mpeg4-标准：H.264_And_MPEG-4_Video_Compression

H.264 and MPEG-4 Video
Compression
H.264 and MPEG-4 Video
Compression
Video Coding for Next-generation Multimedia
Iain E,G,Richardson
The Robert Gordon University,Aberdeen,UK
Copyright C
2003 John Wiley & Sons Ltd,The Atrium,Southern Gate,Chichester,
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To Phyllis
Contents
About the Author xiii
Foreword xv
Preface xix
Glossary xxi
1 Introduction 1
1.1 The Scene 1
1.2 Video Compression 3
1.3 MPEG-4 and H.264 5
1.4 This Book 6
1.5 References 7
2 Video Formats and Quality 9
2.1 Introduction 9
2.2 Natural Video Scenes 9
2.3 Capture 10
2.3.1 Spatial Sampling 11
2.3.2 Temporal Sampling 11
2.3.3 Frames and Fields 13
2.4 Colour Spaces 13
2.4.1 RGB 14
2.4.2 YCbCr 15
2.4.3 YCbCr Sampling Formats 17
2.5 Video Formats 19
2.6 Quality 20
2.6.1 Subjective Quality Measurement 21
2.6.2 Objective Quality Measurement 22
2.7 Conclusions 24
2.8 References 24
CONTENTS
viii
3 Video Coding Concepts 27
3.1 Introduction 27
3.2 Video CODEC 28
3.3 Temporal Model 30
3.3.1 Prediction from the Previous Video Frame 30
3.3.2 Changes due to Motion 30
3.3.3 Block-based Motion Estimation and Compensation 32
3.3.4 Motion Compensated Prediction of a Macroblock 33
3.3.5 Motion Compensation Block Size 34
3.3.6 Sub-pixel Motion Compensation 37
3.3.7 Region-based Motion Compensation 41
3.4 Image model 42
3.4.1 Predictive Image Coding 44
3.4.2 Transform Coding 45
3.4.3 Quantisation 51
3.4.4 Reordering and Zero Encoding 56
3.5 Entropy Coder 61
3.5.1 Predictive Coding 61
3.5.2 Variable-length Coding 62
3.5.3 Arithmetic Coding 69
3.6 The Hybrid DPCM/DCT Video CODEC Model 72
3.7 Conclusions 82
3.8 References 83
4 The MPEG-4 and H.264 Standards 85
4.1 Introduction 85
4.2 Developing the Standards 85
4.2.1 ISO MPEG 86
4.2.2 ITU-T VCEG 87
4.2.3 JVT 87
4.2.4 Development History 88
4.2.5 Deciding the Content of the Standards 88
4.3 Using the Standards 89
4.3.1 What the Standards Cover 90
4.3.2 Decoding the Standards 90
4.3.3 Conforming to the Standards 91
4.4 Overview of MPEG-4 Visual/Part 2 92
4.5 Overview of H.264 / MPEG-4 Part 10 93
4.6 Comparison of MPEG-4 Visual and H.264 94
4.7 Related Standards 95
4.7.1 JPEG and JPEG2000 95
4.7.2 MPEG-1 and MPEG-2 95
4.7.3 H.261 and H.263 96
4.7.4 Other Parts of MPEG-4 97
4.8 Conclusions 97
4.9 References 98
CONTENTS
ix
5 MPEG-4 Visual 99
5.1 Introduction 99
5.2 Overview of MPEG-4 Visual (Natural Video Coding) 100
5.2.1 Features 100
5.2.2 Tools,Objects,Profiles and Levels 100
5.2.3 Video Objects 103
5.3 Coding Rectangular Frames 104
5.3.1 Input and Output Video Format 106
5.3.2 The Simple Profile 106
5.3.3 The Advanced Simple Profile 115
5.3.4 The Advanced Real Time Simple Profile 121
5.4 Coding Arbitrary-shaped Regions 122
5.4.1 The Core Profile 124
5.4.2 The Main Profile 133
5.4.3 The Advanced Coding Efficiency Profile 138
5.4.4 The N-bit Profile 141
5.5 Scalable Video Coding 142
5.5.1 Spatial Scalability 142
5.5.2 Temporal Scalability 144
5.5.3 Fine Granular Scalability 145
5.5.4 The Simple Scalable Profile 148
5.5.5 The Core Scalable Profile 148
5.5.6 The Fine Granular Scalability Profile 149
5.6 Texture Coding 149
5.6.1 The Scalable Texture Profile 152
5.6.2 The Advanced Scalable Texture Profile 152
5.7 Coding Studio-quality Video 153
5.7.1 The Simple Studio Profile 153
5.7.2 The Core Studio Profile 155
5.8 Coding Synthetic Visual Scenes 155
5.8.1 Animated 2D and 3D Mesh Coding 155
5.8.2 Face and Body Animation 156
5.9 Conclusions 156
5.10 References 156
6 H.264/MPEG-4 Part 10 159
6.1 Introduction 159
6.1.1 Terminology 159
6.2 The H.264 CODEC 160
6.3 H.264 structure 162
6.3.1 Profiles and Levels 162
6.3.2 Video Format 162
6.3.3 Coded Data Format 163
6.3.4 Reference Pictures 163
6.3.5 Slices 164
6.3.6 Macroblocks 164
CONTENTS
x
6.4 The Baseline Profile 165
6.4.1 Overview 165
6.4.2 Reference Picture Management 166
6.4.3 Slices 167
6.4.4 Macroblock Prediction 169
6.4.5 Inter Prediction 170
6.4.6 Intra Prediction 177
6.4.7 Deblocking Filter 184
6.4.8 Transform and Quantisation 187
6.4.9 4 × 4 Luma DC Coefficient Transform and Quantisation
(16 × 16 Intra-mode Only) 194
6.4.10 2 × 2 Chroma DC Coefficient Transform and Quantisation 195
6.4.11 The Complete Transform,Quantisation,Rescaling and Inverse
Transform Process 196
6.4.12 Reordering 198
6.4.13 Entropy Coding 198
6.5 The Main Profile 207
6.5.1 B Slices 207
6.5.2 Weighted Prediction 211
6.5.3 Interlaced Video 212
6.5.4 Context-based Adaptive Binary Arithmetic Coding (CABAC) 212
6.6 The Extended Profile 216
6.6.1 SP and SI slices 216
6.6.2 Data Partitioned Slices 220
6.7 Transport of H.264 220
6.8 Conclusions 222
6.9 References 222
7 Design and Performance 225
7.1 Introduction 225
7.2 Functional Design 225
7.2.1 Segmentation 226
7.2.2 Motion Estimation 226
7.2.3 DCT/IDCT 234
7.2.4 Wavelet Transform 238
7.2.5 Quantise/Rescale 238
7.2.6 Entropy Coding 238
7.3 Input and Output 241
7.3.1 Interfacing 241
7.3.2 Pre-processing 242
7.3.3 Post-processing 243
7.4 Performance 246
7.4.1 Criteria 246
7.4.2 Subjective Performance 247
7.4.3 Rate–distortion Performance 251
CONTENTS
xi
7.4.4 Computational Performance 254
7.4.5 Performance Optimisation 255
7.5 Rate control 256
7.6 Transport and Storage 262
7.6.1 Transport Mechanisms 262
7.6.2 File Formats 263
7.6.3 Coding and Transport Issues 264
7.7 Conclusions 265
7.8 References 265
8 Applications and Directions 269
8.1 Introduction 269
8.2 Applications 269
8.3 Platforms 270
8.4 Choosing a CODEC 270
8.5 Commercial issues 272
8.5.1 Open Standards? 273
8.5.2 Licensing MPEG-4 Visual and H.264 274
8.5.3 Capturing the Market 274
8.6 Future Directions 275
8.7 Conclusions 276
8.8 References 276
Bibliography 277
Index 279
About the Author
Iain Richardson is a lecturer and researcher at The Robert Gordon University,Aberdeen,
Scotland,He was awarded the degrees of MEng (Heriot-Watt University) and PhD (The
Robert Gordon University) in 1990 and 1999 respectively,He has been actively involved in
research and development of video compression systems since 1993 and is the author of over
40 journal and conference papers and two previous books,He leads the Image Communica-
tion Technology Research Group at The Robert Gordon University and advises a number of
companies on video compression technology issues.
Foreword
Work on the emerging,Advanced Video Coding” standard now known as ITU-T Recom-
mendation H.264 and as ISO/IEC 14496 (MPEG-4) Part 10 has dominated the video coding
standardization community for roughly the past three years,The work has been stimulating,
intense,dynamic,and all consuming for those of us most deeply involved in its design,The
time has arrived to see what has been accomplished.
Although not a direct participant,Dr Richardson was able to develop a high-quality,
up-to-date,introductory description and analysis of the new standard,The timeliness of this
book is remarkable,as the standard itself has only just been completed.
The new H.264/AVC standard is designed to provide a technical solution appropriate
for a broad range of applications,including:
a114
Broadcast over cable,satellite,cable modem,DSL,terrestrial.
a114
Interactive or serial storage on optical and magnetic storage devices,DVD,etc.
a114
Conversational services over ISDN,Ethernet,LAN,DSL,wireless and mobile networks,
modems.
a114
Video-on-demand or multimedia streaming services over cable modem,DSL,ISDN,LAN,
wireless networks.
a114
Multimedia messaging services over DSL,ISDN.
The range of bit rates and picture sizes supported by H.264/AVC is correspondingly broad,
addressing video coding capabilities ranging from very low bit rate,low frame rate,“postage
stamp” resolution video for mobile and dial-up devices,through to entertainment-quality
standard-definition television services,HDTV,and beyond,A flexible system interface for the
coded video is specified to enable the adaptation of video content for use over this full variety
of network and channel-type environments,However,at the same time,the technical design
is highly focused on providing the two limited goals of high coding efficiency and robustness
to network environments for conventional rectangular-picture camera-view video content.
Some potentially-interesting (but currently non-mainstream) features were deliberately left out
(at least from the first version of the standard) because of that focus (such as support of
arbitrarily-shaped video objects,some forms of bit rate scalability,4:2:2 and 4:4:4 chroma
formats,and color sampling accuracies exceeding eight bits per color component).
Foreword
xvi
In the work on the new H.264/AVC standard,a number of relatively new technical
developments have been adopted,For increased coding efficiency,these include improved
prediction design aspects as follows:
a114
Variable block-size motion compensation with small block sizes,
a114
Quarter-sample accuracy for motion compensation,
a114
Motion vectors over picture boundaries,
a114
Multiple reference picture motion compensation,
a114
Decoupling of referencing order from display order,
a114
Decoupling of picture representation methods from the ability to use a picture for reference,
a114
Weighted prediction,
a114
Improved,skipped” and,direct” motion inference,
a114
Directional spatial prediction for intra coding,and
a114
In-the-loop deblocking filtering.
In addition to improved prediction methods,other aspects of the design were also enhanced
for improved coding efficiency,including:
a114
Small block-size transform,
a114
Hierarchical block transform,
a114
Short word-length transform,
a114
Exact-match transform,
a114
Arithmetic entropy coding,and
a114
Context-adaptive entropy coding.
And for robustness to data errors/losses and flexibility for operation over a variety of network
environments,some key design aspects include:
a114
Parameter set structure,
a114
NAL unit syntax structure,
a114
Flexible slice size,
a114
Flexible macroblock ordering,
a114
Arbitrary slice ordering,
a114
Redundant pictures,
a114
Data partitioning,and
a114
SP/SI synchronization switching pictures.
Prior to the H.264/AVC project,the big recent video coding activity was the MPEG-4 Part 2
(Visual) coding standard,That specification introduced a new degree of creativity and flex-
ibility to the capabilities of the representation of digital visual content,especially with its
coding of video,objects”,its scalability features,extended N-bit sample precision and 4:4:4
color format capabilities,and its handling of synthetic visual scenes,It introduced a number
of design variations (called,profiles” and currently numbering 19 in all) for a wide variety
of applications,The H.264/AVC project (with only 3 profiles) returns to the narrower and
more traditional focus on efficient compression of generic camera-shot rectangular video pic-
tures with robustness to network losses – making no attempt to cover the ambitious breadth of
MPEG-4 Visual,MPEG-4 Visual,while not quite as,hot off the press”,establishes a landmark
in recent technology development,and its capabilities are yet to be fully explored.
Foreword
xvii
Most people first learn about a standard in publications other than the standard itself.
My personal belief is that if you want to know about a standard,you should also obtain a
copy of it,read it,and refer to that document alone as the ultimate authority on its content,
its boundaries,and its capabilities,No tutorial or overview presentation will provide all of the
insights that can be obtained from careful analysis of the standard itself.
At the same time,no standardized specification document (at least for video coding),can
be a complete substitute for a good technical book on the subject,Standards specifications are
written primarily to be precise,consistent,complete,and correct and not to be particularly
readable,Standards tend to leave out information that is not absolutely necessary to comply
with them,Many people find it surprising,for example,that video coding standards say almost
nothing about how an encoder works or how one should be designed,In fact an encoder is
essentially allowed to do anything that produces bits that can be correctly decoded,regardless
of what picture quality comes out of that decoding process,People,however,can usually only
understand the principles of video coding if they think from the perspective of the encoder,and
nearly all textbooks (including this one) approach the subject from the encoding perspective.
A good book,such as this one,will tell you why a design is the way it is and how to make
use of that design,while a good standard may only tell you exactly what it is and abruptly
(deliberately) stop right there.
In the case of H.264/AVC or MPEG-4 Visual,it is highly advisable for those new to the
subject to read some introductory overviews such as this one,and even to get a copy of an
older and simpler standard such as H.261 or MPEG-1 and try to understand that first,The
principles of digital video codec design are not too complicated,and haven’t really changed
much over the years – but those basic principles have been wrapped in layer-upon-layer of
technical enhancements to the point that the simple and straightforward concepts that lie at
their core can become obscured,The entire H.261 specification was only 25 pages long,and
only 17 of those pages were actually required to fully specify the technology that now lies at
the heart of all subsequent video coding standards,In contrast,the H.264/AVC and MPEG-4
Visual and specifications are more than 250 and 500 pages long,respectively,with a high
density of technical detail (despite completely leaving out key information such as how to
encode video using their formats),They each contain areas that are difficult even for experts
to fully comprehend and appreciate.
Dr Richardson’s book is not a completely exhaustive treatment of the subject,However,
his approach is highly informative and provides a good initial understanding of the key con-
cepts,and his approach is conceptually superior (and in some aspects more objective) to other
treatments of video coding publications,This and the remarkable timeliness of the subject
matter make this book a strong contribution to the technical literature of our community.
Gary J,Sullivan
Biography of Gary J,Sullivan,PhD
Gary J,Sullivan is the chairman of the Joint Video Team (JVT) for the development of the latest
international video coding standard known as H.264/AVC,which was recently completed as a
joint project between the ITU-T video coding experts group (VCEG) and the ISO/IEC moving
picture experts group (MPEG).
Foreword
xviii
He is also the Rapporteur of Advanced Video Coding in the ITU-T,where he has
led VCEG (ITU-T Q.6/SG16) for about seven years,He is also the ITU-T video liaison
representative to MPEG and served as MPEG’s (ISO/IEC JTC1/SC29/WG11) video chair-
man from March of 2001 to May of 2002.
He is currently a program manager of video standards and technologies in the eHome A/V
platforms group of Microsoft Corporation,At Microsoft he designed and remains active in
the extension of DirectX
Video Acceleration API/DDI feature of the Microsoft Windows
operating system platform.
Preface
With the widespread adoption of technologies such as digital television,Internet streaming
video and DVD-Video,video compression has become an essential component of broad-
cast and entertainment media,The success of digital TV and DVD-Video is based upon the
10-year-old MPEG-2 standard,a technology that has proved its effectiveness but is now
looking distinctly old-fashioned,It is clear that the time is right to replace MPEG-2 video
compression with a more effective and efficient technology that can take advantage of recent
progress in processing power,For some time there has been a running debate about which
technology should take up MPEG-2’s mantle,The leading contenders are the International
Standards known as MPEG-4 Visual and H.264.
This book aims to provide a clear,practical and unbiased guide to these two standards
to enable developers,engineers,researchers and students to understand and apply them effec-
tively,Video and image compression is a complex and extensive subject and this book keeps
an unapologetically limited focus,concentrating on the standards themselves (and in the case
of MPEG-4 Visual,on the elements of the standard that support coding of ‘real world’ video
material) and on video coding concepts that directly underpin the standards,The book takes an
application-based approach and places particular emphasis on tools and features that are help-
ful in practical applications,in order to provide practical and useful assistance to developers
and adopters of these standards.
I am grateful to a number of people who helped to shape the content of this book,I
received many helpful comments and requests from readers of my book Video Codec Design.
Particular thanks are due to Gary Sullivan for taking the time to provide helpful and detailed
comments,corrections and advice and for kindly agreeing to write a Foreword; to Harvey
Hanna (Impact Labs Inc),Yafan Zhao (The Robert Gordon University) and Aitor Garay for
reading and commenting on sections of this book during its development; to members of the
Joint Video Team for clarifying many of the details of H.264; to the editorial team at John
Wiley & Sons (and especially to the ever-helpful,patient and supportive Kathryn Sharples);
to Phyllis for her constant support; and finally to Freya and Hugh for patiently waiting for the
long-promised trip to Storybook Glen!
I very much hope that you will find this book enjoyable,readable and above all useful.
Further resources and links are available at my website,http://www.vcodex.com/,I always
appreciate feedback,comments and suggestions from readers and you will find contact details
at this website.
Iain Richardson
Glossary
4:2:0 (sampling) Sampling method,chrominance components have half the horizontal
and vertical resolution of luminance component
4:2:2 (sampling) Sampling method,chrominance components have half the horizontal
resolution of luminance component
4:4:4 (sampling) Sampling method,chrominance components have same resolution as
luminance component
arithmetic coding Coding method to reduce redundancy
artefact Visual distortion in an image
ASO Arbitrary Slice Order,in which slices may be coded out of raster
sequence
BAB Binary Alpha Block,indicates the boundaries of a region (MPEG-4
Visual)
BAP Body Animation Parameters
Block Region of macroblock (8 × 8or4× 4) for transform purposes
block matching Motion estimation carried out on rectangular picture areas
blocking Square or rectangular distortion areas in an image
B-picture (slice) Coded picture (slice) predicted using bidirectional motion compensation
CABAC Context-based Adaptive Binary Arithmetic Coding
CAE Context-based Arithmetic Encoding
CAVLC Context Adaptive Variable Length Coding
chrominance Colour difference component
CIF Common Intermediate Format,a colour image format
CODEC COder / DECoder pair
colour space Method of representing colour images
DCT Discrete Cosine Transform
Direct prediction A coding mode in which no motion vector is transmitted
DPCM Differential Pulse Code Modulation
DSCQS Double Stimulus Continuous Quality Scale,a scale and method for
subjective quality measurement
DWT Discrete Wavelet Transform
GLOSSARY
xxii
entropy coding Coding method to reduce redundancy
error concealment Post-processing of a decoded image to remove or reduce visible error
effects
Exp-Golomb Exponential Golomb variable length codes
FAP Facial Animation Parameters
FBA Face and Body Animation
FGS Fine Granular Scalability
field Odd- or even-numbered lines from an interlaced video sequence
flowgraph Pictorial representation of a transform algorithm (or the algorithm itself)
FMO Flexible Macroblock Order,in which macroblocks may be coded out of
raster sequence
Full Search A motion estimation algorithm
GMC Global Motion Compensation,motion compensation applied to a
complete coded object (MPEG-4 Visual)
GOP Group Of Pictures,a set of coded video images
H.261 A video coding standard
H.263 A video coding standard
H.264 A video coding standard
HDTV High Definition Television
Huffman coding Coding method to reduce redundancy
HVS Human Visual System,the system by which humans perceive and
interpret visual images
hybrid (CODEC) CODEC model featuring motion compensation and transform
IEC International Electrotechnical Commission,a standards body
Inter (coding) Coding of video frames using temporal prediction or compensation
interlaced (video) Video data represented as a series of fields
intra (coding) Coding of video frames without temporal prediction
I-picture (slice) Picture (or slice) coded without reference to any other frame
ISO International Standards Organisation,a standards body
ITU International Telecommunication Union,a standards body
JPEG Joint Photographic Experts Group,a committee of ISO (also an image
coding standard)
JPEG2000 An image coding standard
latency Delay through a communication system
Level A set of conformance parameters (applied to a Profile)
loop filter Spatial filter placed within encoding or decoding feedback loop
Macroblock Region of frame coded as a unit (usually 16 × 16 pixels in the original
frame)
Macroblock Region of macroblock with its own motion vector (H.264)
partition
Macroblock Region of macroblock with its own motion vector (H.264)
sub-partition
media processor Processor with features specific to multimedia coding and processing
motion Prediction of a video frame with modelling of motion
compensation
motion estimation Estimation of relative motion between two or more video frames
GLOSSARY
xxiii
motion vector Vector indicating a displaced block or region to be used for motion
compensation
MPEG Motion Picture Experts Group,a committee of ISO/IEC
MPEG-1 A multimedia coding standard
MPEG-2 A multimedia coding standard
MPEG-4 A multimedia coding standard
NAL Network Abstraction Layer
objective quality Visual quality measured by algorithm(s)
OBMC Overlapped Block Motion Compensation
Picture (coded) Coded (compressed) video frame
P-picture (slice) Coded picture (or slice) using motion-compensated prediction from one
reference frame
profile A set of functional capabilities (of a video CODEC)
progressive (video) Video data represented as a series of complete frames
PSNR Peak Signal to Noise Ratio,an objective quality measure
QCIF Quarter Common Intermediate Format
quantise Reduce the precision of a scalar or vector quantity
rate control Control of bit rate of encoded video signal
rate–distortion Measure of CODEC performance (distortion at a range of coded bit
rates)
RBSP Raw Byte Sequence Payload
RGB Red/Green/Blue colour space
ringing (artefacts) ‘Ripple’-like artefacts around sharp edges in a decoded image
RTP Real Time Protocol,a transport protocol for real-time data
RVLC Reversible Variable Length Code
scalable coding Coding a signal into a number of layers
SI slice Intra-coded slice used for switching between coded bitstreams (H.264)
slice A region of a coded picture
SNHC Synthetic Natural Hybrid Coding
SP slice Inter-coded slice used for switching between coded bitstreams (H.264)
sprite Texture region that may be incorporated in a series of decoded frames
(MPEG-4 Visual)
statistical Redundancy due to the statistical distribution of data
redundancy
studio quality Lossless or near-lossless video quality
subjective quality Visual quality as perceived by human observer(s)
subjective Redundancy due to components of the data that are subjectively
redundancy insignificant
sub-pixel (motion Motion-compensated prediction from a reference area that may be
compensation) formed by interpolating between integer-valued pixel positions
test model A software model and document that describe a reference
implementation of a video coding standard
Texture Image or residual data
Tree-structured Motion compensation featuring a flexible hierarchy of partition sizes
motion (H.264)
compensation
GLOSSARY
xxiv
TSS Three Step Search,a motion estimation algorithm
VCEG Video Coding Experts Group,a committee of ITU
VCL Video Coding Layer
video packet Coded unit suitable for packetisation
VLC Variable Length Code
VLD Variable Length Decoder
VLE Variable Length Encoder
VLSI Very Large Scale Integrated circuit
VO Video Object
VOP Video Object Plane
VQEG Video Quality Experts Group
VQEG Video Quality Experts Group
Weighted Motion compensation in which the prediction samples from two
prediction references are scaled
YCbCr Luminance,Blue chrominance,Red chrominance colour space
YUV A colour space (see YCbCr)
1
Introduction
1.1 THE SCENE
Scene 1,Your avatar (a realistic 3D model with your appearance and voice) walks through
a sophisticated virtual world populated by other avatars,product advertisements and video
walls,On one virtual video screen is a news broadcast from your favourite channel; you want
to see more about the current financial situation and so you interact with the broadcast and
pull up the latest stock market figures,On another screen you call up a videoconference link
with three friends,The video images of the other participants,neatly segmented from their
backgrounds,are presented against yet another virtual backdrop.
