Coding Each Frame as a Separate Picture • Interlaced Video Sent Without Needing Special Interlaced Decoding Processes to be Added to HEVC Decoders.

  48. HEVC Parallel Processing: Slices • Independently decodable packets • Sequence of CTUs in raster scan • Error resilience • Slice Overlay available

  49. HEVC Parallel Processing: Tiles Parallel Tiles with Slices • Independently decodable rectangle partitions in a picture • Rectangular region of CTUs • enable random access to specific regions of a picture • 1 slice = more tiles, or 1 tile = more slices • Tile Overlay available

  50. No In-Loop filter Deblocking and SAO filter

More Related