Scene 2,Your new 3G vidphone rings; you flip the lid open and answer the call,The face
of your friend appears on the screen and you greet each other,Each sees a small,clear image
of the other on the phone’s screen,without any of the obvious ‘blockiness’ of older-model
video phones,After the call has ended,you call up a live video feed from a football match,The
quality of the basic-rate stream isn’t too great and you switch seamlessly to the higher-quality
(but more expensive) ‘premium’ stream,For a brief moment the radio signal starts to break
up but all you notice is a slight,temporary distortion in the video picture.
These two scenarios illustrate different visions of the next generation of multimedia
applications,The first is a vision of MPEG-4 Visual,a rich,interactive on-line world bring-
ing together synthetic,natural,video,image,2D and 3D ‘objects’,The second is a vision
of H.264/AVC,highly efficient and reliable video communications,supporting two-way,
‘streaming’ and broadcast applications and robust to channel transmission problems,The
two standards,each with their advantages and disadvantages and each with their supporters
and critics,are contenders in the race to provide video compression for next-generation comm-
unication applications.
Turn on the television and surf through tens or hundreds of digital channels,Play your
favourite movies on the DVD player and breathe a sigh of relief that you can throw out your
antiquated VHS tapes,Tune in to a foreign TV news broadcast on the web (still just a postage-
stamp video window but the choice and reliability of video streams is growing all the time).
Chat to your friends and family by PC videophone,These activities are now commonplace and
unremarkable,demonstrating that digital video is well on the way to becoming a ubiquitous
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
INTRODUCTION
2
and essential component of the entertainment,computing,broadcasting and communications
industries.
Pervasive,seamless,high-quality digital video has been the goal of companies,re-
searchers and standards bodies over the last two decades,In some areas (for example broadcast
television and consumer video storage),digital video has clearly captured the market,whilst
in others (videoconferencing,video email,mobile video),market success is perhaps still too
early to judge,However,there is no doubt that digital video is a globally important industry
which will continue to pervade businesses,networks and homes,The continuous evolution of
the digital video industry is being driven by commercial and technical forces,The commercial
drive comes from the huge revenue potential of persuading consumers and businesses (a) to
replace analogue technology and older digital technology with new,efficient,high-quality
digital video products and (b) to adopt new communication and entertainment products that
have been made possible by the move to digital video,The technical drive comes from con-
tinuing improvements in processing performance,the availability of higher-capacity storage
and transmission mechanisms and research and development of video and image processing
technology.
Getting digital video from its source (a camera or a stored clip) to its destination (a dis-
play) involves a chain of components or processes,Key to this chain are the processes of
compression (encoding) and decompression (decoding),in which bandwidth-intensive ‘raw’
digital video is reduced to a manageable size for transmission or storage,then reconstructed for
display,Getting the compression and decompression processes ‘right’ can give a significant
technical and commercial edge to a product,by providing better image quality,greater relia-
bility and/or more flexibility than competing solutions,There is therefore a keen interest in the
continuing development and improvement of video compression and decompression methods
and systems,The interested parties include entertainment,communication and broadcasting
companies,software and hardware developers,researchers and holders of potentially lucrative
patents on new compression algorithms.
The early successes in the digital video industry (notably broadcast digital television
and DVD-Video) were underpinned by international standard ISO/IEC 13818 [1],popularly
known as ‘MPEG-2’ (after the working group that developed the standard,the Moving Picture
Experts Group),Anticipation of a need for better compression tools has led to the development
of two further standards for video compression,known as ISO/IEC 14496 Part 2 (‘MPEG-4
Visual’) [2] and ITU-T Recommendation H.264/ISO/IEC 14496 Part 10 (‘H.264’) [3],MPEG-
4 Visual and H.264 share the same ancestry and some common features (they both draw on
well-proven techniques from earlier standards) but have notably different visions,seeking to
improve upon the older standards in different ways,The vision of MPEG-4 Visual is to move
away from a restrictive reliance on rectangular video images and to provide an open,flexible
framework for visual communications that uses the best features of efficient video compression
and object-oriented processing,In contrast,H.264 has a more pragmatic vision,aiming to do
what previous standards did (provide a mechanism for the compression of rectangular video
images) but to do it in a more efficient,robust and practical way,supporting the types of
applications that are becoming widespread in the marketplace (such as broadcast,storage and
streaming).
At the present time there is a lively debate about which (if either) of these standards
will come to dominate the market,MPEG-4 Visual is the more mature of the two new
standards (its first Edition was published in 1999,whereas H.264 became an International
VIDEO COMPRESSION
3
Standard/Recommendation in 2003),There is no doubt that H.264 can out-perform MPEG-4
Visual in compression efficiency but it does not have the older standard’s bewildering flexi-
bility,The licensing situation with regard to MPEG-4 Visual is clear (and not popular with
some parts of the industry) but the cost of licensing H.264 remains to be agreed,This book is
about these two important new standards and examines the background to the standards,the
core concepts and technical details of each standard and the factors that will determine the
answer to the question ‘MPEG-4 Visual or H.264?’.
1.2 VIDEO COMPRESSION
Network bitrates continue to increase (dramatically in the local area and somewhat less so in
the wider area),high bitrate connections to the home are commonplace and the storage capacity
of hard disks,flash memories and optical media is greater than ever before,With the price
per transmitted or stored bit continually falling,it is perhaps not immediately obvious why
video compression is necessary (and why there is such a significant effort to make it better).
Video compression has two important benefits,First,it makes it possible to use digital video in
transmission and storage environments that would not support uncompressed (‘raw’) video.
For example,current Internet throughput rates are insufficient to handle uncompressed video
in real time (even at low frame rates and/or small frame size),A Digital Versatile Disk (DVD)
can only store a few seconds of raw video at television-quality resolution and frame rate
and so DVD-Video storage would not be practical without video and audio compression.
Second,video compression enables more efficient use of transmission and storage resources.
If a high bitrate transmission channel is available,then it is a more attractive proposition
to send high-resolution compressed video or multiple compressed video channels than to
send a single,low-resolution,uncompressed stream,Even with constant advances in storage
and transmission capacity,compression is likely to be an essential component of multimedia
services for many years to come.
An information-carrying signal may be compressed by removing redundancy from the
signal,In a lossless compression system statistical redundancy is removed so that the origi-
nal signal can be perfectly reconstructed at the receiver,Unfortunately,at the present time
lossless methods can only achieve a modest amount of compression of image and video
signals,Most practical video compression techniques are based on lossy compression,in
which greater compression is achieved with the penalty that the decoded signal is not identical
to the original,The goal of a video compression algorithm is to achieve efficient compression
whilst minimising the distortion introduced by the compression process.
Video compression algorithms operate by removing redundancy in the temporal,spatial
and/or frequency domains,Figure 1.1 shows an example of a single video frame,Within the
highlighted regions,there is little variation in the content of the image and hence there is
significant spatial redundancy,Figure 1.2 shows the same frame after the background region
has been low-pass filtered (smoothed),removing some of the higher-frequency content,The
human eye and brain (Human Visual System) are more sensitive to lower frequencies and so
the image is still recognisable despite the fact that much of the ‘information’ has been removed.
Figure 1.3 shows the next frame in the video sequence,The sequence was captured from a
camera at 25 frames per second and so there is little change between the two frames in the
short interval of 1/25 of a second,There is clearly significant temporal redundancy,i.e,most
INTRODUCTION
4
Figure 1.1 Video frame (showing examples of homogeneous regions)
Figure 1.2 Video frame (low-pass filtered background)
MPEG-4 AND H.264
5
Figure 1.3 Video frame 2
of the image remains unchanged between successive frames,By removing different types of
redundancy (spatial,frequency and/or temporal) it is possible to compress the data significantly
at the expense of a certain amount of information loss (distortion),Further compression can
be achieved by encoding the processed data using an entropy coding scheme such as Huffman
coding or Arithmetic coding.
Image and video compression has been a very active field of research and development for
over 20 years and many different systems and algorithms for compression and decompression
have been proposed and developed,In order to encourage interworking,competition and
increased choice,it has been necessary to define standard methods of compression encoding
and decoding to allow products from different manufacturers to communicate effectively,This
has led to the development of a number of key International Standards for image and video
compression,including the JPEG,MPEG and H.26× series of standards.
1.3 MPEG-4 AND H.264
MPEG-4 Visual and H.264 (also known as Advanced Video Coding) are standards for the coded
representation of visual information,Each standard is a document that primarily defines two
things,a coded representation (or syntax) that describes visual data in a compressed form and a
method of decoding the syntax to reconstruct visual information,Each standard aims to ensure
that compliant encoders and decoders can successfully interwork with each other,whilst allow-
ing manufacturers the freedom to develop competitive and innovative products,The standards
specifically do not define an encoder; rather,they define the output that an encoder should
INTRODUCTION
6
produce,A decoding method is defined in each standard but manufacturers are free to develop
alternative decoders as long as they achieve the same result as the method in the standard.
MPEG-4 Visual (Part 2 of the MPEG-4 group of standards) was developed by the Moving
Picture Experts Group (MPEG),a working group of the International Organisation for Stan-
dardisation (ISO),This group of several hundred technical experts (drawn from industry and
research organisations) meet at 2–3 month intervals to develop the MPEG series of standards.
MPEG-4 (a multi-part standard covering audio coding,systems issues and related aspects of
audio/visual communication) was first conceived in 1993 and Part 2 was standardised in 1999.
The H.264 standardisation effort was initiated by the Video Coding Experts Group (VCEG),
a working group of the International Telecommunication Union (ITU-T) that operates in a
similar way to MPEG and has been responsible for a series of visual telecommunication stan-
dards,The final stages of developing the H.264 standard have been carried out by the Joint
Video Team,a collaborative effort of both VCEG and MPEG,making it possible to publish
the final standard under the joint auspices of ISO/IEC (as MPEG-4 Part 10) and ITU-T (as
Recommendation H.264) in 2003.
MPEG-4 Visual and H.264 have related but significantly different visions,Both are con-
cerned with compression of visual data but MPEG-4 Visual emphasises flexibility whilst
H.264’s emphasis is on efficiency and reliability,MPEG-4 Visual provides a highly flexible
toolkit of coding techniques and resources,making it possible to deal with a wide range of
types of visual data including rectangular frames (‘traditional’ video material),video objects
(arbitrary-shaped regions of a visual scene),still images and hybrids of natural (real-world)
and synthetic (computer-generated) visual information,MPEG-4 Visual provides its func-
tionality through a set of coding tools,organised into ‘profiles’,recommended groupings of
tools suitable for certain applications,Classes of profiles include ‘simple’ profiles (coding of
rectangular video frames),object-based profiles (coding of arbitrary-shaped visual objects),
still texture profiles (coding of still images or ‘texture’),scalable profiles (coding at multiple
resolutions or quality levels) and studio profiles (coding for high-quality studio applications).
In contrast with the highly flexible approach of MPEG-4 Visual,H.264 concentrates
specifically on efficient compression of video frames,Key features of the standard include
compression efficiency (providing significantly better compression than any previous stan-
dard),transmission efficiency (with a number of built-in features to support reliable,robust
transmission over a range of channels and networks) and a focus on popular applications of
video compression,Only three profiles are currently supported (in contrast to nearly 20 in
MPEG-4 Visual),each targeted at a class of popular video communication applications,The
Baseline profile may be particularly useful for,conversational” applications such as video-
conferencing,the Extended profile adds extra tools that are likely to be useful for video stream-
ing across networks and the Main profile includes tools that may be suitable for consumer
applications such as video broadcast and storage.
1.4 THIS BOOK
The aim of this book is to provide a technically-oriented guide to the MPEG-4 Visual and
H.264/AVC standards,with an emphasis on practical issues,Other works cover the details of
the other parts of the MPEG-4 standard [4–6] and this book concentrates on the application
of MPEG-4 Visual and H.264 to the coding of natural video,Most practical applications of
REFERENCES
7
MPEG-4 (and emerging applications of H.264) make use of a subset of the tools provided
by each standard (a ‘profile’) and so the treatment of each standard in this book is organised
according to profile,starting with the most basic profiles and then introducing the extra tools
supported by more advanced profiles.
Chapters 2 and 3 cover essential background material that is required for an understanding
of both MPEG-4 Visual and H.264,Chapter 2 introduces the basic concepts of digital video
including capture and representation of video in digital form,colour-spaces,formats and
quality measurement,Chapter 3 covers the fundamentals of video compression,concentrating
on aspects of the compression process that are common to both standards and introducing the
transform-based CODEC ‘model’ that is at the heart of all of the major video coding standards.
Chapter 4 looks at the standards themselves and examines the way that the standards
have been shaped and developed,discussing the composition and procedures of the VCEG
and MPEG standardisation groups,The chapter summarises the content of the standards and
gives practical advice on how to approach and interpret the standards and ensure conformance.
Related image and video coding standards are briefly discussed.
Chapters 5 and 6 focus on the technical features of MPEG-4 Visual and H.264,The ap-
proach is based on the structure of the Profiles of each standard (important conformance points
for CODEC developers),The Simple Profile (and related Profiles) have shown themselves to
be by far the most popular features of MPEG-4 Visual to date and so Chapter 5 concentrates
first on the compression tools supported by these Profiles,followed by the remaining (less
commercially popular) Profiles supporting coding of video objects,still texture,scalable ob-
jects and so on,Because this book is primarily about compression of natural (real-world)
video information,MPEG-4 Visual’s synthetic visual tools are covered only briefly,H.264’s
Baseline Profile is covered first in Chapter 6,followed by the extra tools included in the Main
and Extended Profiles,Chapters 5 and 6 make extensive reference back to Chapter 3 (Video
Coding Concepts),H.264 is dealt with in greater technical detail than MPEG-4 Visual because
of the limited availability of reference material on the newer standard.
Practical issues related to the design and performance of video CODECs are discussed
in Chapter 7,The design requirements of each of the main functional modules required
in a practical encoder or decoder are addressed,from motion estimation through to entropy
coding,The chapter examines interface requirements and practical approaches to pre- and post-
processing of video to improve compression efficiency and/or visual quality,The compression
and computational performance of the two standards is compared and rate control (matching
the encoder output to practical transmission or storage mechanisms) and issues faced in
transporting and storing of compressed video are discussed.
Chapter 8 examines the requirements of some current and emerging applications,lists
some currently-available CODECs and implementation platforms and discusses the important
implications of commercial factors such as patent licenses,Finally,some predictions are
made about the next steps in the standardisation process and emerging research issues that
may influence the development of future video coding standards.
1.5 REFERENCES
1,ISO/IEC 13818,Information Technology – Generic Coding of Moving Pictures and Associated Audio
Information,2000.
INTRODUCTION
8
2,ISO/IEC 14496-2,Coding of Audio-Visual Objects – Part 2:Visual,2001.
3,ISO/IEC 14496-10 and ITU-T Rec,H.264,Advanced Video Coding,2003.
4,F,Pereira and T,Ebrahimi (eds),The MPEG-4 Book,IMSC Press,2002.
5,A,Walsh and M,Bourges-S′evenier (eds),MPEG-4 Jump Start,Prentice-Hall,2002.
6,ISO/IEC JTC1/SC29/WG11 N4668,MPEG-4 Overview,http://www.m4if.org/resources/
Overview.pdf,March 2002.
2
Video Formats and Quality
2.1 INTRODUCTION
Video coding is the process of compressing and decompressing a digital video signal,This
chapter examines the structure and characteristics of digital images and video signals and
introduces concepts such as sampling formats and quality metrics that are helpful to an
understanding of video coding,Digital video is a representation of a natural (real-world)
visual scene,sampled spatially and temporally,A scene is sampled at a point in time to
produce a frame (a representation of the complete visual scene at that point in time) or a
field (consisting of odd- or even-numbered lines of spatial samples),Sampling is repeated at
intervals (e.g,1/25 or 1/30 second intervals) to produce a moving video signal,Three sets
of samples (components) are typically required to represent a scene in colour,Popular for-
mats for representing video in digital form include the ITU-R 601 standard and the set of
‘intermediate formats’,The accuracy of a reproduction of a visual scene must be measured
to determine the performance of a visual communication system,a notoriously difficult and
inexact process,Subjective measurements are time consuming and prone to variations in the
response of human viewers,Objective (automatic) measurements are easier to implement but
as yet do not accurately match the opinion of a ‘real’ human.
2.2 NATURAL VIDEO SCENES
A typical ‘real world’ or ‘natural’ video scene is composed of multiple objects each with
their own characteristic shape,depth,texture and illumination,The colour and brightness
of a natural video scene changes with varying degrees of smoothness throughout the scene
(‘continuous tone’),Characteristics of a typical natural video scene (Figure 2.1) that are
relevant for video processing and compression include spatial characteristics (texture variation
within scene,number and shape of objects,colour,etc.) and temporal characteristics (object
motion,changes in illumination,movement of the camera or viewpoint and so on).
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
VIDEO FORMATS AND QUALITY
10
Figure 2.1 Still image from natural video scene
.
.
.
.
.
.
.
S
pa
tia
l s
am
p
le
s
Temporal samples
Figure 2.2 Spatial and temporal sampling of a video sequence
2.3 CAPTURE
A natural visual scene is spatially and temporally continuous,Representing a visual scene in
digital form involves sampling the real scene spatially (usually on a rectangular grid in the
video image plane) and temporally (as a series of still frames or components of frames sampled
at regular intervals in time) (Figure 2.2),Digital video is the representation of a sampled video
scene in digital form,Each spatio-temporal sample (picture element or pixel) is represented
as a number or set of numbers that describes the brightness (luminance) and colour of the
sample.
CAPTURE
11
Figure 2.3 Image with 2 sampling grids
To obtain a 2D sampled image,a camera focuses a 2D projection of the video scene
onto a sensor,such as an array of Charge Coupled Devices (CCD array),In the case of colour
image capture,each colour component is separately filtered and projected onto a CCD array
(see Section 2.4).
2.3.1 Spatial Sampling
The output of a CCD array is an analogue video signal,a varying electrical signal that represents
a video image,Sampling the signal at a point in time produces a sampled image or frame that
has defined values at a set of sampling points,The most common format for a sampled image
is a rectangle with the sampling points positioned on a square or rectangular grid,Figure 2.3
shows a continuous-tone frame with two different sampling grids superimposed upon it.
Sampling occurs at each of the intersection points on the grid and the sampled image may
be reconstructed by representing each sample as a square picture element (pixel),The visual
quality of the image is influenced by the number of sampling points,Choosing a ‘coarse’
sampling grid (the black grid in Figure 2.3) produces a low-resolution sampled image (Figure
2.4) whilst increasing the number of sampling points slightly (the grey grid in Figure 2.3)
increases the resolution of the sampled image (Figure 2.5).
2.3.2 Temporal Sampling
A moving video image is captured by taking a rectangular ‘snapshot’ of the signal at periodic
time intervals,Playing back the series of frames produces the appearance of motion,A higher
temporal sampling rate (frame rate) gives apparently smoother motion in the video scene but
requires more samples to be captured and stored,Frame rates below 10 frames per second
are sometimes used for very low bit-rate video communications (because the amount of data
VIDEO FORMATS AND QUALITY
12
Figure 2.4 Image sampled at coarse resolution (black sampling grid)
Figure 2.5 Image sampled at slightly finer resolution (grey sampling grid)
COLOUR SPACES
13
to
p
fie
ld
bo
tto
m
fie
ld
to
p
fie
ld
bo
tto
m
fie
ld
Figure 2.6 Interlaced video sequence
is relatively small) but motion is clearly jerky and unnatural at this rate,Between 10 and
20 frames per second is more typical for low bit-rate video communications; the image is
smoother but jerky motion may be visible in fast-moving parts of the sequence,Sampling at
25 or 30 complete frames per second is standard for television pictures (with interlacing to
improve the appearance of motion,see below); 50 or 60 frames per second produces smooth
apparent motion (at the expense of a very high data rate).
2.3.3 Frames and Fields
A video signal may be sampled as a series of complete frames (progressive sampling) or as a
sequence of interlaced fields (interlaced sampling),In an interlaced video sequence,half of
the data in a frame (one field) is sampled at each temporal sampling interval,A field consists
of either the odd-numbered or even-numbered lines within a complete video frame and an
interlaced video sequence (Figure 2.6) contains a series of fields,each representing half of
the information in a complete video frame (e.g,Figure 2.7 and Figure 2.8),The advantage
of this sampling method is that it is possible to send twice as many fields per second as the
number of frames in an equivalent progressive sequence with the same data rate,giving the
appearance of smoother motion,For example,a PAL video sequence consists of 50 fields per
second and,when played back,motion can appears smoother than in an equivalent progressive
video sequence containing 25 frames per second.
2.4 COLOUR SPACES
Most digital video applications rely on the display of colour video and so need a mechanism to
capture and represent colour information,A monochrome image (e.g,Figure 2.1) requires just
one number to indicate the brightness or luminance of each spatial sample,Colour images,on
the other hand,require at least three numbers per pixel position to represent colour accurately.
The method chosen to represent brightness (luminance or luma) and colour is described as a
colour space.
VIDEO FORMATS AND QUALITY
14
Figure 2.7 Top field
Figure 2.8 Bottom field
2.4.1 RGB
In the RGB colour space,a colour image sample is represented with three numbers that indicate
the relative proportions of Red,Green and Blue (the three additive primary colours of light).
Any colour can be created by combining red,green and blue in varying proportions,Figure 2.9
shows the red,green and blue components of a colour image,the red component consists of all
the red samples,the green component contains all the green samples and the blue component
contains the blue samples,The person on the right is wearing a blue sweater and so this
appears ‘brighter’ in the blue component,whereas the red waistcoat of the figure on the left
COLOUR SPACES
15
Figure 2.9 Red,Green and Blue components of colour image
appears brighter in the red component,The RGB colour space is well-suited to capture and
display of colour images,Capturing an RGB image involves filtering out the red,green and
blue components of the scene and capturing each with a separate sensor array,Colour Cathode
Ray Tubes (CRTs) and Liquid Crystal Displays (LCDs) display an RGB image by separately
illuminating the red,green and blue components of each pixel according to the intensity of
each component,From a normal viewing distance,the separate components merge to give the
appearance of ‘true’ colour.
2.4.2 YCbCr
The human visual system (HVS) is less sensitive to colour than to luminance (brightness).
In the RGB colour space the three colours are equally important and so are usually all stored
at the same resolution but it is possible to represent a colour image more efficiently by
separating the luminance from the colour information and representing luma with a higher
resolution than colour.
The YCbCr colour space and its variations (sometimes referred to as YUV) is a popular
way of efficiently representing colour images,Y is the luminance (luma) component and can
be calculated as a weighted average of R,G and B:
Y = k
r
R + k
g
G + k
b
B (2.1)
where k are weighting factors.
The colour information can be represented as colour difference (chrominance or chroma)
components,where each chrominance component is the difference between R,G or B and
the luminance Y:
Cb = B? Y
Cr = R? Y (2.2)
Cg = G? Y
The complete description of a colour image is given by Y (the luminance component) and
three colour differences Cb,Cr and Cg that represent the difference between the colour
intensity and the mean luminance of each image sample,Figure 2.10 shows the chroma
components (red,green and blue) corresponding to the RGB components of Figure 2.9,Here,
mid-grey is zero difference,light grey is a positive difference and dark grey is a negative
difference,The chroma components only have significant values where there is a large
VIDEO FORMATS AND QUALITY
16
Figure 2.10 Cr,Cg and Cb components
difference between the colour component and the luma image (Figure 2.1),Note the strong
blue and red difference components.
So far,this representation has little obvious merit since we now have four components
instead of the three in RGB,However,Cb+ Cr + Cgis a constant and so only two of the three
chroma components need to be stored or transmitted since the third component can always be
calculated from the other two,In the YCbCr colour space,only the luma (Y) and blue and
red chroma (Cb,Cr) are transmitted,YCbCr has an important advantage over RGB,that is
the Cr and Cb components may be represented with a lower resolution than Y because the
HVS is less sensitive to colour than luminance,This reduces the amount of data required to
represent the chrominance components without having an obvious effect on visual quality.
To the casual observer,there is no obvious difference between an RGB image and a YCbCr
image with reduced chrominance resolution,Representing chroma with a lower resolution
than luma in this way is a simple but effective form of image compression.
An RGB image may be converted to YCbCr after capture in order to reduce storage
and/or transmission requirements,Before displaying the image,it is usually necessary to
convert back to RGB,The equations for converting an RGB image to and from YCbCr colour
space and vice versa are given in Equation 2.3 and Equation 2.4
1
,Note that there is no need
to specify a separate factor k
g
(because k
b
+ k
r
+ k
g
= 1) and that G can be extracted from
the YCbCr representation by subtracting Cr and Cb from Y,demonstrating that it is not
necessary to store or transmit a Cg component.
Y = k
r
R + (1? k
b
k
r
)G + k
b
B
Cb =
0.5
1? k
b
(B? Y) (2.3)
Cr =
0.5
1? k
r
(R? Y)
R = Y +
1? k
r
0.5
Cr
G = Y?
2k
b
(1? k
b
)
1? k
b
k
r
Cb?
2k
r
(1? k
r
)
1? k
b
k
r
Cr (2.4)
B = Y +
1? k
b
0.5
Cb
1
Thanks to Gary Sullivan for suggesting the form of Equations 2.3 and 2.4
COLOUR SPACES
17
ITU-R recommendation BT.601 [1] defines k
b
= 0.114 and k
r
= 0.299,Substituting into the
above equations gives the following widely-used conversion equations:
Y = 0.299R + 0.587G + 0.114B
Cb = 0.564(B? Y) (2.5)
Cr = 0.713(R? Y)
R = Y + 1.402Cr
G = Y? 0.344Cb? 0.714Cr (2.6)
B = Y + 1.772Cb
2.4.3 YCbCr Sampling Formats
Figure 2.11 shows three sampling patterns for Y,Cb and Cr that are supported by MPEG-4
Visual and H.264,4:4:4 sampling means that the three components (Y,Cb and Cr) have the
same resolution and hence a sample of each component exists at every pixel position,The
numbers indicate the relative sampling rate of each component in the horizontal direction,
i.e,for every four luminance samples there are four Cb and four Cr samples,4:4:4 sampling
preserves the full fidelity of the chrominance components,In 4:2:2 sampling (sometimes
referred to as YUY2),the chrominance components have the same vertical resolution as the
luma but half the horizontal resolution (the numbers 4:2:2 mean that for every four luminance
samples in the horizontal direction there are two Cb and two Cr samples),4:2:2 video is used
for high-quality colour reproduction.
In the popular 4:2:0 sampling format (‘YV12’),Cb and Cr each have half the horizontal
and vertical resolution of Y,The term ‘4:2:0’ is rather confusing because the numbers do
not actually have a logical interpretation and appear to have been chosen historically as a
‘code’ to identify this particular sampling pattern and to differentiate it from 4:4:4 and 4:2:2.
4:2:0 sampling is widely used for consumer applications such as video conferencing,digital
television and digital versatile disk (DVD) storage,Because each colour difference component
contains one quarter of the number of samples in the Y component,4:2:0 YCbCr video
requires exactly half as many samples as 4:4:4 (or R:G:B) video.
Example
Image resolution,720 × 576 pixels
Y resolution,720 × 576 samples,each represented with eight bits
4:4:4 Cb,Cr resolution,720 × 576 samples,each eight bits
Total number of bits,720 × 576 × 8 × 3 = 9 953 280 bits
4:2:0 Cb,Cr resolution,360 × 288 samples,each eight bits
Total number of bits,(720 × 576 × 8) + (360 × 288 × 8 × 2) = 4 976 640 bits
The 4:2:0 version requires half as many bits as the 4:4:4 version.
VIDEO FORMATS AND QUALITY
18
Ysample
Cr sample
Cb sample
4:2:0 sampling
4:2:2 sampling 4:4:4 sampling
Figure 2.11 4:2:0,4:2:2 and 4:4:4 sampling patterns (progressive)
4:2:0 sampling is sometimes described as ‘12 bits per pixel’,The reason for this can be
seen by examining a group of four pixels (see the groups enclosed in dotted lines in Figure
2.11),Using 4:4:4 sampling,a total of 12 samples are required,four each of Y,Cb and Cr,
requiring a total of 12 × 8 = 96 bits,an average of 96/4 = 24 bits per pixel,Using 4:2:0
sampling,only six samples are required,four Y and one each of Cb,Cr,requiring a total of
6 × 8 = 48 bits,an average of 48/4 = 12 bits per pixel.
In a 4:2:0 interlaced video sequence,the Y,Cb and Cr samples corresponding to a
complete video frame are allocated to two fields,Figure 2.12 shows the method of allocating
VIDEO FORMATS
19
Table 2.1 Video frame formats
Luminance resolution Bits per frame
Format (horiz,× vert.) (4:2:0,eight bits per sample)
Sub-QCIF 128 × 96 147456
Quarter CIF 176 × 144 304128
(QCIF)
CIF 352 × 288 1216512
4CIF 704 × 576 4866048
Top field
Bottom field
Top field
Bottom field
Top field
Bottom field
Figure 2.12 Allocaton of 4:2:0 samples to top and bottom fields
Y,Cb and Cr samples to a pair of interlaced fields adopted in MPEG-4 Visual and H.264,It
is clear from this figure that the total number of samples in a pair of fields is the same as the
number of samples in an equivalent progressive frame.
2.5 VIDEO FORMATS
The video compression standards described in this book can compress a wide variety of video
frame formats,In practice,it is common to capture or convert to one of a set of ‘intermediate
formats’ prior to compression and transmission,The Common Intermediate Format (CIF) is
the basis for a popular set of formats listed in Table 2.1,Figure 2.13 shows the luma component
of a video frame sampled at a range of resolutions,from 4CIF down to Sub-QCIF,The choice of
frame resolution depends on the application and available storage or transmission capacity,For
example,4CIF is appropriate for standard-definition television and DVD-video; CIF and QCIF
VIDEO FORMATS AND QUALITY
20
4CIF
CIF
QCIF
SQCIF
Figure 2.13 Video frame sampled at range of resolutions
are popular for videoconferencing applications; QCIF or SQCIF are appropriate for mobile
multimedia applications where the display resolution and the bitrate are limited,Table 2.1 lists
the number of bits required to represent one uncompressed frame in each format (assuming
4:2:0 sampling and 8 bits per luma and chroma sample).
A widely-used format for digitally coding video signals for television production is
ITU-R Recommendation BT.601-5 [1] (the term ‘coding’ in the Recommendation title means
conversion to digital format and does not imply compression),The luminance component of
the video signal is sampled at 13.5 MHz and the chrominance at 6.75 MHz to produce a 4:2:2
Y:Cb:Cr component signal,The parameters of the sampled digital signal depend on the video
frame rate (30 Hz for an NTSC signal and 25 Hz for a PAL/SECAM signal) and are shown
in Table 2.2,The higher 30 Hz frame rate of NTSC is compensated for by a lower spatial
resolution so that the total bit rate is the same in each case (216 Mbps),The actual area shown
on the display,the active area,is smaller than the total because it excludes horizontal and
vertical blanking intervals that exist ‘outside’ the edges of the frame.
Each sample has a possible range of 0 to 255,Levels of 0 and 255 are reserved for syn-
chronisation and the active luminance signal is restricted to a range of 16 (black) to 235 (white).
2.6 QUALITY
In order to specify,evaluate and compare video communication systems it is necessary to
determine the quality of the video images displayed to the viewer,Measuring visual quality is
QUALITY
21
Table 2.2 ITU-R BT.601-5 Parameters
30 Hz frame rate 25 Hz frame rate
Fields per second 60 50
Lines per complete frame 525 625
Luminance samples per line 858 864
Chrominance samples per line 429 432
Bits per sample 8 8
Total bit rate 216 Mbps 216 Mbps
Active lines per frame 480 576
Active samples per line (Y) 720 720
Active samples per line (Cr,Cb) 360 360
a difficult and often imprecise art because there are so many factors that can affect the results.
Visual quality is inherently subjective and is influenced by many factors that make it difficult
to obtain a completely accurate measure of quality,For example,a viewer’s opinion of visual
quality can depend very much on the task at hand,such as passively watching a DVD movie,
actively participating in a videoconference,communicating using sign language or trying
to identify a person in a surveillance video scene,Measuring visual quality using objective
criteria gives accurate,repeatable results but as yet there are no objective measurement systems
that completely reproduce the subjective experience of a human observer watching a video
display.
2.6.1 Subjective Quality Measurement
2.6.1.1 Factors Influencing Subjective Quality
Our perception of a visual scene is formed by a complex interaction between the components
of the Human Visual System (HVS),the eye and the brain,The perception of visual quality
is influenced by spatial fidelity (how clearly parts of the scene can be seen,whether there is
any obvious distortion) and temporal fidelity (whether motion appears natural and ‘smooth’).
However,a viewer’s opinion of ‘quality’ is also affected by other factors such as the viewing
environment,the observer’s state of mind and the extent to which the observer interacts with
the visual scene,A user carrying out a specific task that requires concentration on part of
a visual scene will have a quite different requirement for ‘good’ quality than a user who is
passively watching a movie,For example,it has been shown that a viewer’s opinion of visual
quality is measurably higher if the viewing environment is comfortable and non-distracting
(regardless of the ‘quality’ of the visual image itself).
Other important influences on perceived quality include visual attention (an observer
perceives a scene by fixating on a sequence of points in the image rather than by taking in
everything simultaneously) and the so-called ‘recency effect’ (our opinion of a visual sequence
is more heavily influenced by recently-viewed material than older video material) [2,3],All
of these factors make it very difficult to measure visual quality accurately and quantitavely.
VIDEO FORMATS AND QUALITY
22
AorB
AorB
Source video
sequence
Display
Video
decoder
Video
encoder
Figure 2.14 DSCQS testing system
2.6.1.2 ITU-R 500
Several test procedures for subjective quality evaluation are defined in ITU-R Recommenda-
tion BT.500-11 [4],A commonly-used procedure from the standard is the Double Stimulus
Continuous Quality Scale (DSCQS) method in which an assessor is presented with a pair of
images or short video sequences A and B,one after the other,and is asked to give A and B a
‘quality score’ by marking on a continuous line with five intervals ranging from ‘Excellent’
to ‘Bad’,In a typical test session,the assessor is shown a series of pairs of sequences and
is asked to grade each pair,Within each pair of sequences,one is an unimpaired,reference”
sequence and the other is the same sequence,modified by a system or process under test.
Figure 2.14 shows an experimental set-up appropriate for the testing of a video CODEC in
which the original sequence is compared with the same sequence after encoding and decoding.
The selection of which sequence is ‘A’ and which is ‘B’ is randomised.
The order of the two sequences,original and,impaired”,is randomised during the test
session so that the assessor does not know which is the original and which is the impaired
sequence,This helps prevent the assessor from pre-judging the impaired sequence compared
with the reference sequence,At the end of the session,the scores are converted to a normalised
range and the end result is a score (sometimes described as a ‘mean opinion score’) that
indicates the relative quality of the impaired and reference sequences.
Tests such as DSCQS are accepted to be realistic measures of subjective visual quality.
However,this type of test suffers from practical problems,The results can vary significantly
depending on the assessor and the video sequence under test,This variation is compensated
for by repeating the test with several sequences and several assessors,An ‘expert’ assessor
(one who is familiar with the nature of video compression distortions or ‘artefacts’) may give
a biased score and it is preferable to use ‘nonexpert’ assessors,This means that a large pool of
assessors is required because a nonexpert assessor will quickly learn to recognise characteristic
artefacts in the video sequences (and so become ‘expert’),These factors make it expensive
and time consuming to carry out the DSCQS tests thoroughly.
2.6.2 Objective Quality Measurement
The complexity and cost of subjective quality measurement make it attractive to be able to
measure quality automatically using an algorithm,Developers of video compression and video
QUALITY
23
Figure 2.15 PSNR examples,(a) original; (b) 30.6 dB; (c) 28.3 dB
Figure 2.16 Image with blurred background (PSNR = 27.7 dB)
processing systems rely heavily on so-called objective (algorithmic) quality measures,The
most widely used measure is Peak Signal to Noise Ratio (PSNR) but the limitations of this
metric have led to many efforts to develop more sophisticated measures that approximate the
response of ‘real’ human observers.
2.6.2.1 PSNR
Peak Signal to Noise Ratio (PSNR) (Equation 2.7) is measured on a logarithmic scale and
depends on the mean squared error (MSE) of between an original and an impaired image or
video frame,relative to (2
n
1)
2
(the square of the highest-possible signal value in the image,
where n is the number of bits per image sample).
PSNR
dB
= 10 log
10
(2
n
1)
2
MSE
(2.7)
PSNR can be calculated easily and quickly and is therefore a very popular quality measure,
widely used to compare the ‘quality’ of compressed and decompressed video images,Figure
2.15 shows a close-up of 3 images,the first image (a) is the original and (b) and (c) are
degraded (blurred) versions of the original image,Image (b) has a measured PSNR of 30.6
dB whilst image (c) has a PSNR of 28.3 dB (reflecting the poorer image quality).
VIDEO FORMATS AND QUALITY
24
The PSNR measure suffers from a number of limitations,PSNR requires an unimpaired
original image for comparison but this may not be available in every case and it may not be
easy to verify that an ‘original’ image has perfect fidelity,PSNR does not correlate well with
subjective video quality measures such as those defined in ITU-R 500,For a given image or
image sequence,high PSNR usually indicates high quality and low PSNR usually indicates
low quality,However,a particular value of PSNR does not necessarily equate to an ‘absolute’
subjective quality,For example,Figure 2.16 shows a distorted version of the original image
from Figure 2.15 in which only the background of the image has been blurred,This image has
a PSNR of 27.7 dB relative to the original,Most viewers would rate this image as significantly
better than image (c) in Figure 2.15 because the face is clearer,contradicting the PSNR rating.
This example shows that PSNR ratings do not necessarily correlate with ‘true’ subjective
quality,In this case,a human observer gives a higher importance to the face region and so is
particularly sensitive to distortion in this area.
2.6.2.2 Other Objective Quality Metrics
Because of the limitations of crude metrics such as PSNR,there has been a lot of work in
recent years to try to develop a more sophisticated objective test that more closely approaches
subjective test results,Many different approaches have been proposed [5,6,7] but none of
these has emerged as a clear alternative to subjective tests,As yet there is no standardised,
accurate system for objective (‘automatic’) quality measurement that is suitable for digitally
coded video,In recognition of this,the ITU-T Video Quality Experts Group (VQEG) aim to
develop standards for objective video quality evaluation [8],The first step in this process was to
test and compare potential models for objective evaluation,In March 2000,VQEG reported on
the first round of tests in which ten competing systems were tested under identical conditions.
Unfortunately,none of the ten proposals was considered suitable for standardisation and VQEG
are completing a second round of evaluations in 2003,Unless there is a significant breakthrough
in automatic quality assessment,the problem of accurate objective quality measurement is
likely to remain for some time to come.
2.7 CONCLUSIONS
Sampling analogue video produces a digital video signal,which has the advantages of accuracy,
quality and compatibility with digital media and transmission but which typically occupies a
prohibitively large bitrate,Issues inherent in digital video systems include spatial and temporal
resolution,colour representation and the measurement of visual quality,The next chapter
introduces the basic concepts of video compression,necessary to accommodate digital video
signals on practical storage and transmission media.
2.8 REFERENCES
1,Recommendation ITU-R BT.601-5,Studio encoding parameters of digital television for standard 4:3
and wide-screen 16:9 aspect ratios,ITU-T,1995.
REFERENCES
25
2,N,Wade and M,Swanston,Visual Perception,An Introduction,2nd edition,Psychology Press,
London,2001.
3,R,Aldridge,J,Davidoff,D,Hands,M,Ghanbari and D,E,Pearson,Recency effect in the subjective
assessment of digitally coded television pictures,Proc,Fifth International Conference on Image
Processing and its Applications,Heriot-Watt University,Edinburgh,UK,July 1995.
4,Recommendation ITU-T BT.500-11,Methodology for the subjective assessment of the quality of
television pictures,ITU-T,2002.
5,C,J,van den Branden Lambrecht and O,Verscheure,Perceptual quality measure using a spatio-
temporal model of the Human Visual System,Digital Video Compression Algorithms and Technolo-
gies,Proc,SPIE,2668,San Jose,1996.
6,H,Wu,Z,Yu,S,Winkler and T,Chen,Impairment metrics for MC/DPCM/DCT encoded digital
video,Proc,PCS01,Seoul,April 2001.
7,K,T,Tan and M,Ghanbari,A multi-metric objective picture quality measurement model for MPEG
video,IEEE Trans,Circuits and Systems for Video Technology,10 (7),October 2000.
8,http://www.vqeg.org/ (Video Quality Experts Group).
3
Video Coding Concepts
3.1 INTRODUCTION
compress vb.,to squeeze together or compact into less space; condense
compress noun,the act of compression or the condition of being compressed
Compression is the process of compacting data into a smaller number of bits,Video compres-
sion (video coding) is the process of compacting or condensing a digital video sequence
into a smaller number of bits,‘Raw’ or uncompressed digital video typically requires a
large bitrate (approximately 216 Mbits for 1 second of uncompressed TV-quality video,see
Chapter 2) and compression is necessary for practical storage and transmission of digital
video.
Compression involves a complementary pair of systems,a compressor (encoder) and
a decompressor (decoder),The encoder converts the source data into a compressed form
(occupying a reduced number of bits) prior to transmission or storage and the decoder converts
the compressed form back into a representation of the original video data,The encoder/decoder
pair is often described as a CODEC (enCOder/ DECoder) (Figure 3.1).
Data compression is achieved by removing redundancy,i.e,components that are not nec-
essary for faithful reproduction of the data,Many types of data contain statistical redundancy
and can be effectively compressed using lossless compression,so that the reconstructed data
at the output of the decoder is a perfect copy of the original data,Unfortunately,lossless com-
pression of image and video information gives only a moderate amount of compression,The
best that can be achieved with current lossless image compression standards such as JPEG-LS
[1] is a compression ratio of around 3–4 times,Lossy compression is necessary to achieve
higher compression,In a lossy compression system,the decompressed data is not identical to
the source data and much higher compression ratios can be achieved at the expense of a loss
of visual quality,Lossy video compression systems are based on the principle of removing
subjective redundancy,elements of the image or video sequence that can be removed without
significantly affecting the viewer’s perception of visual quality.
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
VIDEO CODING CONCEPTS
28
enCOder
video source
transmit
or store
DECoder
display
Figure 3.1 Encoder/decoder
temporal correlation
spatial correlation
Figure 3.2 Spatial and temporal correlation in a video sequence
Most video coding methods exploit both temporal and spatial redundancy to achieve
compression,In the temporal domain,there is usually a high correlation (similarity) between
frames of video that were captured at around the same time,Temporally adjacent frames (suc-
cessive frames in time order) are often highly correlated,especially if the temporal sampling
rate (the frame rate) is high,In the spatial domain,there is usually a high correlation between
pixels (samples) that are close to each other,i.e,the values of neighbouring samples are often
very similar (Figure 3.2).
The H.264 and MPEG-4 Visual standards (described in detail in Chapters 5 and 6) share a
number of common features,Both standards assume a CODEC ‘model’ that uses block-based
motion compensation,transform,quantisation and entropy coding,In this chapter we examine
the main components of this model,starting with the temporal model (motion estimation and
compensation) and continuing with image transforms,quantisation,predictive coding and
entropy coding,The chapter concludes with a ‘walk-through’ of the basic model,following
through the process of encoding and decoding a block of image samples.
3.2 VIDEO CODEC
A video CODEC (Figure 3.3) encodes a source image or video sequence into a compressed
form and decodes this to produce a copy or approximation of the source sequence,If the
VIDEO CODEC
29
temporal
model
spatial
model
entropy
encoder
stored
frames
residual
vectors
coefficientsvideo
input
encoded
output
Figure 3.3 Video encoder block diagram
decoded video sequence is identical to the original,then the coding process is lossless; if the
decoded sequence differs from the original,the process is lossy.
The CODEC represents the original video sequence by a model (an efficient coded
representation that can be used to reconstruct an approximation of the video data),Ideally,the
model should represent the sequence using as few bits as possible and with as high a fidelity
as possible,These two goals (compression efficiency and high quality) are usually conflicting,
because a lower compressed bit rate typically produces reduced image quality at the decoder.
This tradeoff between bit rate and quality (the rate-distortion trade off) is discussed further in
Chapter 7.
A video encoder (Figure 3.3) consists of three main functional units,a temporal model,
a spatial model and an entropy encoder,The input to the temporal model is an uncompressed
video sequence,The temporal model attempts to reduce temporal redundancy by exploiting
the similarities between neighbouring video frames,usually by constructing a prediction of
the current video frame,In MPEG-4 Visual and H.264,the prediction is formed from one or
more previous or future frames and is improved by compensating for differences between
the frames (motion compensated prediction),The output of the temporal model is a residual
frame (created by subtracting the prediction from the actual current frame) and a set of model
parameters,typically a set of motion vectors describing how the motion was compensated.
The residual frame forms the input to the spatial model which makes use of similarities
between neighbouring samples in the residual frame to reduce spatial redundancy,In MPEG-4
Visual and H.264 this is achieved by applying a transform to the residual samples and quan-
tizing the results,The transform converts the samples into another domain in which they are
represented by transform coefficients,The coefficients are quantised to remove insignificant
values,leaving a small number of significant coefficients that provide a more compact repre-
sentation of the residual frame,The output of the spatial model is a set of quantised transform
coefficients.
The parameters of the temporal model (typically motion vectors) and the spatial model
(coefficients) are compressed by the entropy encoder,This removes statistical redundancy
in the data (for example,representing commonly-occurring vectors and coefficients by short
binary codes) and produces a compressed bit stream or file that may be transmitted and/or
stored,A compressed sequence consists of coded motion vector parameters,coded residual
coefficients and header information.
The video decoder reconstructs a video frame from the compressed bit stream,The
coefficients and motion vectors are decoded by an entropy decoder after which the spatial
VIDEO CODING CONCEPTS
30
model is decoded to reconstruct a version of the residual frame,The decoder uses the motion
vector parameters,together with one or more previously decoded frames,to create a prediction
of the current frame and the frame itself is reconstructed by adding the residual frame to this
prediction.
3.3 TEMPORAL MODEL
The goal of the temporal model is to reduce redundancy between transmitted frames by forming
a predicted frame and subtracting this from the current frame,The output of this process is
a residual (difference) frame and the more accurate the prediction process,the less energy is
contained in the residual frame,The residual frame is encoded and sent to the decoder which
re-creates the predicted frame,adds the decoded residual and reconstructs the current frame.
The predicted frame is created from one or more past or future frames (‘reference frames’).
The accuracy of the prediction can usually be improved by compensating for motion between
the reference frame(s) and the current frame.
3.3.1 Prediction from the Previous Video Frame
The simplest method of temporal prediction is to use the previous frame as the predictor
for the current frame,Two successive frames from a video sequence are shown in Figure
3.4 and Figure 3.5,Frame 1 is used as a predictor for frame 2 and the residual formed by
subtracting the predictor (frame 1) from the current frame (frame 2) is shown in Figure 3.6.
In this image,mid-grey represents a difference of zero and light or dark greys correspond
to positive and negative differences respectively,The obvious problem with this simple pre-
diction is that a lot of energy remains in the residual frame (indicated by the light and dark
areas) and this means that there is still a significant amount of information to compress after
temporal prediction,Much of the residual energy is due to object movements between the two
frames and a better prediction may be formed by compensating for motion between the two
frames.
3.3.2 Changes due to Motion
Changes between video frames may be caused by object motion (rigid object motion,for
example a moving car,and deformable object motion,for example a moving arm),camera
motion (panning,tilt,zoom,rotation),uncovered regions (for example,a portion of the scene
background uncovered by a moving object) and lighting changes,With the exception of
uncovered regions and lighting changes,these differences correspond to pixel movements
between frames,It is possible to estimate the trajectory of each pixel between successive
video frames,producing a field of pixel trajectories known as the optical flow (optic flow) [2].
Figure 3.7 shows the optical flow field for the frames of Figure 3.4 and Figure 3.5,The complete
field contains a flow vector for every pixel position but for clarity,the field is sub-sampled so
that only the vector for every 2nd pixel is shown.
If the optical flow field is accurately known,it should be possible to form an accu-
rate prediction of most of the pixels of the current frame by moving each pixel from the
TEMPORAL MODEL
31
Figure 3.4 Frame 1
Figure 3.5 Frame 2
Figure 3.6 Difference
reference frame along its optical flow vector,However,this is not a practical method of
motion compensation for several reasons,An accurate calculation of optical flow is very
computationally intensive (the more accurate methods use an iterative procedure for every
pixel) and it would be necessary to send the optical flow vector for every pixel to the decoder
VIDEO CODING CONCEPTS
32
Figure 3.7 Optical flow
in order for the decoder to re-create the prediction frame (resulting in a large amount of
transmitted data and negating the advantage of a small residual).
3.3.3 Block-based Motion Estimation and Compensation
A practical and widely-used method of motion compensation is to compensate for movement
of rectangular sections or ‘blocks’ of the current frame,The following procedure is carried
out for each block of M × N samples in the current frame:
1,Search an area in the reference frame (past or future frame,previously coded and trans-
mitted) to find a ‘matching’ M × N-sample region,This is carried out by comparing the
M × N block in the current frame with some or all of the possible M × N regions in the
search area (usually a region centred on the current block position) and finding the region
that gives the ‘best’ match,A popular matching criterion is the energy in the residual formed
by subtracting the candidate region from the current M × N block,so that the candidate
region that minimises the residual energy is chosen as the best match,This process of
finding the best match is known as motion estimation.
2,The chosen candidate region becomes the predictor for the current M × N block and is
subtracted from the current block to form a residual M × N block (motion compensation).
3,The residual block is encoded and transmitted and the offset between the current block and
the position of the candidate region (motion vector) is also transmitted.
TEMPORAL MODEL
33
10
2 3 4 5
Y Cb Cr
16
16
16
16
8
8
8
8
16x16 region
(colour)
Figure 3.8 Macroblock (4:2:0)
The decoder uses the received motion vector to re-create the predictor region and decodes the
residual block,adds it to the predictor and reconstructs a version of the original block.
Block-based motion compensation is popular for a number of reasons,It is relatively
straightforward and computationally tractable,it fits well with rectangular video frames and
with block-based image transforms (e.g,the Discrete Cosine Transform,see later) and it
provides a reasonably effective temporal model for many video sequences,There are however
a number of disadvantages,for example ‘real’ objects rarely have neat edges that match
rectangular boundaries,objects often move by a fractional number of pixel positions between
frames and many types of object motion are hard to compensate for using block-based methods
(e.g,deformable objects,rotation and warping,complex motion such as a cloud of smoke).
Despite these disadvantages,block-based motion compensation is the basis of the temporal
model used by all current video coding standards.
3.3.4 Motion Compensated Prediction of a Macroblock
The macroblock,corresponding to a 16 × 16-pixel region of a frame,is the basic unit for motion
compensated prediction in a number of important visual coding standards including MPEG-1,
MPEG-2,MPEG-4 Visual,H.261,H.263 and H.264,For source video material in 4:2:0 for-
mat (see Chapter 2),a macroblock is organised as shown in Figure 3.8,A 16 × 16-pixel
region of the source frame is represented by 256 luminance samples (arranged in four
8 × 8-sample blocks),64 blue chrominance samples (one 8 × 8 block) and 64 red chrominance
samples (8 × 8),giving a total of six 8 × 8 blocks,An MPEG-4 Visual or H.264 CODEC
processes each video frame in units of a macroblock.
Motion Estimation
Motion estimation of a macroblock involves finding a 16 × 16-sample region in a reference
frame that closely matches the current macroblock,The reference frame is a previously-
encoded frame from the sequence and may be before or after the current frame in display
order,An area in the reference frame centred on the current macroblock position (the search
area) is searched and the 16 × 16 region within the search area that minimises a matching
criterion is chosen as the ‘best match’ (Figure 3.9).
Motion Compensation
The selected ‘best’ matching region in the reference frame is subtracted from the current
macroblock to produce a residual macroblock (luminance and chrominance) that is encoded
VIDEO CODING CONCEPTS
34
current macroblock
search area
current fram
e
reference frame
best match
Figure 3.9 Motion estimation
and transmitted together with a motion vector describing the position of the best matching
region (relative to the current macroblock position),Within the encoder,the residual is encoded
and decoded and added to the matching region to form a reconstructed macroblock which is
stored as a reference for further motion-compensated prediction,It is necessary to use a
decoded residual to reconstruct the macroblock in order to ensure that encoder and decoder
use an identical reference frame for motion compensation.
There are many variations on the basic motion estimation and compensation process,The
reference frame may be a previous frame (in temporal order),a future frame or a combination
of predictions from two or more previously encoded frames,If a future frame is chosen as the
reference,it is necessary to encode this frame before the current frame (i.e,frames must be
encoded out of order),Where there is a significant change between the reference and current
frames (for example,a scene change),it may be more efficient to encode the macroblock
without motion compensation and so an encoder may choose intra mode (encoding without
motion compensation) or inter mode (encoding with motion compensated prediction) for each
macroblock,Moving objects in a video scene rarely follow ‘neat’ 16 × 16-pixel boundaries and
so it may be more efficient to use a variable block size for motion estimation and compensation.
Objects may move by a fractional number of pixels between frames (e.g,2.78 pixels rather than
2.0 pixels in the horizontal direction) and a better prediction may be formed by interpolating
the reference frame to sub-pixel positions before searching these positions for the best match.
3.3.5 Motion Compensation Block Size
Two successive frames of a video sequence are shown in Figure 3.10 and Figure 3.11,Frame
1 is subtracted from frame 2 without motion compensation to produce a residual frame
Figure 3.10 Frame 1
Figure 3.11 Frame 2
Figure 3.12 Residual (no motion compensation)
VIDEO CODING CONCEPTS
36
Figure 3.13 Residual (16 × 16 block size)
Figure 3.14 Residual (8 × 8 block size)
(Figure 3,12),The energy in the residual is reduced by motion compensating each 16 × 16
macroblock (Figure 3.13),Motion compensating each 8 × 8 block (instead of each 16 × 16
macroblock) reduces the residual energy further (Figure 3.14) and motion compensating each
4 × 4 block gives the smallest residual energy of all (Figure 3.15),These examples show that
smaller motion compensation block sizes can produce better motion compensation results.
However,a smaller block size leads to increased complexity (more search operations must
be carried out) and an increase in the number of motion vectors that need to be transmitted.
Sending each motion vector requires bits to be sent and the extra overhead for vectors may
outweigh the benefit of reduced residual energy,An effective compromise is to adapt the block
size to the picture characteristics,for example choosing a large block size in flat,homogeneous
regions of a frame and choosing a small block size around areas of high detail and complex
TEMPORAL MODEL
37
Figure 3.15 Residual (4 × 4 block size)
motion,H.264 uses an adaptive motion compensation block size (Tree Structured motion
compensation,described in Chapter 6.
3.3.6 Sub-pixel Motion Compensation
Figure 3.16 shows a close-up view of part of a reference frame,In some cases a better motion
compensated prediction may be formed by predicting from interpolated sample positions in
the reference frame,In Figure 3.17,the reference region luma samples are interpolated to half-
samples positions and it may be possible to find a better match for the current macroblock by
searching the interpolated samples,‘Sub-pixel’ motion estimation and compensation
1
involves
searching sub-sample interpolated positions as well as integer-sample positions,choosing the
position that gives the best match (i.e,minimises the residual energy) and using the integer- or
sub-sample values at this position for motion compensated prediction,Figure 3.18 shows the
concept of a ‘quarter-pixel’ motion estimation,In the first stage,motion estimation finds the
best match on the integer sample grid (circles),The encoder searches the half-sample positions
immediately next to this best match (squares) to see whether the match can be improved and if
required,the quarter-sample positions next to the best half-sample position (triangles) are then
searched,The final match (at an integer,half- or quarter-sample position) is subtracted from
the current block or macroblock.
The residual in Figure 3.19 is produced using a block size of 4 × 4 samples using half-
sample interpolation and has lower residual energy than Figure 3.15,This approach may be ex-
tended further by interpolation onto a quarter-sample grid to give a still smaller residual (Figure
3.20),In general,‘finer’ interpolation provides better motion compensation performance (a
smaller residual) at the expense of increased complexity,The performance gain tends to dimin-
ish as the interpolation steps increase,Half-sample interpolation gives a significant gain over
integer-sample motion compensation,quarter-sample interpolation gives a moderate further
improvement,eighth-sample interpolation gives a small further improvement again and so on.
1
The terms ‘sub-pixel’,‘half-pixel’ and ‘quarter-pixel’ are widely used in this context although in fact the process
is usually applied to luma and chroma samples,not pixels.
VIDEO CODING CONCEPTS
38
2 4 6 8 10 12 14 16
2
4
6
8
10
12
14
16
Figure 3.16 Close-up of reference region
5 10 15 20 25 30
5
10
15
20
25
30
Figure 3.17 Reference region interpolated to half-pixel positions
TEMPORAL MODEL
39
Integer search positions
Best integer match
Half-pel search positions
Best half-pel match
Quarter-pel search positions
Best quarter-pel match
Key,
Figure 3.18 Integer,half-pixel and quarter-pixel motion estimation
Figure 3.19 Residual (4 × 4 blocks,half-pixel compensation)
Figure 3.20 Residual (4 × 4 blocks,quarter-pixel compensation)
VIDEO CODING CONCEPTS
40
Table 3.1 SAE of residual frame after motion compensation (16 × 16 block size)
Sequence No motion compensation Integer-pel Half-pel Quarter-pel
‘Violin’,QCIF 171945 153475 128320 113744
‘Grasses’,QCIF 248316 245784 228952 215585
‘Carphone’,QCIF 102418 73952 56492 47780
Figure 3.21 Motion vector map (16 × 16 blocks,integer vectors)
Some examples of the performance achieved by sub-pixel motion estimation and com-
pensation are given in Table 3.1,A motion-compensated reference frame (the previous frame
in the sequence) is subtracted from the current frame and the energy of the residual (approx-
imated by the Sum of Absolute Errors,SAE) is listed in the table,A lower SAE indicates
better motion compensation performance,In each case,sub-pixel motion compensation gives
improved performance compared with integer-sample compensation,The improvement from
integer to half-sample is more significant than the further improvement from half- to quarter-
sample,The sequence ‘Grasses’ has highly complex motion and is particularly difficult to
motion-compensate,hence the large SAE; ‘Violin’ and ‘Carphone’ are less complex and
motion compensation produces smaller SAE values.
TEMPORAL MODEL
41
Figure 3.22 Motion vector map (4 × 4 blocks,quarter-pixel vectors)
Searching for matching 4 × 4 blocks with quarter-sample interpolation is considerably
more complex than searching for 16 × 16 blocks with no interpolation,In addition to the extra
complexity,there is a coding penalty since the vector for every block must be encoded and
transmitted to the receiver in order to reconstruct the image correctly,As the block size is
reduced,the number of vectors that have to be transmitted increases,More bits are required to
represent half- or quarter-sample vectors because the fractional part of the vector (e.g,0.25,0.5)
must be encoded as well as the integer part,Figure 3.21 plots the integer motion vectors that are
required to be transmitted along with the residual of Figure 3.13,The motion vectors required
for the residual of Figure 3.20 (4 × 4 block size) are plotted in Figure 3.22,in which there are 16
times as many vectors,each represented by two fractional numbers DX and DY with quarter-
pixel accuracy,There is therefore a tradeoff in compression efficiency associated with more
complex motion compensation schemes,since more accurate motion compensation requires
more bits to encode the vector field but fewer bits to encode the residual whereas less accurate
motion compensation requires fewer bits for the vector field but more bits for the residual.
3.3.7 Region-based Motion Compensation
Moving objects in a ‘natural’ video scene are rarely aligned neatly along block boundaries
but are likely to be irregular shaped,to be located at arbitrary positions and (in some cases)
to change shape between frames,This problem is illustrated by Figure 3.23,in which the
VIDEO CODING CONCEPTS
42
Problematic
macroblock
Reference frame Current frame
Possible
matching
positions
Figure 3.23 Motion compensation of arbitrary-shaped moving objects
oval-shaped object is moving and the rectangular object is static,It is difficult to find a good
match in the reference frame for the highlighted macroblock,because it covers part of the
moving object and part of the static object,Neither of the two matching positions shown in
the reference frame are ideal.
It may be possible to achieve better performance by motion compensating arbitrary
regions of the picture (region-based motion compensation),For example,if we only attempt
to motion-compensate pixel positions inside the oval object then we can find a good match
in the reference frame,There are however a number of practical difficulties that need to be
overcome in order to use region-based motion compensation,including identifying the region
boundaries accurately and consistently,(segmentation) signalling (encoding) the contour of
the boundary to the decoder and encoding the residual after motion compensation,MPEG-4
Visual includes a number of tools that support region-based compensation and coding and
these are described in Chapter 5.
3.4 IMAGE MODEL
A natural video image consists of a grid of sample values,Natural images are often difficult to
compress in their original form because of the high correlation between neighbouring image
samples,Figure 3.24 shows the two-dimensional autocorrelation function of a natural video
image (Figure 3.4) in which the height of the graph at each position indicates the similarity
between the original image and a spatially-shifted copy of itself,The peak at the centre of the
figure corresponds to zero shift,As the spatially-shifted copy is moved away from the original
image in any direction,the function drops off as shown in the figure,with the gradual slope
indicating that image samples within a local neighbourhood are highly correlated.
A motion-compensated residual image such as Figure 3.20 has an autocorrelation function
(Figure 3.25) that drops off rapidly as the spatial shift increases,indicating that neighbouring
samples are weakly correlated,Efficient motion compensation reduces local correlation in the
residual making it easier to compress than the original video frame,The function of the image
IMAGE MODEL
43
8
6
4
2
100
50
0 0
50
X 10
8
100
Figure 3.24 2D autocorrelation function of image
X 10
5
6
4
2
0
2
20
10
00
10
20
Figure 3.25 2D autocorrelation function of residual
VIDEO CODING CONCEPTS
44
Raster
scan
order
Current pixel
B C
A X
Figure 3.26 Spatial prediction (DPCM)
model is to decorrelate image or residual data further and to convert it into a form that can be
efficiently compressed using an entropy coder,Practical image models typically have three
main components,transformation (decorrelates and compacts the data),quantisation (reduces
the precision of the transformed data) and reordering (arranges the data to group together
significant values).
3.4.1 Predictive Image Coding
Motion compensation is an example of predictive coding in which an encoder creates a pre-
diction of a region of the current frame based on a previous (or future) frame and subtracts
this prediction from the current region to form a residual,If the prediction is successful,the
energy in the residual is lower than in the original frame and the residual can be represented
with fewer bits.
In a similar way,a prediction of an image sample or region may be formed from
previously-transmitted samples in the same image or frame,Predictive coding was used as
the basis for early image compression algorithms and is an important component of H.264
Intra coding (applied in the transform domain,see Chapter 6),Spatial prediction is sometimes
described as ‘Differential Pulse Code Modulation’ (DPCM),a term borrowed from a method
of differentially encoding PCM samples in telecommunication systems.
Figure 3.26 shows a pixel X that is to be encoded,If the frame is processed in raster order,
then pixels A,B and C (neighbouring pixels in the current and previous rows) are available in
both the encoder and the decoder (since these should already have been decoded before X).
The encoder forms a prediction for X based on some combination of previously-coded pixels,
subtracts this prediction from X and encodes the residual (the result of the subtraction),The
decoder forms the same prediction and adds the decoded residual to reconstruct the pixel.
Example
Encoder prediction P(X) = (2A + B + C)/4
Residual R(X) = X – P(X) is encoded and transmitted.
Decoder decodes R(X) and forms the same prediction,P(X) = (2A + B + C)/4
Reconstructed pixel X = R(X) + P(X)
IMAGE MODEL
45
If the encoding process is lossy (e.g,if the residual is quantised – see section 3.4.3) then the
decoded pixels A
prime
,B
prime
and C
prime
may not be identical to the original A,B and C (due to losses
during encoding) and so the above process could lead to a cumulative mismatch (or ‘drift’)
between the encoder and decoder,In this case,the encoder should itself decode the residual
R
prime
(X) and reconstruct each pixel.
The encoder uses decoded pixels A
prime
,B
prime
and C
prime
to form the prediction,i.e,P(X) = (2A
prime
+
B
prime
+ C
prime
)/4 in the above example,In this way,both encoder and decoder use the same prediction
P(X) and drift is avoided.
The compression efficiency of this approach depends on the accuracy of the prediction
P(X),If the prediction is accurate (P(X) is a close approximation of X) then the residual energy
will be small,However,it is usually not possible to choose a predictor that works well for all
areas of a complex image and better performance may be obtained by adapting the predictor
depending on the local statistics of the image (for example,using different predictors for areas
of flat texture,strong vertical texture,strong horizontal texture,etc.),It is necessary for the
encoder to indicate the choice of predictor to the decoder and so there is a tradeoff between
efficient prediction and the extra bits required to signal the choice of predictor.
3.4.2 Transform Coding
3.4.2.1 Overview
The purpose of the transform stage in an image or video CODEC is to convert image or
motion-compensated residual data into another domain (the transform domain),The choice
of transform depends on a number of criteria:
1,Data in the transform domain should be decorrelated (separated into components with
minimal inter-dependence) and compact (most of the energy in the transformed data should
be concentrated into a small number of values).
2,The transform should be reversible.
3,The transform should be computationally tractable (low memory requirement,achievable
using limited-precision arithmetic,low number of arithmetic operations,etc.).
Many transforms have been proposed for image and video compression and the most pop-
ular transforms tend to fall into two categories,block-based and image-based,Examples
of block-based transforms include the Karhunen–Loeve Transform (KLT),Singular Value
Decomposition (SVD) and the ever-popular Discrete Cosine Transform (DCT) [3],Each of
these operate on blocks of N × N image or residual samples and hence the image is processed
in units of a block,Block transforms have low memory requirements and are well-suited to
compression of block-based motion compensation residuals but tend to suffer from artefacts
at block edges (‘blockiness’),Image-based transforms operate on an entire image or frame
(or a large section of the image known as a ‘tile’),The most popular image transform is
the Discrete Wavelet Transform (DWT or just ‘wavelet’),Image transforms such as the DWT
have been shown to out-perform block transforms for still image compression but they tend to
have higher memory requirements (because the whole image or tile is processed as a unit) and
VIDEO CODING CONCEPTS
46
do not ‘fit’ well with block-based motion compensation,The DCT and the DWT both feature
in MPEG-4 Visual (and a variant of the DCT is incorporated in H.264) and are discussed
further in the following sections.
3.4.2.2 DCT
The Discrete Cosine Transform (DCT) operates on X,a block of N × N samples (typi-
cally image samples or residual values after prediction) and creates Y,anN × N block
of coefficients,The action of the DCT (and its inverse,the IDCT) can be described in
terms of a transform matrix A,The forward DCT (FDCT) of an N × N sample block is
given by:
Y = AXA
T
(3.1)
and the inverse DCT (IDCT) by:
X = A
T
YA (3.2)
where X is a matrix of samples,Y is a matrix of coefficients and A is an N × N transform
matrix,The elements of A are:
A
ij
= C
i
cos
(2 j + 1)iπ
2N
where C
i
=
radicalbigg
1
N
(i = 0),C
i
=
radicalbigg
2
N
(i > 0) (3.3)
Equation 3.1 and equation 3.2 may be written in summation form:
Y
xy
= C
x
C
y
N?1
summationdisplay
i=0
N?1
summationdisplay
j=0
X
ij
cos
(2 j + 1)yπ
2N
cos
(2i + 1)xπ
2N
(3.4)
X
ij
=
N?1
summationdisplay
x=0
N?1
summationdisplay
y=0
C
x
C
y
Y
xy
cos
(2 j + 1)yπ
2N
cos
(2i + 1)xπ
2N
(3.5)
Example,N = 4
The transform matrix A fora4× 4 DCT is:
A =
1
2
cos (0)
1
2
cos (0)
1
2
cos (0)
1
2
cos (0)
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
5π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
7π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
2π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
6π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
10π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
14π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
9π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
15π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
21π
8
parenrightbigg
(3.6)
IMAGE MODEL
47
The cosine function is symmetrical and repeats after 2π radians and henceAcan be simplified
to:
A =
1
2
1
2
1
2
1
2
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
1
2
1
2
1
2
1
2
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
(3.7)
or
A =
aaaa
bc?c?b
a?a?aa
c?bbc
where
a =
1
2
b =
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
c =
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
(3.8)
Evaluating the cosines gives:
A =
0.50.50.50.5
0.653 0.271 0.271?0.653
0.5?0.5?0.50.5
0.271?0.653?0.653 0.271
The output of a two-dimensional FDCT is a set of N × N coefficients representing the image
block data in the DCT domain and these coefficients can be considered as ‘weights’ of a set
of standard basis patterns,The basis patterns for the 4 × 4 and 8 × 8 DCTs are shown in
Figure 3.27 and Figure 3.28 respectively and are composed of combinations of horizontal and
vertical cosine functions,Any image block may be reconstructed by combining all N × N
basis patterns,with each basis multiplied by the appropriate weighting factor (coefficient).
Example 1 Calculating the DCT of a 4 × 4 block
X is 4 × 4 block of samples from an image:
j = 0123
i= 0 5 11 8 10
1 9 8412
2 1 10 11 4
3 19 6 15 7
VIDEO CODING CONCEPTS
48
Figure 3.27 4 × 4 DCT basis patterns
Figure 3.28 8 × 8 DCT basis patterns
IMAGE MODEL
49
The Forward DCT of X is given by,Y=AXA
T
,The first matrix multiplication,Y
prime
=AX,cor-
responds to calculating the one-dimensional DCT of each column of X,For example,Y
prime
00
is
calculated as follows:
Y
prime
00
= A
00
X
00
+ A
01
X
10
+ A
02
X
20
+ A
03
X
30
= (0.5? 5) + (0.5? 9) + (0.5? 1)
+ (0.5? 19) = 17.0
The complete result of the column calculations is:
Y
prime
= AX =
17 17.51916.5
6.981 2.725?6.467 4.125
7?0.540.5
9.015 2.660 2.679?4.414
Carrying out the second matrix multiplication,Y = Y
prime
A
T
,is equivalent to carrying out a 1-D DCT
on each row of Y
prime
:
Y = AXA
T
=
35.0?0.079?1.51.115
3.299?4.768 0.443?9.010
5.53.029 2.04.699
4.045?3.010?9.384?1.232
(Note,the order of the row and column calculations does not affect the final result).
Example 2 Image block and DCT coefficients
Figure 3.29 shows an image with a 4 × 4 block selected and Figure 3.30 shows the block in
close-up,together with the DCT coefficients,The advantage of representing the block in the DCT
domain is not immediately obvious since there is no reduction in the amount of data; instead of
16 pixel values,we need to store 16 DCT coefficients,The usefulness of the DCT becomes clear
when the block is reconstructed from a subset of the coefficients.
Figure 3.29 Image section showing 4 × 4 block
VIDEO CODING CONCEPTS
50
75
80
98
126
114
137
151
159
88
176
181
178
68
156
181
181
537.2537.2
-106.1
-42.7
-20.2
-76.0
35.0
46.5
12.9
-12.7
10.3
3.9
-7.8
-6.1
-9.8
-8.5
Original block
-54.8
DCT coefficients
Figure 3.30 Close-up of 4 × 4 block; DCT coefficients
Setting all the coefficients to zero except the most significant (coefficient 0,0,described as
the ‘DC’ coefficient) and performing the IDCT gives the output block shown in Figure 3.31(a),the
mean of the original pixel values,Calculating the IDCT of the two most significant coefficients
gives the block shown in Figure 3.31(b),Adding more coefficients before calculating the IDCT
produces a progressively more accurate reconstruction of the original block and by the time five
coefficients are included (Figure 3.31(d)),the reconstructed block is a reasonably close match to
the original,Hence it is possible to reconstruct an approximate copy of the block from a subset of
the 16 DCT coefficients,Removing the coefficients with insignificant magnitudes (for example
by quantisation,see Section 3.4.3) enables image data to be represented with a reduced number
of coefficient values at the expense of some loss of quality.
3.4.2.3 Wavelet
The popular ‘wavelet transform’ (widely used in image compression is based on sets of filters
with coefficients that are equivalent to discrete wavelet functions [4],The basic operation of a
discrete wavelet transform is as follows,applied to a discrete signal containing N samples,A
pair of filters are applied to the signal to decompose it into a low frequency band (L) and a high
frequency band (H),Each band is subsampled by a factor of two,so that the two frequency
bands each contain N/2 samples,With the correct choice of filters,this operation is reversible.
This approach may be extended to apply to a two-dimensional signal such as an intensity
image (Figure 3.32),Each row of a 2D image is filtered with a low-pass and a high-pass
filter (L
x
and H
x
) and the output of each filter is down-sampled by a factor of two to produce
the intermediate images L and H,L is the original image low-pass filtered and downsampled
in the x-direction and H is the original image high-pass filtered and downsampled in the x-
direction,Next,each column of these new images is filtered with low- and high-pass filters
(L
y
and H
y
) and down-sampled by a factor of two to produce four sub-images (LL,LH,HL
and HH),These four ‘sub-band’ images can be combined to create an output image with the
same number of samples as the original (Figure 3.33),‘LL’ is the original image,low-pass
filtered in horizontal and vertical directions and subsampled by a factor of 2,‘HL’ is high-pass
filtered in the vertical direction and contains residual vertical frequencies,‘LH’ is high-pass
filtered in the horizontal direction and contains residual horizontal frequencies and ‘HH’ is
high-pass filtered in both horizontal and vertical directions,Between them,the four subband
IMAGE MODEL
51
134
134
134
134
134
134
134
134
134
134
134
134
134
134
134
134
100
120
149
169
100
120
149
169
100
120
149
169
100
120
149
169
75
95
124
144
89
110
138
159
110
130
159
179
124
145
173
194
1 coefficient
(a) (b)
(c) (d)
2 coefficients
5 coefficients
76
66
95
146
109
117
146
179
117
150
179
187
96
146
175
165
3 coefficients
Figure 3.31 Block reconstructed from (a) one,(b) two,(c) three,(d) five coefficients
images contain all of the information present in the original image but the sparse nature of the
LH,HL and HH subbands makes them amenable to compression.
In an image compression application,the two-dimensional wavelet decomposition de-
scribed above is applied again to the ‘LL’ image,forming four new subband images,The
resulting low-pass image (always the top-left subband image) is iteratively filtered to create
a tree of subband images,Figure 3.34 shows the result of two stages of this decomposi-
tion and Figure 3.35 shows the result of five stages of decomposition,Many of the samples
(coefficients) in the higher-frequency subband images are close to zero (near-black) and it is
possible to achieve compression by removing these insignificant coefficients prior to trans-
mission,At the decoder,the original image is reconstructed by repeated up-sampling,filtering
and addition (reversing the order of operations shown in Figure 3.32).
3.4.3 Quantisation
A quantiser maps a signal with a range of values X to a quantised signal with a reduced range
of values Y,It should be possible to represent the quantised signal with fewer bits than the
original since the range of possible values is smaller,A scalar quantiser maps one sample of
the input signal to one quantised output value and a vector quantiser maps a group of input
samples (a ‘vector’) to a group of quantised values.
VIDEO CODING CONCEPTS
52
Lx
Hx
Ly
Hy
Ly
Hy
down-
sample
down-
sample
down-
sample
down-
sample
down-
sample
down-
sample
LL
LH
HL
HH
L
H
Figure 3.32 Two-dimensional wavelet decomposition process
LL
HL
LH
HH
Figure 3.33 Image after one level of decomposition
3.4.3.1 Scalar Quantisation
A simple example of scalar quantisation is the process of rounding a fractional number to the
nearest integer,i.e,the mapping is from R to Z,The process is lossy (not reversible) since it is
not possible to determine the exact value of the original fractional number from the rounded
integer.
IMAGE MODEL
53
Figure 3.34 Two-stage wavelet decomposition of image
Figure 3.35 Five-stage wavelet decomposition of image
A more general example of a uniform quantiser is:
FQ = round
parenleftbigg
X
QP
parenrightbigg
Y = FQ.QP
(3.9)
VIDEO CODING CONCEPTS
54
where QP is a quantisation ‘step size’,The quantised output levels are spaced at uniform
intervals of QP (as shown in the following example).
Example Y = QP.round(X/QP)
Y
X QP = 1 QP = 2 QP = 3 QP = 5
4?4?4?3?5
3?3?2?3?5
2?2?2?30
1?1000
00000
11000
22230
33235
44435
55465
66665
77665
888910
998910
10 10 10 9 10
11 11 10 12 10
······
Figure 3.36 shows two examples of scalar quantisers,a linear quantiser (with a linear
mapping between input and output values) and a nonlinear quantiser that has a ‘dead zone’
about zero (in which small-valued inputs are mapped to zero).
IMAGE MODEL
55
1 243
-1-2- 3-4
1
2
3
4
-2
-1
-3
-4
Output
0
Input
1 2 3 4
-1-2-3-4
1
2
3
4
-1
-2
-3
Output
0
dead
zone
-4
linear
nonlinear
Input
Figure 3.36 Scalar quantisers,linear; nonlinear with dead zone
In image and video compression CODECs,the quantisation operation is usually made up
of two parts,a forward quantiser FQ in the encoder and an ‘inverse quantiser’ or (IQ) in the de-
coder (in fact quantization is not reversible and so a more accurate term is ‘scaler’ or ‘rescaler’).
A critical parameter is the step size QP between successive re-scaled values,If the step size
is large,the range of quantised values is small and can therefore be efficiently represented
(highly compressed) during transmission,but the re-scaled values are a crude approximation
to the original signal,If the step size is small,the re-scaled values match the original signal
more closely but the larger range of quantised values reduces compression efficiency.
Quantisation may be used to reduce the precision of image data after applying a transform
such as the DCT or wavelet transform removing remove insignificant values such as near-zero
DCT or wavelet coefficients,The forward quantiser in an image or video encoder is designed
to map insignificant coefficient values to zero whilst retaining a reduced number of significant,
nonzero coefficients,The output of a forward quantiser is typically a ‘sparse’ array of quantised
coefficients,mainly containing zeros.
3.4.3.2 Vector Quantisation
A vector quantiser maps a set of input data (such as a block of image samples) to a single value
(codeword) and,at the decoder,each codeword maps to an approximation to the original set of
input data (a ‘vector’),The set of vectors are stored at the encoder and decoder in a codebook.
A typical application of vector quantisation to image compression [5] is as follows:
1,Partition the original image into regions (e.g,M × N pixel blocks).
2,Choose a vector from the codebook that matches the current region as closely as possible.
3,Transmit an index that identifies the chosen vector to the decoder.
4,At the decoder,reconstruct an approximate copy of the region using the selected vector.
A basic system is illustrated in Figure 3.37,Here,quantisation is applied in the spatial domain
(i.e,groups of image samples are quantised as vectors) but it could equally be applied to
VIDEO CODING CONCEPTS
56
Find best
match
Codebook
Vector 1
Vector 2
...
Vector N
Look up
Codebook
Vector 1
Vector 2
...
Vector N
Input
block
Output
block
Encoder Decoder
Transmit
code index
Figure 3.37 Vector quantisation
motion compensated and/or transformed data,Key issues in vector quantiser design include
the design of the codebook and efficient searching of the codebook to find the optimal
vector.
3.4.4 Reordering and Zero Encoding
Quantised transform coefficients are required to be encoded as compactly as possible prior
to storage and transmission,In a transform-based image or video encoder,the output of
the quantiser is a sparse array containing a few nonzero coefficients and a large number of
zero-valued coefficients,Reordering (to group together nonzero coefficients) and efficient
representation of zero coefficients are applied prior to entropy encoding,These processes are
described for the DCT and wavelet transform.
3.4.4.1 DCT
Coefficient Distribution
The significant DCT coefficients of a block of image or residual samples are typically the
‘low frequency’ positions around the DC (0,0) coefficient,Figure 3.38 plots the probability
of nonzero DCT coefficients at each position in an 8 × 8 block in a QCIF residual frame
(Figure 3.6),The nonzero DCT coefficients are clustered around the top-left (DC) coefficient
and the distribution is roughly symmetrical in the horizontal and vertical directions,For a
residual field (Figure 3.39),Figure 3.40 plots the probability of nonzero DCT coefficients;
here,the coefficients are clustered around the DC position but are ‘skewed’,i.e,more nonzero
IMAGE MODEL
57
1 2 3 4 5 6 7 8
1
2
3
4
5
6
7
8
Figure 3.38 8 × 8 DCT coefficient distribution (frame)
Figure 3.39 Residual field picture
coefficients occur along the left-hand edge of the plot,This is because the field picture has a
stronger high-frequency component in the vertical axis (due to the subsampling in the vertical
direction) resulting in larger DCT coefficients corresponding to vertical frequencies (refer to
Figure 3.27).
Scan
After quantisation,the DCT coefficients for a block are reordered to group together nonzero
coefficients,enabling efficient representation of the remaining zero-valued quantised coeffi-
cients,The optimum reordering path (scan order) depends on the distribution of nonzero DCT
coefficients,For a typical frame block with a distribution similar to Figure 3.38,a suitable
scan order is a zigzag starting from the DC (top-left) coefficient,Starting with the DC coef-
ficient,each quantised coefficient is copied into a one-dimensional array in the order shown
in Figure 3.41,Nonzero coefficients tend to be grouped together at the start of the reordered
array,followed by long sequences of zeros.
VIDEO CODING CONCEPTS
58
1 2 3 4 5 6 7 8
1
2
3
4
5
6
7
8
Figure 3.40 8 × 8 DCT coefficient distribution (field)
The zig-zag scan may not be ideal for a field block because of the skewed coefficient
distribution (Figure 3.40) and a modified scan order such as Figure 3.42 may be more effective,
in which coefficients on the left-hand side of the block are scanned before those on the right-
hand side.
Run-Level Encoding
The output of the reordering process is an array that typically contains one or more clusters
of nonzero coefficients near the start,followed by strings of zero coefficients,The large
number of zero values may be encoded to represent them more compactly,for example
by representing the array as a series of (run,level) pairs where run indicates the number
of zeros preceding a nonzero coefficient and level indicates the magnitude of the nonzero
coefficient.
Example
Input array,16,0,0,?3,5,6,0,0,0,0,?7,...
Output values,(0,16),(2,?3),(0,5),(0,6),(4,?7)...
Each of these output values (a run-level pair) is encoded as a separate symbol by the entropy
encoder.
Higher-frequency DCT coefficients are very often quantised to zero and so a reordered
block will usually end in a run of zeros,A special case is required to indicate the final
nonzero coefficient in a block,In so-called ‘Two-dimensional’ run-level encoding is used,
each run-level pair is encoded as above and a separate code symbol,‘last’,indicates the end of
the nonzero values,If ‘Three-dimensional’ run-level encoding is used,each symbol encodes
IMAGE MODEL
59
Figure 3.41 Zigzag scan order (frame block)
start
etc.
end
Figure 3.42 Zigzag scan order (field block)
three quantities,run,level and last,In the example above,if –7 is the final nonzero coefficient,
the 3D values are:
(0,16,0),(2,?3,0),(0,5,0),(0,6,0),(4,?7,1)
The 1 in the final code indicates that this is the last nonzero coefficient in the block.
3.4.4.2 Wavelet
Coefficient Distribution
Figure 3.35 shows a typical distribution of 2D wavelet coefficients,Many coefficients in
higher sub-bands (towards the bottom-right of the figure) are near zero and may be quantised
VIDEO CODING CONCEPTS
60
Layer 1 Layer 2
Figure 3.43 Wavelet coefficient and ‘children’
to zero without significant loss of image quality,Nonzero coefficients tend to correspond to
structures in the image; for example,the violin bow appears as a clear horizontal structure in
all the horizontal and diagonal subbands,When a coefficient in a lower-frequency subband is
nonzero,there is a strong probability that coefficients in the corresponding position in higher-
frequency subbands will also be nonzero,We may consider a ‘tree’ of nonzero quantised
coefficients,starting with a ‘root’ in a low-frequency subband,Figure 3.43 illustrates this
concept,A single coefficient in the LL band of layer 1 has one corresponding coefficient in
each of the other bands of layer 1 (i.e,these four coefficients correspond to the same region
in the original image),The layer 1 coefficient position maps to four corresponding child
coefficient positions in each subband at layer 2 (recall that the layer 2 subbands have twice
the horizontal and vertical resolution of the layer 1 subbands).
Zerotree Encoding
It is desirable to encode the nonzero wavelet coefficients as compactly as possible prior to
entropy coding [6],An efficient way of achieving this is to encode each tree of nonzero
coefficients starting from the lowest (root) level of the decomposition,A coefficient at the
lowest layer is encoded,followed by its child coefficients at the next higher layer,and so
on,The encoding process continues until the tree reaches a zero-valued coefficient,Further
children of a zero valued coefficient are likely to be zero themselves and so the remaining
children are represented by a single code that identifies a tree of zeros (zerotree),The decoder
reconstructs the coefficient map starting from the root of each tree; nonzero coefficients are
decoded and reconstructed and when a zerotree code is reached,all remaining ‘children’ are
set to zero,This is the basis of the embedded zero tree (EZW) method of encoding wavelet
coefficients,An extra possibility is included in the encoding process,where a zero coefficient
may be followed by (a) a zero tree (as before) or (b) a nonzero child coefficient,Case (b) does
not occur very often but reconstructed image quality is slightly improved by catering for the
occasional occurrences of case (b).
ENTROPY CODER
61
3.5 ENTROPY CODER
The entropy encoder converts a series of symbols representing elements of the video sequence
into a compressed bitstream suitable for transmission or storage,Input symbols may include
quantised transform coefficients (run-level or zerotree encoded as described in Section 3.4.4),
motion vectors (an x and y displacement vector for each motion-compensated block,with
integer or sub-pixel resolution),markers (codes that indicate a resynchronisation point in
the sequence),headers (macroblock headers,picture headers,sequence headers,etc.) and
supplementary information (‘side’ information that is not essential for correct decoding).
In this section we discuss methods of predictive pre-coding (to exploit correlation in local
regions of the coded frame) followed by two widely-used entropy coding techniques,‘modified
Huffman’ variable length codes and arithmetic coding.
3.5.1 Predictive Coding
Certain symbols are highly correlated in local regions of the picture,For example,the average
or DC value of neighbouring intra-coded blocks of pixels may be very similar; neighbouring
motion vectors may have similar x and y displacements and so on,Coding efficiency may be
improved by predicting elements of the current block or macroblock from previously-encoded
data and encoding the difference between the prediction and the actual value.
The motion vector for a block or macroblock indicates the offset to a prediction reference
in a previously-encoded frame,Vectors for neighbouring blocks or macroblocks are often
correlated because object motion may extend across large regions of a frame,This is especially
true for small block sizes (e.g,4 × 4 block vectors,see Figure 3.22) and/or large moving
objects,Compression of the motion vector field may be improved by predicting each motion
vector from previously-encoded vectors,A simple prediction for the vector of the current
macroblock X is the horizontally adjacent macroblock A (Figure 3.44),alternatively three or
more previously-coded vectors may be used to predict the vector at macroblock X (e.g,A,B
and C in Figure 3.44),The difference between the predicted and actual motion vector (Motion
Vector Difference or MVD) is encoded and transmitted.
The quantisation parameter or quantiser step size controls the tradeoff between com-
pression efficiency and image quality,In a real-time video CODEC it may be necessary
to modify the quantisation within an encoded frame (for example to alter the compres-
sion ratio in order to match the coded bit rate to a transmission channel rate),It is usually
A
B
X
C
Figure 3.44 Motion vector prediction candidates
VIDEO CODING CONCEPTS
62
sufficient (and desirable) to change the parameter only by a small amount between suc-
cessive coded macroblocks,The modified quantisation parameter must be signalled to the
decoder and instead of sending a new quantisation parameter value,it may be preferable to
send a delta or difference value (e.g,±1or±2) indicating the change required,Fewer bits
are required to encode a small delta value than to encode a completely new quantisation
parameter.
3.5.2 Variable-length Coding
A variable-length encoder maps input symbols to a series of codewords (variable length
codes or VLCs),Each symbol maps to a codeword and codewords may have varying length
but must each contain an integral number of bits,Frequently-occurring symbols are rep-
resented with short VLCs whilst less common symbols are represented with long VLCs.
Over a sufficiently large number of encoded symbols this leads to compression of the
data.
3.5.2.1 Huffman Coding
Huffman coding assigns a VLC to each symbol based on the probability of occurrence of
different symbols,According to the original scheme proposed by Huffman in 1952 [7],it is
necessary to calculate the probability of occurrence of each symbol and to construct a set of
variable length codewords,This process will be illustrated by two examples.
Example 1,Huffman coding,sequence 1 motion vectors
The motion vector difference data (MVD) for a video sequence (‘sequence 1’) is required to be
encoded,Table 3.2 lists the probabilities of the most commonly-occurring motion vectors in the
encoded sequence and their information content,log
2
(1/p),To achieve optimum compression,
each value should be represented with exactly log
2
(1/p) bits,‘0’ is the most common value and
the probability drops for larger motion vectors (this distribution is representative of a sequence
containing moderate motion).
Table 3.2 Probability of occurrence of motion vectors
in sequence 1
Vector Probability p log2(1/p)
2 0.1 3.32
1 0.2 2.32
0 0.4 1.32
1 0.2 2.32
2 0.1 3.32
ENTROPY CODER
63
-2
2
A
p=0.1
p=0.1
p=0.2
-1
1
p=0.2
p=0.2
B p=0.4
C
0
0 p=0.4
D p=1.0
0
0
0
1
1
1
1
Figure 3.45 Generating the Huffman code tree,sequence 1 motion vectors
1,Generating the Huffman Code Tree
To generate a Huffman code table for this set of data,the following iterative procedure is carried
out:
1,Order the list of data in increasing order of probability.
2,Combine the two lowest-probability data items into a ‘node’ and assign the joint probability
of the data items to this node.
3,Re-order the remaining data items and node(s) in increasing order of probability and repeat
step 2.
The procedure is repeated until there is a single ‘root’ node that contains all other nodes and data
items listed ‘beneath’ it,This procedure is illustrated in Figure 3.45.
Original list,The data items are shown as square boxes,Vectors (?2) and (+2) have the
lowest probability and these are the first candidates for merging to form
node ‘A’.
Stage 1,The newly-created node ‘A’ (shown as a circle) has a probability of 0.2
(from the combined probabilities of (?2) and (2)),There are now three items
with probability 0.2,Choose vectors (?1) and (1) and merge to form
node ‘B’.
Stage 2,A now has the lowest probability (0.2) followed by B and the vector 0;
choose A and B as the next candidates for merging (to form ‘C’).
Stage 3,Node C and vector (0) are merged to form ‘D’.
Final tree,The data items have all been incorporated into a binary ‘tree’ containing five
data values and four nodes,Each data item is a ‘leaf’ of the tree.
2,Encoding
Each ‘leaf’ of the binary tree is mapped to a variable-length code,To find this code,the tree is
traversed from the root node (D in this case) to the leaf (data item),For every branch,a 0 or 1
VIDEO CODING CONCEPTS
64
Table 3.3 Huffman codes for sequence 1
motion vectors
Vector Code Bits (actual) Bits (ideal)
0 1 1 1.32
1 011 3 2.32
1 010 3 2.32
2 001 3 3.32
2 000 3 3.32
Table 3.4 Probability of occurrence
of motion vectors in sequence 2
Vector Probability log
2
(1/p)
2 0.02 5.64
1 0.07 3.84
0 0.8 0.32
1 0.08 3.64
2 0.03 5.06
is appended to the code,0 for an upper branch,1 for a lower branch (shown in the final tree of
Figure 3.45),giving the following set of codes (Table 3.3).
Encoding is achieved by transmitting the appropriate code for each data item,Note that once
the tree has been generated,the codes may be stored in a look-up table.
High probability data items are assigned short codes (e.g,1 bit for the most common vector
‘0’),However,the vectors (?2,2,?1,1) are each assigned three-bit codes (despite the fact that
–1 and 1 have higher probabilities than –2 and 2),The lengths of the Huffman codes (each an
integral number of bits) do not match the ideal lengths given by log
2
(1/p),No code contains any
other code as a prefix which means that,reading from the left-hand bit,each code is uniquely
decodable.
For example,the series of vectors (1,0,?2) would be transmitted as the binary sequence
0111000.
3,Decoding
In order to decode the data,the decoder must have a local copy of the Huffman code tree (or
look-up table),This may be achieved by transmitting the look-up table itself or by sending the
list of data and probabilities prior to sending the coded data,Each uniquely-decodeable code is
converted back to the original data,for example:
011 is decoded as (1)
1 is decoded as (0)
000 is decoded as (?2).
Example 2,Huffman coding,sequence 2 motion vectors
Repeating the process described above for a second sequence with a different distribution of
motion vector probabilities gives a different result,The probabilities are listed in Table 3.4 and
note that the zero vector is much more likely to occur in this example (representative of a sequence
with little movement).
ENTROPY CODER
65
Table 3.5 Huffman codes for sequence 2
motion vectors
Vector Code Bits (actual) Bits (ideal)
0 1 1 0.32
1 01 2 3.64
1 001 3 3.84
2 0001 4 5.06
2 0000 4 5.64
-2
2
A
p=0.02
p=0.03
p=0.05
-1
1
p=0.07
p=0.08
0 p=0.8
0
1
B p=0.12
C p=0.2
D p=1.0
0
0
0
1
1
1
Figure 3.46 Huffman tree for sequence 2 motion vectors
The corresponding Huffman tree is given in Figure 3.46,The ‘shape’ of the tree has changed
(because of the distribution of probabilities) and this gives a different set of Huffman codes (shown
in Table 3.5),There are still four nodes in the tree,one less than the number of data items (five),
as is always the case with Huffman coding.
If the probability distributions are accurate,Huffman coding provides a relatively compact
representation of the original data,In these examples,the frequently occurring (0) vector is
represented efficiently as a single bit,However,to achieve optimum compression,a separate
code table is required for each of the two sequences because of their different probability
distributions,The loss of potential compression efficiency due to the requirement for integral-
length codes is very clear for vector ‘0’ in sequence 2,since the optimum number of bits
(information content) is 0.32 but the best that can be achieved with Huffman coding is 1 bit.
3.5.2.2 Pre-calculated Huffman-based Coding
The Huffman coding process has two disadvantages for a practical video CODEC,First,the
decoder must use the same codeword set as the encoder,Transmitting the information contained
in the probability table to the decoder would add extra overhead and reduce compression
VIDEO CODING CONCEPTS
66
Table 3.6 MPEG-4 Visual Transform Coefficient
(TCOEF) VLCs (partial,all codes <9 bits)
Last Run Level Code
0 0 1 10s
0 1 1 110s
0 2 1 1110s
0 0 2 1111s
1 0 1 0111s
0 3 1 01101s
0 4 1 01100s
0 5 1 01011s
0 0 3 010101s
0 1 2 010100s
0 6 1 010011s
0 7 1 010010s
0 8 1 010001s
0 9 1 010000s
1 1 1 001111s
1 2 1 001110s
1 3 1 001101s
1 4 1 001100s
0 0 4 0010111s
0 10 1 0010110s
0 11 1 0010101s
0 12 1 0010100s
1 5 1 0010011s
1 6 1 0010010s
1 7 1 0010001s
1 8 1 0010000s
ESCAPE 0000011s
··· ··· ··· ···
efficiency,particularly for shorter video sequences,Second,the probability table for a large
video sequence (required to generate the Huffman tree) cannot be calculated until after the
video data is encoded which may introduce an unacceptable delay into the encoding process.
For these reasons,recent image and video coding standards define sets of codewords based
on the probability distributions of ‘generic’ video material,The following two examples of
pre-calculated VLC tables are taken from MPEG-4 Visual (Simple Profile).
Transform Coefficients (TCOEF)
MPEG-4 Visual uses 3D coding of quantised coefficients in which each codeword represents
a combination of (run,level,last),A total of 102 specific combinations of (run,level,last)
have VLCs assigned to them and 26 of these codes are shown in Table 3.6.
A further 76 VLCs are defined,each up to 13 bits long,The last bit of each codeword is
the sign bit ‘s’,indicating the sign of the decoded coefficient (0 = positive,1 = negative),Any
(run,level,last) combination that is not listed in the table is coded using an escape sequence,a
special ESCAPE code (0000011) followed by a 13-bit fixed length code describing the values
of run,level and last.
ENTROPY CODER
67
Table 3.7 MPEG4 Motion Vector
Difference (MVD) VLCs
MVD Code
01
+0.5 010
0.5 011
+1 0010
1 0011
+1.5 00010
1.5 00011
+2 0000110
2 0000111
+2.5 00001010
2.5 00001011
+3 00001000
3 00001001
+3.5 00000110
3.5 00000111
··· ···
Some of the codes shown in Table 3.6 are represented in ‘tree’ form in Figure 3.47,A
codeword containing a run of more than eight zeros is not valid,hence any codeword starting
with 000000000.,,indicates an error in the bitstream (or possibly a start code,which begins
with a long sequence of zeros,occurring at an unexpected position in the sequence),All other
sequences of bits can be decoded as valid codes,Note that the smallest codes are allocated to
short runs and small levels (e.g,code ‘10’ represents a run of 0 and a level of ±1),since these
occur most frequently.
Motion Vector Difference (MVD)
Differentially coded motion vectors (MVD) are each encoded as a pair of VLCs,one for the
x-component and one for the y-component,Part of the table of VLCs is shown in Table 3.7.
A further 49 codes (8–13 bits long) are not shown here,Note that the shortest codes represent
small motion vector differences (e.g,MVD = 0 is represented by a single bit code ‘1’).
These code tables are clearly similar to ‘true’ Huffman codes since each symbol is as-
signed a unique codeword,common symbols are assigned shorter codewords and,within a
table,no codeword is the prefix of any other codeword,The main differences from ‘true’
Huffman coding are (1) the codewords are pre-calculated based on ‘generic’ probability dis-
tributions and (b) in the case of TCOEF,only 102 commonly-occurring symbols have defined
codewords with any other symbol encoded using a fixed-length code.
3.5.2.3 Other Variable-length Codes
As well as Huffman and Huffman-based codes,a number of other families of VLCs are of
potential interest in video coding applications,One serious disadvantage of Huffman-based
codes for transmission of coded data is that they are sensitive to transmission errors,An
VIDEO CODING CONCEPTS
68
10 (0,0,1)
110 (0,1,1)
1110 (0,2,1)
1111 (0,0,2)
0111 (1,0,1)
01100 (0,4,1)
01101 (0,3,1)
01011 (0,5,1)
010101 (0,0,3)
010100 (0,1,2)
010011 (0,6,1)
010010 (0,7,1)
010001 (0,8,1)
010000 (0,9,1)
..,19 codes
..,17 codes
0000011 (escape)
...
24 codes
...
8 codes
...
4 codes
...
4 codes
000000000X (error)
0
1
0
1
0
1
Start
..,12 codes
Figure 3.47 MPEG4 TCOEF VLCs (partial)
error in a sequence of VLCs may cause a decoder to lose synchronisation and fail to decode
subsequent codes correctly,leading to spreading or propagation of an error in a decoded
sequence,Reversible VLCs (RVLCs) that can be successfully decoded in either a forward or
a backward direction can improve decoding performance when errors occur (see Section 5.3).
A drawback of pre-defined code tables (such as Table 3.6 and Table 3.7) is that both encoder
and decoder must store the table in some form,An alternative approach is to use codes that
ENTROPY CODER
69
can be generated automatically (‘on the fly’) if the input symbol is known,Exponential
Golomb codes (Exp-Golomb) fall into this category and are described in Chapter 6.
3.5.3 Arithmetic Coding
The variable length coding schemes described in Section 3.5.2 share the fundamental dis-
advantage that assigning a codeword containing an integral number of bits to each symbol
is sub-optimal,since the optimal number of bits for a symbol depends on the information
content and is usually a fractional number,Compression efficiency of variable length codes
is particularly poor for symbols with probabilities greater than 0.5 as the best that can be
achieved is to represent these symbols with a single-bit code.
Arithmetic coding provides a practical alternative to Huffman coding that can more
closely approach theoretical maximum compression ratios [8],An arithmetic encoder converts
a sequence of data symbols into a single fractional number and can approach the optimal
fractional number of bits required to represent each symbol.
Example
Table 3.8 lists the five motion vector values (?2,?1,0,1,2) and their probabilities from Example
1 in Section 3.5.2.1,Each vector is assigned a sub-range within the range 0.0 to 1.0,depending
on its probability of occurrence,In this example,(?2) has a probability of 0.1 and is given the
subrange 0–0.1 (i.e,the first 10% of the total range 0 to 1.0),(?1) has a probability of 0.2 and
is given the next 20% of the total range,i.e,the subrange 0.1?0.3,After assigning a sub-range
to each vector,the total range 0–1.0 has been divided amongst the data symbols (the vectors)
according to their probabilities (Figure 3.48).
Table 3.8 Motion vectors,sequence 1:
probabilities and sub-ranges
Vector Probability log
2
(1/P) Sub-range
2 0.1 3.32 0–0.1
1 0.2 2.32 0.1–0.3
0 0.4 1.32 0.3–0.7
1 0.2 2.32 0.7–0.9
2 0.1 3.32 0.9–1.0
0 10.1 0.3 0.7 0.9
Total range
(-2 ) (-1) (0) (+1) (+2)
Figure 3.48 Sub-range example
VIDEO CODING CONCEPTS
70
Encoding Procedure for Vector Sequence (0,?1,0,2):
Range Symbol
Encoding procedure (L → H) (L → H) Sub-range Notes
1,Set the initial range,0 → 1.0
2,For the first data (0) 0.3 → 0.7
symbol,find the
corresponding sub-
range (Low to High).
3,Set the new range (1) 0.3 → 0.7
to this sub-range.
4,For the next data (?1) 0.1 → 0.3 This is the sub-range
symbol,find the sub- within the interval 0–1
range L to H.
5,Set the new range (2) 0.34 → 0.42 0.34 is 10% of the range
to this sub-range 0.42 is 30% of the range
within the previous
range.
6,Find the next sub- (0) 0.3 → 0.7
range.
7,Set the new range (3) 0.364→0.396 0.364 is 30% of the
within the previous range; 0.396 is 70% of
range,the range
8,Find the next sub- (2) 0.9 → 1.0
range.
9,Set the new range (4) 0.3928→0.396 0.3928 is 90% of the
within the previous range; 0.396 is 100% of
range,the range
Each time a symbol is encoded,the range (L to H) becomes progressively smaller,At the end
of the encoding process (four steps in this example),we are left with a final range (L to H),The
entire sequence of data symbols can be represented by transmitting any fractional number that
lies within this final range,In the example above,we could send any number in the range 0.3928
to 0.396,for example,0.394,Figure 3.49 shows how the initial range (0 to 1) is progressively
partitioned into smaller ranges as each data symbol is processed,After encoding the first symbol
(vector 0),the new range is (0.3,0.7),The next symbol (vector –1) selects the sub-range (0.34,
0.42) which becomes the new range,and so on,The final symbol (vector +2) selects the sub-
range (0.3928,0.396) and the number 0.394 (falling within this range) is transmitted,0.394 can
be represented as a fixed-point fractional number using nine bits,so our data sequence (0,?1,0,
2) is compressed to a nine-bit quantity.
Decoding Procedure
Decoded
Decoding procedure Range Sub-range symbol
1,Set the initial range,0 → 1
2,Find the sub-range in which the 0.3 → 0.7 (0)
received number falls,This
indicates the first data symbol.
ENTROPY CODER
71
(cont.)
Decoded
Decoding procedure Range Sub-range symbol
3,Set the new range (1) to this sub- 0.3 → 0.7
range.
4,Find the sub-range of the new 0.34 → 0.42 (?1)
range in which the received
number falls,This indicates the
second data symbol.
5,Set the new range (2) to this sub- 0.34 → 0.42
range within the previous range.
6,Find the sub-range in which the 0.364 → 0.396 (0)
received number falls and decode
the third data symbol.
7,Set the new range (3) to this sub- 0.364 → 0.396
range within the previous range.
8,Find the sub-range in which the 0.3928→ 0.396
received number falls and decode
the fourth data symbol.
010.1 0.3 0.7 0.9
(0)
0.3 0 0.70.34 0.42 0.58 0.66
(-1)
0.34 0.420.348 0.364 0.396 0.412
(0)
0.364 0.3960.3672 0.3736 0.3864 0.3928
(2)
0.394
1
Figure 3.49 Arithmetic coding example
VIDEO CODING CONCEPTS
72
The principal advantage of arithmetic coding is that the transmitted number (0.394 in
this case,which may be represented as a fixed-point number with sufficient accuracy using
nine bits) is not constrained to an integral number of bits for each transmitted data sym-
bol,To achieve optimal compression,the sequence of data symbols should be represented
with:
log
2
(1/P
0
) + log
2
(1/P
1
) + log
2
(1/P
0
) + log
2
(1/P
2
)bits = 8.28bits
In this example,arithmetic coding achieves nine bits,which is close to optimum,A
scheme using an integral number of bits for each data symbol (such as Huffman coding) is
unlikely to come so close to the optimum number of bits and,in general,arithmetic coding
can out-perform Huffman coding.
3.5.3.1 Context-based Arithmetic Coding
Successful entropy coding depends on accurate models of symbol probability,Context-based
Arithmetic Encoding (CAE) uses local spatial and/or temporal characteristics to estimate the
probability of a symbol to be encoded,CAE is used in the JBIG standard for bi-level image
compression [9] and has been adopted for coding binary shape ‘masks’ in MPEG-4 Visual
(see Chapter 5) and entropy coding in the Main Profile of H.264 (see Chapter 6).
3.6 THE HYBRID DPCM/DCT VIDEO CODEC MODEL
The major video coding standards released since the early 1990s have been based on the
same generic design (or model) of a video CODEC that incorporates a motion estimation and
compensation front end (sometimes described as DPCM),a transform stage and an entropy
encoder,The model is often described as a hybrid DPCM/DCT CODEC,Any CODEC that
is compatible with H.261,H.263,MPEG-1,MPEG-2,MPEG-4 Visual and H.264 has to
implement a similar set of basic coding and decoding functions (although there are many
differences of detail between the standards and between implementations).
Figure 3.50 and Figure 3.51 show a generic DPCM/DCT hybrid encoder and decoder.
In the encoder,video frame n (F
n
) is processed to produce a coded (compressed) bitstream
and in the decoder,the compressed bitstream (shown at the right of the figure) is decoded to
produce a reconstructed video frame F
prime
n
,not usually identical to the source frame,The figures
have been deliberately drawn to highlight the common elements within encoder and decoder.
Most of the functions of the decoder are actually contained within the encoder (the reason for
this will be explained below).
Encoder Data Flow
There are two main data flow paths in the encoder,left to right (encoding) and right to left
(reconstruction),The encoding flow is as follows:
1,An input video frame F
n
is presented for encoding and is processed in units of a macroblock
(corresponding to a 16 × 16 luma region and associated chroma samples).
2,F
n
is compared with a reference frame,for example the previous encoded frame (F
prime
n?1
).
A motion estimation function finds a 16 × 16 region in F
prime
n?1
(or a sub-sample interpolated
THE HYBRID DPCM/DCT VIDEO CODEC MODEL
73
DCT
IDCT
Quant
Reorder
D
n
P
+
-
+
+
X
F’
n
D’
n
Fn
(current)
(reconstructed)
F’
n-1
(reference)
Motion
Estimate
Motion
Compensate
Rescale
Vectors and
headers
Entropy
encode
Coded
bistream
Figure 3.50 DPCM/DCT video encoder
F'
n-1
Motion
Compensate
IDCT Rescale Reorder
Entropy
decode
Coded
bistream
P
+
+
X
F'
n
(reconstructed)
D'
n
(reference)
Vectors and
headers
Figure 3.51 DPCM/DCT video decoder
version of F’
n?1
) that ‘matches’ the current macroblock in F
n
(i.e,is similar according
to some matching criteria),The offset between the current macroblock position and the
chosen reference region is a motion vector MV.
3,Based on the chosen motion vector MV,a motion compensated prediction P is generated
(the 16 × 16 region selected by the motion estimator).
4,P is subtracted from the current macroblock to produce a residual or difference macro-
block D.
5,D is transformed using the DCT,Typically,D is split into 8 × 8or4× 4 sub-blocks and
each sub-block is transformed separately.
6,Each sub-block is quantised (X).
7,The DCT coefficients of each sub-block are reordered and run-level coded.
8,Finally,the coefficients,motion vector and associated header information for each mac-
roblock are entropy encoded to produce the compressed bitstream.
The reconstruction data flow is as follows:
1,Each quantised macroblock X is rescaled and inverse transformed to produce a decoded
residual D
prime
,Note that the nonreversible quantisation process means that D
prime
is not identical
to D (i.e,distortion has been introduced).
2,The motion compensated prediction P is added to the residual D
prime
to produce a reconstructed
macroblock and the reconstructed macroblocks are saved to produce reconstructed frame
F
prime
n
.
VIDEO CODING CONCEPTS
74
After encoding a complete frame,the reconstructed frame F
prime
n
may be used as a reference frame
for the next encoded frame F
n+1
.
Decoder Data Flow
1,A compressed bitstream is entropy decoded to extract coefficients,motion vector and header
for each macroblock.
2,Run-level coding and reordering are reversed to produce a quantised,transformed mac-
roblock X.
3,X is rescaled and inverse transformed to produce a decoded residual D
prime
.
4,The decoded motion vector is used to locate a 16 × 16 region in the decoder’s copy
of the previous (reference) frame F
prime
n?1
,This region becomes the motion compensated
prediction P.
5,P is added to D
prime
to produce a reconstructed macroblock,The reconstructed macroblocks
are saved to produce decoded frame F
prime
n
.
After a complete frame is decoded,F
prime
n
is ready to be displayed and may also be stored as a
reference frame for the next decoded frame F
prime
n+1
.
It is clear from the figures and from the above explanation that the encoder includes a
decoding path (rescale,IDCT,reconstruct),This is necessary to ensure that the encoder and
decoder use identical reference frames F
prime
n?1
for motion compensated prediction.
Example
A 25-Hz video sequence in CIF format (352 × 288 luminance samples and 176 × 144 red/blue
chrominance samples per frame) is encoded and decoded using a DPCM/DCT CODEC.
Figure 3.52 shows a CIF (video frame (F
n
) that is to be encoded and Figure 3.53 shows the
reconstructed previous frame F
prime
n?1
,Note that F
prime
n?1
has been encoded and decoded and shows
some distortion,The difference between F
n
and F
prime
n?1
without motion compensation (Figure
3.54) clearly still contains significant energy,especially around the edges of moving areas.
Motion estimation is carried out with a 16 × 16 luma block size and half-sample accuracy,
producing the set of vectors shown in Figure 3.55 (superimposed on the current frame for
clarity),Many of the vectors are zero (shown as dots) which means that the best match for the
current macroblock is in the same position in the reference frame,Around moving areas,the
vectors tend to point in the direction from which blocks have moved (e.g,the man on the left
is walking to the left; the vectors therefore point to the right,i.e,where he has come from).
Some of the vectors do not appear to correspond to ‘real’ movement (e.g,on the surface of
the table) but indicate simply that the best match is not at the same position in the reference
frame,‘Noisy’ vectors like these often occur in homogeneous regions of the picture,where
there are no clear object features in the reference frame.
The motion-compensated reference frame (Figure 3.56) is the reference frame ‘reor-
ganized’ according to the motion vectors,For example,note that the walking person (2nd
left) has been moved to the left to provide a better match for the same person in the current
frame and that the hand of the left-most person has been moved down to provide an improved
match,Subtracting the motion compensated reference frame from the current frame gives the
motion-compensated residual in Figure 3.57 in which the energy has clearly been reduced,
particularly around moving areas.
THE HYBRID DPCM/DCT VIDEO CODEC MODEL
75
Figure 3.52 Input frame F
n
Figure 3.53 Reconstructed reference frame F
prime
n?1
VIDEO CODING CONCEPTS
76
Figure 3.54 Residual F
n
F
prime
n?1
(no motion compensation)
Figure 3.55 16 × 16 motion vectors (superimposed on frame)
THE HYBRID DPCM/DCT VIDEO CODEC MODEL
77
Figure 3.56 Motion compensated reference frame
Figure 3.57 Motion compensated residual frame
VIDEO CODING CONCEPTS
78
Table 3.9 Residual luminance samples
(upper-right 8 × 8 block)
4?4?10110?2
123 2?1?3?6?3
664?4?9?5?6?5
10 8?1?4?6?124
79?5?9?30813
03?9?12?8?9?41
14?9?13?8?16?18?13
14 13?1?63?5?12?7
Figure 3.58 Original macroblock (luminance)
Figure 3.58 shows a macroblock from the original frame (taken from around the head
of the figure on the right) and Figure 3.59 the luminance residual after motion compensa-
tion,Applying a 2D DCT to the top-right 8 × 8 block of luminance samples (Table 3.9)
produces the DCT coefficients listed in Table 3.10,The magnitude of each coefficient is plot-
ted in Figure 3.60; note that the larger coefficients are clustered around the top-left (DC)
coefficient.
A simple forward quantiser is applied:
Qcoeff = round(coeff/Qstep)
where Qstep is the quantiser step size,12 in this example,Small-valued coefficients become
zero in the quantised block (Table 3.11) and the nonzero outputs are clustered around the
top-left (DC) coefficient.
The quantised block is reordered in a zigzag scan (starting at the top-left) to produce a
linear array:
1,2,1,?1,?1,2,0,?1,1,?1,2,?1,?1,0,0,?1,0,0,0,?1,?1,0,0,0,0,0,1,0,...
THE HYBRID DPCM/DCT VIDEO CODEC MODEL
79
Table 3.10 DCT coefficients
13.50 20.47 20.20 2.14?0.50?10.48?3.50?0.62
10.93?11.58?10.29?5.17?2.96 10.44 4.96?1.26
8.75 9.22?17.19 2.26 3.83?2.45 1.77 1.89
7.10?17.54 1.24?0.91 0.47?0.37?3.55 0.88
19.00?7.20 4.08 5.31 0.50 0.18?0.61 0.40
13.06 3.12?2.04?0.17?1.19 1.57?0.08?0.51
1.73?0.69 1.77 0.78?1.86 1.47 1.19 0.42
1.99?0.05 1.24?0.48?1.86?1.17?0.21 0.92
Table 3.11 Quantized coefficients
1 2 200?100
1?1?100 100
11?100 000
1?1 000 000
2?1 000 000
1 0 000 000
0 0 000 000
0 0 000 000
Figure 3.59 Residual macroblock (luminance)
This array is processed to produce a series of (zero run,level) pairs:
(0,?1)(0,2)(0,1)(0,?1)(0,?1)(0,2)(1,?1)(0,1)(0,?1)(0,2)(0,?1)(0,?1)(2,?1)
(3,?1)(0,?1)(5,1)(EOB)
‘EOB’ (End Of Block) indicates that the remainder of the coefficients are zero.
Each (run,level) pair is encoded as a VLC,Using the MPEG-4 Visual TCOEF table
(Table 3.6),the VLCs shown in Table 3.12 are produced.
VIDEO CODING CONCEPTS
80
Table 3.12 Variable length coding example
Run,Level,Last VLC (including sign bit)
(0,?1,0) 101
(0,2,0) 11100
(0,1,0) 100
(0,?1,0) 101
(0,?1,0) 101
(0,2,0) 11100
(1,?1,0) 1101
··· ···
(5,1,1) 00100110
2
4
6
8
1
2
3
4
5
6
7
8
5
10
15
20
25
Figure 3.60 DCT coefficient magnitudes (top-right 8 × 8 block)
The final VLC signals that LAST = 1,indicating that this is the end of the block,The
motion vector for this macroblock is (0,1) (i.e,the vector points downwards),The predicted
vector (based on neighbouring macroblocks) is (0,0) and so the motion vector difference values
are MVDx = 0,MVDy =+1,Using the MPEG4 MVD table (Table 3.7),these are coded as
(1) and (0010) respectively.
The macroblock is transmitted as a series of VLCs,including a macroblock header,
motion vector difference (X and Y) and transform coefficients (TCOEF) for each 8 × 8 block.
At the decoder,the VLC sequence is decoded to extract header parameters,MVDx and
MVDy and (run,level) pairs for each block,The 64-element array of reordered coefficients is
reconstructed by inserting (run) zeros before every (level),The array is then ordered to produce
an 8 × 8 block (identical to Table 3.11),The quantised coefficients are rescaled using:
Rcoeff = Qstep.Qcoeff
(where Qstep = 12 as before) to produce the block of coefficients shown in Table 3.13,Note
that the block is significantly different from the original DCT coefficients (Table 3.10) due to
THE HYBRID DPCM/DCT VIDEO CODEC MODEL
81
Table 3.13 Rescaled coefficients
12 24 24 0 0?1200
12?12?1200 1200
12 12?1200 000
12?12 000 000
24?12 000 000
12 0 000 000
0 0 000 000
0 0 000 000
Table 3.14 Decoded residual luminance samples
3?3?11?1?1?1?3
532 0?3?4?5?6
961?3?5?6?5?4
981?4?11410
78?1?6?12514
23?8?15?11?11?11?2
25?7?17?13?16?20?11
12 16 3?6?1?6?11?3
0
2
4
6
8
0
2
4
6
8
-20
0
20
Original residual block
0
2
4
6
8
0
2
4
6
8
-20
0
20
Decoded residual block
Figure 3.61 Comparison of original and decoded residual blocks
the quantisation process,An Inverse DCT is applied to create a decoded residual block (Table
3.14) which is similar but not identical to the original residual block (Table 3.9),The original
and decoded residual blocks are plotted side by side in Figure 3.61 and it is clear that the
decoded block has less high-frequency variation because of the loss of high-frequency DCT
coefficients through quantisation.
VIDEO CODING CONCEPTS
82
Figure 3.62 Decoded frame F
prime
n
The decoder forms its own predicted motion vector based on previously decoded vectors
and recreates the original motion vector (0,1),Using this vector,together with its own copy of
the previously decoded frame F
prime
n?1
,the decoder reconstructs the macroblock,The complete
decoded frame is shown in Figure 3.62,Because of the quantisation process,some distortion
has been introduced,for example around detailed areas such as the faces and the equations on
the whiteboard and there are some obvious edges along 8 × 8 block boundaries,The complete
sequence was compressed by around 300 times (i.e,the coded sequence occupies less than
1/300 the size of the uncompressed video) and so significant compression was achieved at
the expense of relatively poor image quality.
3.7 CONCLUSIONS
The video coding tools described in this chapter,motion compensated prediction,transform
coding,quantisation and entropy coding,form the basis of the reliable and effective coding
model that has dominated the field of video compression for over 10 years,This coding
model is at the heart of the two standards described in this book,The technical details of
the standards are dealt with in Chapters 5 and 6 but first Chapter 4 introduces the standards
themselves.
REFERENCES
83
3.8 REFERENCES
1,ISO/IEC 14495-1:2000 Information technology – lossless and near-lossless compression of
continuous-tone still images,Baseline,(JPEG-LS).
2,B,Horn and B,G,Schunk,Determining optical flow,Artificial Intelligence,17,185–203,1981.
3,K,R,Rao and P,Yip,Discrete Cosine Transform,Academic Press,1990.
4,S,Mallat,A Wavelet Tour of Signal Processing,Academic Press,1999.
5,N,Nasrabadi and R,King,Image coding using vector quantisation,a review,IEEE Trans,Commun,
36 (8),August 1988.
6,W,A,Pearlman,Trends of tree-based,set-partitioned compression techniques in still and moving
image systems,Proc,International Picture Coding Symposium,Seoul,April 2001.
7,D,Huffman,A method for the construction of minimum redundancy codes,Proc,of the IRE,40,
pp,1098–1101,1952.
8,I,Witten,R,Neal and J,Cleary,Arithmetic coding for data compression,Communications of the
ACM,30 (6),June 1987.
9,ITU-T Recommendation,Information technology – coded representation of picture and audio infor-
mation – progressive bi-level image compression,T.82 (JBIG).
4
The MPEG-4 and H.264 Standards
4.1 INTRODUCTION
An understanding of the process of creating the standards can be helpful when interpreting
or implementing the documents themselves,In this chapter we examine the role of the ISO
MPEG and ITU VCEG groups in developing the standards,We discuss the mechanisms by
which the features and parameters of the standards are chosen and the driving forces (technical
and commercial) behind these mechanisms,We explain how to ‘decode’ the standards and
extract useful information from them and give an overview of the two standards covered by this
book,MPEG-4 Visual (Part 2) [1] and H.264/MPEG-4 Part 10 [2],The technical scope and
details of the standards are presented in Chapters 5 and 6 and in this chapter we concentrate on
the target applications,the ‘shape’ of each standard and the method of specifying the standard.
We briefly compare the two standards with related International Standards such as MPEG-2,
H.263 and JPEG.
4.2 DEVELOPING THE STANDARDS
Creating,maintaining and updating the ISO/IEC 14496 (‘MPEG-4’) set of standards is the
responsibility of the Moving Picture Experts Group (MPEG),a study group who develop
standards for the International Standards Organisation (ISO),The emerging H.264 Recom-
mendation (also known as MPEG-4 Part 10,‘Advanced Video Coding’ and formerly known
as H.26L) is a joint effort between MPEG and the Video Coding Experts Group (VCEG),a
study group of the International Telecommunications Union (ITU).
MPEG developed the highly successful MPEG-1 and MPEG-2 standards for coding
video and audio,now widely used for communication and storage of digital video,and is
also responsible for the MPEG-7 standard and the MPEG-21 standardisation effort,VCEG
was responsible for the first widely-used videotelephony standard (H.261) and its successor,
H.263,and initiated the early development of the H.26L project,The two groups set-up the
collaborative Joint Video Team (JVT) to finalise the H.26L proposal and convert it into an
international standard (H.264/MPEG-4 Part 10) published by both ISO/IEC and ITU-T.
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
THE MPEG-4 AND H.264 STANDARDS
86
Table 4.1 MPEG sub-groups and responsibilities [5]
Sub-group Responsibilities
Requirements Identifying industry needs and requirements of new standards.
Systems Combining audio,video and related information; carrying the
combined data on delivery mechanisms.
Description Declaring and describing digital media items.
Video Coding of moving images.
Audio Coding of audio.
Synthetic Natural Hybrid Coding of synthetic audio and video for integration with natural
Coding audio and video.
Integration Conformance testing and reference software.
Test Methods of subjective quality assessment.
Implementation Experimental frameworks,feasibility studies,implementation
guidelines.
Liaison Relations with other relevant groups and bodies.
Joint Video Team See below.
4.2.1 ISO MPEG
The Moving Picture Experts Group is a Working Group of the International Organisation for
Standardization (ISO) and the International Electrotechnical Commission (IEC),Formally,
it is Working Group 11 of Subcommittee 29 of Joint Technical Committee 1 and hence its
official title is ISO/IEC JTC1/SC29/WG11.
MPEG’s remit is to develop standards for compression,processing and representation
of moving pictures and audio,It has been responsible for a series of important standards
starting with MPEG-1 (compression of video and audio for CD playback) and following on
with the very successful MPEG-2 (storage and broadcasting of ‘television-quality’ video and
audio),MPEG-4 (coding of audio-visual objects) is the latest standard that deals specifically
with audio-visual coding,Two other standardisation efforts (MPEG-7 [3] and MPEG-21 [4])
are concerned with multimedia content representation and a generic ‘multimedia framework’
respectively
1
,However,MPEG is arguably best known for its contribution to audio and video
compression,In particular,MPEG-2 is ubiquitous at the present time in digital TV broadcasting
and DVD-Video and MPEG Layer 3 audio coding (‘MP3’) has become a highly popular
mechanism for storage and sharing of music (not without controversy).
MPEG is split into sub-groups of experts,each addressing a particular issue related to
the standardisation efforts of the group (Table 4.1),The ‘Experts’ in MPEG are drawn from
a diverse,world-wide range of companies,research organisations and institutes,Membership
of MPEG and participation in its meetings is restricted to delegates of National Standards
Bodies,A company or institution wishing to participate in MPEG may apply to join its
National Standards Body (for example,in the UK this is done through committee IST/37 of
the British Standards Institute),Joining the standards body,attending national meetings and
attending the international MPEG meetings can be an expensive and time consuming exercise.
1
So what happened to the missing numbers? MPEG-3 was originally intended to address coding for high-definition
video but this was incorporated into the scope of MPEG-2,By this time,MPEG-4 was already under development
and so ‘3’ was missed out,The sequential numbering system was abandoned for MPEG-7 and MPEG-21.
DEVELOPING THE STANDARDS
87
However,the benefits include access to the private documents of MPEG (including access to
the standards in draft form before their official publication,providing a potential market lead
over competitors) and the opportunity to shape the development of the standards.
MPEG conducts its business at meetings that take place every 2–3 months,Since 1988
there have been 64 meetings (the first was in Ottawa,Canada and the latest in Pattaya,Thai-
land),A meeting typically lasts for five days,with ad hoc working groups meeting prior to the
main meeting,At the meeting,proposals and developments are deliberated by each sub-group,
successful contributions are approved and,if appropriate,incorporated into the standardisation
process,The business of each meeting is recorded by a set of input and output documents.
Input documents include reports by ad hoc working groups,proposals for additions or changes
to the developing standards and statements from other bodies and output documents include
meeting reports and draft versions of the standards.
4.2.2 ITU-T VCEG
The Video Coding Experts Group is a working group of the International Telecommunication
Union Telecommunication Standardisation Sector (ITU-T),ITU-T develops standards (or
‘Recommendations’) for telecommunication and is organised in sub-groups,Sub-group 16 is
responsible for multimedia services,systems and terminals,working party 3 of SG16 addresses
media coding and the work item that led to the H.264 standard is described as Question 6,The
official title of VCEG is therefore ITU-T SG16 Q.6,The name VCEG was adopted relatively
recently and previously the working group was known by its ITU designation and/or as the
Low Bitrate Coding (LBC) Experts Group.
VCEG has been responsible for a series of standards related to video communication
over telecommunication networks and computer networks,The H.261 videoconferencing
standard was followed by the more efficient H.263 which in turn was followed by later versions
(informally known as H.263+ and H.263++) that extended the capabilities of H.263,The
latest standardisation effort,previously known as ‘H.26L’,has led to the development and
publication of Recommendation H.264.
Since 2001,this effort has been carried out cooperatively between VCEG and MPEG
and the new standard,entitled ‘Advanced Video Coding’ (AVC),is jointly published as ITU-T
H.264 and ISO/IEC MPEG-4 Part 10.
Membership of VCEG is open to any interested party (subject to approval by the
chairman).VCEG meets at approximately three-monthly intervals and each meeting consid-
ers a series of objectives and proposals,some of which are incorporated into the developing
draft standard,Ad hoc groups are formed in order to investigate and report back on specific
problems and questions and discussion is carried out via email reflector between meetings.
In contrast with MPEG,the input and output documents of VCEG (and now JVT,see below)
are publicly available,Earlier VCEG documents (from 1996 to 1992) are available at [6] and
documents since May 2002 are available by FTP [7].
4.2.3 JVT
The Joint Video Team consists of members of ISO/IEC JTC1/SC29/WG11 (MPEG) and ITU-T
SG16 Q.6 (VCEG),JVT came about as a result of an MPEG requirement for advanced video
coding tools,The core coding mechanism of MPEG-4 Visual (Part 2) is based on rather
THE MPEG-4 AND H.264 STANDARDS
88
Table 4.2 MPEG-4 and H.264 development history
1993 MPEG-4 project launched,Early results of H,263 project produced.
1995 MPEG-4 call for proposals including efficient video coding and content-based
functionalities,H.263 chosen as core video coding tool
1998 Call for proposals for H.26L.
1999 MPEG-4 Visual standard published,Initial Test Model (TM1) of H.26L defined.
2000 MPEG call for proposals for advanced video coding tools.
2001 Edition 2 of the MPEG-4 Visual standard published,H.26L adopted as basis for proposed
MPEG-4 Part 10,JVT formed.
2002 Amendments 1 and 2 (Studio and Streaming Video profiles) to MPEG-4 Visual Edition 2
published,H.264 technical content frozen.
2003 H.264/MPEG-4 Part 10 (‘Advanced Video Coding’) published.
old technology (the original H.263 standard,published as a standard in 1995),With recent
advances in processor capabilities and video coding research it was clear that there was
scope for a step-change in video coding performance,After evaluating several competing
technologies in June 2001,it became apparent that the H.26L test model CODEC was the best
choice to meet MPEG’s requirements and it was agreed that members of MPEG and VCEG
would form a Joint Video Team to manage the final stages of H.26L development,Under its
Terms of Reference [8],JVT meetings are co-located with meetings of VCEG and/or MPEG
and the outcomes are reported back to the two parent bodies,JVT’s main purpose was to see
the H.264 Recommendation / MPEG-4 Part 10 standard through to publication ; now that the
standard is complete,the group’s focus has switched to extensions to support other colour
spaces and increased sample accuracy.
4.2.4 Development History
Table 4.2 lists some of the major milestones in the development of MPEG-4 Visual and
H.264,The focus of MPEG-4 was originally to provide a more flexible and efficient update
to the earlier MPEG-1 and MPEG-2 standards,When it became clear in 1994 that the newly-
developed H.263 standard offered the best compression technology available at the time,
MPEG changed its focus and decided to embrace object-based coding and functionality as the
distinctive element of the new MPEG-4 standard,Around the time at which MPEG-4 Visual
was finalised (1998/99),the ITU-T study group began evaluating proposals for a new video
coding initiative entitled H.26L (the L stood for ‘Long Term’),The developing H.26L test
model was adopted as the basis for the proposed Part 10 of MPEG-4 in 2001.
4.2.5 Deciding the Content of the Standards
Development of a standard for video coding follows a series of steps,A work plan is agreed with
a set of functional and performance objectives for the new standard,In order to decide upon the
basic technology of the standard,a competitive trial may be arranged in which interested par-
ties are invited to submit their proposed solution for evaluation,In the case of video and image
coding,this may involve evaluating the compression and processing performance of a number
of software CODECs,In the cases of MPEG-4 Visual and H.264,the chosen core technology
for video coding is based on block-based motion compensation followed by transformation and
quantisation of the residual,Once the basic algorithmic core of the standard has been decided,
USING THE STANDARDS
89
much further work is required to develop the detail of the standard,Proposals for algorithms,
methods or functionalities are made by companies or organisations with an interest in the
outcome of the standardisation effort and are submitted to the standardisation group for eval-
uation,At each meeting of the standards group,proposal submissions are discussed and may
be adopted or discarded,Through this process,the detail of the standard is gradually refined.
A software model (‘reference software’) is developed that implements the current agreed
functionality,together with a document describing this software (‘test model’),The reference
software and test model are revised and updated to incorporate each agreed refinement to
the standard,Eventually,the standards group decides that the test model document is at a
sufficiently mature stage and it is converted into a draft standard,After further refinement and
a series of ballots,the document is published as an International Standard.
The content of the final International Standard is reached through an organic development
process that involves hundreds of participants (the members of the standardisation group) and
many modifications and compromises,The final document is shaped by a number of driving
forces,On the technical side,the contributors to the MPEG and VCEG meetings are drawn
from the leading research institutes,universities and companies in the video coding field,The
standards groups attempt to incorporate the best of current research and development in order
to achieve the desired compression and functional performance within practical computational
constraints,On the commercial side,the initial work plan of the standardisation group aims
to anticipate the technology requirements of future applications,Technical proposals have to
be evaluated in terms of cost-effective implementation as well as performance,Many of the
companies represented at the standards group meetings have significant vested interests in
the outcome of the standardisation process,In some cases,the company behind a particular
proposal may own key patents that could lead to lucrative licensing revenue if the proposal is
adopted as part of a worldwide standard,The JVT has asked members to identify any patented
technology in proposals and is attempting to ensure that the Baseline Profile of H.264 can
be implemented without royalty payments to patent holders,in order to promote widespread
adoption of the standard.
On the practical side,the standards bodies work to tight timescales and it may be necessary
to compromise on some aspects of the work plan in order to complete the standard on time,
since it is important to ensure that the standard is technically competitive when it is released.
In some ways the MPEG-4 Visual and H.264 standardisation efforts have been a race against
time,since many proprietary (nonstandard) image and video coding systems and packages
continue to be developed and released,Outside the constraints of the standardisation process,
it is possible for a proprietary system to gain market share quickly and to make a standard
effectively obsolete by the time it is published.
4.3 USING THE STANDARDS
MPEG-4 Visual (Second Edition) is a document consisting of 539 A4 pages and H.264 is
over 250 A4 pages long,The standards are specified in detail in order to attempt to ensure
compatibility between conforming systems and products but the level of detail in the standards
documents can make it difficult to extract information from them,In this section we give an
overview of the content of the standards and suggest how to interpret and apply them.
THE MPEG-4 AND H.264 STANDARDS
90
intra_dc_coefficient DCT coefficient
8 bits 3-24 bits
repeat for every non-
zero coefficient
end
Figure 4.1 MPEG-4 Visual block syntax
4.3.1 What the Standards Cover
In common with earlier video coding standards,the MPEG-4 Visual and H.264 standards do
not specify a video encoder,Instead,the standards specify the syntax of a coded bitstream (the
binary codes and values that make up a conforming bitstream),the semantics of these syntax
elements (what they mean) and the process by which the syntax elements may be decoded to
produce visual information.
Example,MPEG-4 Visual,coefficient block syntax
A block of quantised and run-level coded DCT coefficients is represented in an MPEG-4 Visual
bitstream using the syntax shown in Figure 4.1 (Simple Profile / Short Header mode),The meaning
(semantics) of the syntax elements is as follows.
intra dc coefficient,A fixed-length code defining the value of the DC (0,0) coefficient.
DCT coefficient,A variable-length code defining the values of RUN,LEVEL and LAST.
RUN is the number of zeros preceding each nonzero quantised
coefficient; LEVEL is the value of the nonzero coefficient; and LAST is
a flag indicating whether this is the final nonzero coefficient in the block.
The standard describes how the actual values of these data elements (coefficients,zero runs and
LAST) can be decoded from the fixed-length or variable-length codes.
By specifying syntax and semantics of the coded bitstream,the standard defines what is
acceptable as a ‘compliant bitstream’,A compliant encoder has to produce a bitstream that is
correctly decodeable using the decoding process defined in the standard,As well as specifying
syntax,semantics and decoding process,both of the standards define a hypothetical reference
decoder that,together with certain defined levels of operation,places practical limits on the
encoder,These limits include,for example,the maximum coded bitrate and maximum picture
size that an encoder may produce and are important because they constrain the memory and
processing requirements of a decoder.
4.3.2 Decoding the Standards
The MPEG-4 Visual and H.264 standards are not written as development guides but rather with
the goal of ensuring compatibility between CODECs developed by different manufacturers.
For example,an H.264-compliant bitstream generated by any encoder should be decodeable
USING THE STANDARDS
91
by any H.264-compliant decoder,Ensuring that this takes place is a difficult task and a potential
drawback of this overriding goal is that the standards documents are long and complex and
can be difficult to follow.
It is possible to work out how to design a decoder by reading the standard,since the
decoding process is specified in some detail,The encoding process is not specified at all,in
order to give designers the flexibility to choose their own method of encoding,However,the
syntax and decoding process places certain constraints on the encoder design,For example,in
order to produce a bitstream that is compatible with MPEG-4 Simple Profile,it is necessary
for an encoder to carry out the functions described in Chapter 3,Section 3.6 or functions that
achieve an equivalent result,It is therefore useful to have a working knowledge of at least one
design of CODEC that can meet the requirements of the standard.
Video coding is an important component of the multimedia entertainment industry,how-
ever,the video coding standards can be difficult to interpret by nonexperts,This has led to a
plethora of tutorials,training courses,on-line resources and books (including this one) that
attempt to help explain and de-mystify the standards,Many of these resources are excellent
but they should be used with caution by developers of standards-compliant video coding
applications,since the ‘correct’ interpretation is always the standard itself.
A useful approach to understanding and ‘decoding’ the standards is to become famil-
iar with a reference implementation that complies with the standard,Reference software is
available for both MPEG-4 Visual and H.264 and contains source code for an encoder that
produces a compliant bitstream and a decoder that conforms to the decoding process defined
in the standard.
4.3.3 Conforming to the Standards
For an encoder,conforming to a video coding standard means that the encoder produces a
bitstream that meets the requirements of the specified syntax and is capable of being decoded
using the decoding process described in the standard,whilst meeting constraints on parameters
such as coded bitrate,For a decoder,conforming to the standard means that the decoder
can decode a conforming bitstream whilst meeting any specified constraints and accuracy
parameters,Conformance is defined further by profiles (agreed subsets of the syntax and tools
available within the standard) and levels (agreed performance limits).
A good guide to conformance is interoperability with reference software (software im-
plementations of MPEG-4 Visual and H.264 that are publicly available for developers to
download),If a third-party encoder or decoder can successfully interwork with the refer-
ence software decoder or encoder,it indicates that the CODEC may conform to the standard.
However,this does not necessarily prove conformance,The reference software models encode
and decode video ‘offline’ and the input and output is file-based,making it difficult to test
directly the operation of a real-time application which may,for example,require ‘live’ video
data to be encoded and transmitted across a network,Furthermore,there have been known
mismatches between the reference software models and the specifications within the standards
documents
2
(though the Experts Groups try to minimise this type of problem by correcting
errors and mismatches),Finally,some compatibility problems or errors may only become
apparent under certain operating conditions or with certain types of video material.
2
At the time of writing,the encoder part of the H.264 reference software does not comply with the final version of
the standard.
THE MPEG-4 AND H.264 STANDARDS
92
Interoperability testing (exchanging coded bitstreams with developers of other encoders
and decoders) is considered to be a valuable way of testing and identifying a wide range
of potential compatibility problems,Industry bodies such as the Internet Streaming Media
Alliance (ISMA) [10] and the MPEG-4 Industry Forum (M4IF) [11] actively promote and
organise interoperability tests between manufacturers.
In MPEG-4,testing conformance of bitstreams and decoders is dealt with in Part 4
(Conformance Testing),A bitstream is deemed to conform to the standard if it includes the
correct syntax elements for a particular Profile and does not exceed (or cause a decoder to
exceed) the limits imposed by the operating Level,A decoder conforms to the standard if it
can decode any bitstream that conforms to the Profile/Level combination,Some conformance
test bitstreams are included as an Annex to MPEG-4 Part 4.
4.4 OVERVIEW OF MPEG-4 VISUAL/PART 2
MPEG-4 Visual (Part 2 of ISO/IEC 14496,‘Coding of Audio-Visual Objects’) is a large
document that covers a very wide range of functionalities,all related to the coding and repre-
sentation of visual information,The standard deals with the following types of data,among
others:
a114
moving video (rectangular frames);
a114
video objects (arbitrary-shaped regions of moving video);
a114
2D and 3D mesh objects (representing deformable objects);
a114
animated human faces and bodies;
a114
static texture (still images).
The standard specifies a set of coding ‘tools’ that are designed to represent these data types in
compressed (coded) form,With a diverse set of tools and supported data types,the MPEG-4
Visual standard can support many different applications,including (but by no means limited
to) the following:
a114
‘legacy’ video applications such as digital TV broadcasting,videoconferencing and video
storage;
a114
‘object-based’ video applications in which a video scene may be composed of a number of
distinct video objects,each independently coded;
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rendered computer graphics using 2D and 3D deformable mesh geometry and/or animated
human faces and bodies;
a114
‘hybrid’ video applications combining real-world (natural) video,still images and computer-
generated graphics;
a114
streaming video over the Internet and mobile channels;
a114
high-quality video editing and distribution for the studio production environment.
Despite the bewildering range of coding tools specified by the standard,at the heart of MPEG-
4 Visual is a rather simple video coding mechanism,a block-based video CODEC that uses
motion compensation followed by DCT,quantisation and entropy coding (essentially the
DPCM/DCT model described in Chapter 3),The syntax of this core CODEC is (under certain
constraints) identical to that of baseline H.263,Most of the other functions and tools supported
by the standard are obtained by adding features to this core,whilst the tools for coding meshes,
OVERVIEW OF H.264 / MPEG-4 PART 10
93
still images and face/body animation parameters are developed separately,The technical detail
contained within the standard is covered in Chapter 5,As a guide to approaching the standard,
it is useful to examine the main sections of the document itself and what they cover.
The Introduction gives an overview of some of the target applications,approaches and
data types,with a particular emphasis on 2D and 3D mesh objects (the reason for this emphasis
is not clear).
Sections1to5 are a preamble to the technical detail of the standard,Section 1 describes the
scope of the standard,Section 2 references other standards documents,Section 3 contains a use-
ful (but not complete) list of terminology and definitions,Section 4 lists standard symbols and
abbreviations and Section 5 explains the conventions for describing the syntax of the standard.
Section 6 describes the syntax and semantics of MPEG-4 Visual,The various structure
elements in an MPEG-4 Visual bitstream are described,together with the assumed format
for uncompressed video,The complete syntax of a compliant bitstream is defined and this
section specifies which syntax elements are part of the standard and the sequence(s) in which
they are allowed to occur,Where necessary,the semantics (meaning and allowed values) of
each syntax element are described,Section 6 defines the acceptable parameters of an MPEG-4
Visual bitstream and a compliant encoder has to produce a bitstream that follows this syntax.
Section 7 describes a set of processes for decoding an MPEG-4 Visual bitstream,This
section defines the series of steps required to decode a compliant bitstream and convert it
to a visual scene or visual object,First,the basic steps of decoding residual data (‘texture’)
and shape parameters and motion compensation are described,followed by the special cases
required for the other coding tools (interlaced video decoding,still image and ‘sprite’ decoding,
scalable decoding,etc.),Hence Section 7 defines how an MPEG-4 Visual bitstream should be
decoded,A compliant decoder has to follow these or equivalent processes.
Section 8 discusses how separately-decoded visual ‘objects’ should be composed to
make a visual scene and Section 9 defines a set of conformance points known as ‘profiles’ and
‘levels’,These specify subsets of the coding tools (profiles) and performance limits (levels)
that CODECs may choose to adopt,These conformance points are particularly important for
developers and manufacturers since it is unlikely that any one application will require all of
the various tools supported by the standard.
The remainder of the document (another 200 pages) consists of 15 Annexes (Annex A to
Annex O),Some of these are normative,i.e,they are considered to be an essential part of the
text,Examples include definitions of the Discrete Cosine and Discrete Wavelet Transforms
used in the standard,tables of variable-length codes used in the MPEG-4 Visual bitstream
and the definition of a Video Buffering Verifier that places limits on CODEC performance.
The remainder are informative Annexes,i.e,they may help clarify the standard but are not
intended to be essential definitions,Examples include a description of error-resilience features,
suggested mechanisms for pre- and post-processing video,suggested bitrate control algorithms
and a list of companies who own patents that may cover aspects of the standard.
4.5 OVERVIEW OF H.264 / MPEG-4 PART 10
H.264 has a narrower scope than MPEG-4 Visual and is designed primarily to support efficient
and robust coding and transport of rectangular video frames,Its original aim was to provide
similar functionality to earlier standards such as H.263+ and MPEG-4 Visual (Simple Profile)
THE MPEG-4 AND H.264 STANDARDS
94
but with significantly better compression performance and improved support for reliable trans-
mission,Target applications include two-way video communication (videoconferencing or
videotelephony),coding for broadcast and high quality video and video streaming over packet
networks,Support for robust transmission over networks is built in and the standard is designed
to facilitate implementation on as wide a range of processor platforms as possible.
The standard is specified in more detail than many earlier standards (including MPEG-4
Visual) in an attempt to minimise the possibility for misinterpretation by developers,The
detailed level of specification means the standard document is relatively long and makes some
sections of the standard difficult to follow.
The Introduction lists some target applications,explains the concept of Profiles and Levels
and gives a brief overview of the coded representation.
Sections 1 to 5 are a preamble to the detail and include references to other standards docu-
ments,a list of terminology and definitions,standard abbreviations,arithmetic operators
and mathematical functions.
Section 6 describes the input and output data formats,The standard supports coding of 4:2:0
progressive and interlaced video and the sampling formats assumed by the standard are
described here,together with the format of the coded bitstream and the order of processing
of video frames,This section also defines methods for finding ‘neighbours’ of a coded
element,necessary for the decoding process.
Section 7 describes the syntax and semantics,The structure and sequence of each syntax
element are described in a similar way to MPEG-4 Visual,The semantics (meaning and
allowed values) of each syntax element are defined.
Section 8 describes the processes involved in decoding slices (the basic coded unit of H.264).
The first subsections deal with higher-level issues such as picture boundary detection and
reference picture management,This is followed by intra- and inter- prediction,transform
coefficient decoding,reconstruction and the built-in deblocking filter.
Section 9 describes how a coded bitstream should be ‘parsed’ (i.e,how syntax elements should
be extracted from the bitstream),There are two main methods,one based on variable-length
codes and one based on context-adaptive binary arithmetic codes.
Annex A defines the three profiles supported by H.264 (Baseline,Main and Extended) and
specified performance points (‘levels’).
Annex B defines the format of a byte stream (a series of coded data units suitable for trans-
mission over a circuit-switched network connection).
Annex C defines a Hypothetical Reference Decoder,In a similar way to the MPEG-4 Visual
‘Video Buffering Verifier’,this places limits on coded bitrate and decoded picture rate.
Annex D and Annex E describe Supplemental Enhancement Information (SEI),and Video
Usability Information (VUI),‘side information’ that may be used by a decoder to enhance
or improve the decoded display but which is not essential to correct decoding of a sequence.
4.6 COMPARISON OF MPEG-4 VISUAL AND H.264
Table 4.3 summarises some of the main differences between the two standards,This table is
by no means a complete comparison but it highlights some of the important differences in
approach between MPEG-4 Visual and H.264.
RELATED STANDARDS
95
Table 4.3 Summary of differences between MPEG-4 Visual and H.264
Comparison MPEG-4 Visual H.264
Supported data types Rectangular video frames and fields,
arbitrary-shaped video objects,still
texture and sprites,synthetic or
synthetic–natural hybrid video objects,
2D and 3D mesh objects
Rectangular video frames
and fields
Number of profiles 19 3
Compression efficiency Medium High
Support for video streaming Scalable coding Switching slices
Motion compensation
minimum block size
8 × 84× 4
Motion vector accuracy half or quarter-pixel quarter-pixel
Transform 8 × 8 DCT 4 × 4 DCT approximation
Built-in deblocking filter No Yes
Licence payments required
for commercial
implementation
Yes Probably not (baseline
profile); probably (main
and extended profiles)
4.7 RELATED STANDARDS
4.7.1 JPEG and JPEG2000
JPEG (the Joint Photographic Experts Group,an ISO working group similar to MPEG) has
been responsible for a number of standards for coding of still images,The most relevant of
these for our topic are the JPEG standard [12] and the JPEG2000 standard [13],Each share
features with MPEG-4 Visual and/or H.264 and whilst they are intended for compression of
still images,the JPEG standards have made some impact on the coding of moving images.
The ‘original’ JPEG standard supports compression of still photographic images using the 8
× 8 DCT followed by quantisation,reordering,run-level coding and variable-length entropy
coding and so has similarities to MPEG-4 Visual (when used in Intra-coding mode),JPEG2000
was developed to provide a more efficient successor to the original JPEG,It uses the Discrete
Wavelet Transform as its basic coding method and hence has similarities to the Still Texture
coding tools of MPEG-4 Visual,JPEG2000 provides superior compression performance to
JPEG and does not exhibit the characteristic blocking artefacts of a DCT-based compression
method,Despite the fact that JPEG is ‘old’ technology and is outperformed by JPEG2000 and
many proprietary compression formats,it is still very widely used for storage of images in
digital cameras,PCs and on web pages,Motion JPEG (a nonstandard method of compressing
a sequence of video frames using JPEG) is popular for applications such as video capture,
PC-based video editing and security surveillance.
4.7.2 MPEG-1 and MPEG-2
The first MPEG standard,MPEG-1 [14],was developed for the specific application of video
storage and playback on Compact Disks,A CD plays for around 70 minutes (at ‘normal’ speed)
with a transfer rate of 1.4 Mbit/s,MPEG-1 was conceived to support the video CD,a format for
THE MPEG-4 AND H.264 STANDARDS
96
consumer video storage and playback that was intended to compete with VHS videocassettes.
MPEG-1 Video uses block-based motion compensation,DCT and quantisation (the hybrid
DPCM/DCT CODEC model described in Chapter 3) and is optimised for a compressed video
bitrate of around 1.2 Mbit/s,Alongside MPEG-1 Video,the Audio and Systems parts of the
standard were developed to support audio compression and creation of a multiplexed bitstream
respectively,The video CD format did not take off commercially,perhaps because the video
quality was not sufficiently better than VHS tape to encourage consumers to switch to the new
technology,MPEG-1 video is still widely used for PC- and web-based storage of compressed
video files.
Following on from MPEG-1,the MPEG-2 standard [15] aimed to support a large potential
market,digital broadcasting of compressed television,It is based on MPEG-1 but with several
significant changes to support the target application including support for efficient coding of in-
terlaced (as well as progressive) video,a more flexible syntax,some improvements to coding ef-
ficiency and a significantly more flexible and powerful ‘systems’ part of the standard,MPEG-2
was the first standard to introduce the concepts of Profiles and Levels (defined conformance
points and performance limits) as a way of encouraging interoperability without restricting
the flexibility of the standard.
MPEG-2 was (and still is) a great success,with worldwide adoption for digital TV
broadcasting via cable,satellite and terrestrial channels,It provides the video coding element
of DVD-Video,which is succeeding in finally replacing VHS videotape (where MPEG-1
and the video CD failed),At the time of writing,many developers of legacy MPEG-1 and
MPEG-2 applications are looking for the coding standard for the next generation of products,
ideally providing better compression performance and more robust adaptation to networked
transmission than the earlier standards,Both MPEG-4 Part 2 (now relatively mature and with all
the flexibility a developer could ever want) and Part 10/H.264 (only just finalised but offering
impressive performance) are contenders for a number of key current- and next-generation
applications.
4.7.3 H.261 and H.263
H.261 [16] was the first widely-used standard for videoconferencing,developed by the ITU-T
to support videotelephony and videoconferencing over ISDN circuit-switched networks.
These networks operate at multiples of 64 kbit/s and the standard was designed to offer
computationally-simple video coding for these bitrates,The standard uses the familiar hybrid
DPCM/DCT model with integer-accuracy motion compensation.
In an attempt to improve on the compression performance of H.261,the ITU-T working
group developed H.263 [17],This provides better compression than H.261,supporting basic
video quality at bitrates of below 30 kbit/s,and is part of a suite of standards designed to
operate over a wide range of circuit- and packet-switched networks,The ‘baseline’ H.263
coding model (hybrid DPCM/DCT with half-pixel motion compensation) was adopted as
the core of MPEG-4 Visual’s Simple Profile (see Chapter 5),The original version of H.263
includes four optional coding modes (each described in an Annex to the standard) and Is-
sue 2 added a series of further optional modes to support features such as improved com-
pression efficiency and robust transmission over lossy networks,The terms ‘H.263+’ and
‘H.263++’ are used to describe CODECs that support some or all of the optional coding
CONCLUSIONS
97
modes,The choice of supported modes is up to the CODEC manufacturer and the wide range
of possible mode combinations (and the corresponding difficulty of ensuring compatibility
between CODECs) was one motivation for the relatively simple structure of H.264’s three
profiles.
4.7.4 Other Parts of MPEG-4
There are currently 16 Parts of MPEG-4 either published or under development,Parts 1–8 and
10 are published International Standards or Technical Reports whereas the remaining Parts
are not yet published in final form.
Part 1,Systems,Scene description,multiplexing of audio,video and related information,
synchronisation,buffer management,intellectual property management.
Part 2,Visual,Coding of ‘natural’ and ‘synthetic’ visual objects (see Chapter 5).
Part 3,Audio,Coding of natural and synthetic audio objects.
Part 4,Conformance Testing,Conformance conditions,test procedures,test bitstreams.
Part 5,Reference Software,Publicly-available software that implements most tools in the
Standard.
Part 6,Delivery Multimedia Integration Framework,A session protocol for multimedia stream-
ing.
Part 7,Optimised Visual Reference Software,Optimised software implementation of selected
Visual coding tools,This Part is a Technical Report (and not an International Standard).
Part 8,Carriage of MPEG-4 over IP,Specifies the mechanism for carrying MPEG-4 coded
data over Internet Protocol (IP) networks.
Part 9,Reference Hardware Description,VHDL descriptions of MPEG-4 coding tools
(suitable for implementation in ICs),This Part is a Technical Report and is still under
development.
Part 10,Advanced Video Coding,Efficient coding of natural video (see Chapter 6),This Part
is under development and due to become an International Standard in 2003.
Part 11,Scene Description and Application Engine.
Part 12,ISO Base Media File Format.
Part 13,Intellectual Property Management and Protection Extensions.
Part 14,MPEG-4 File Format (see Chapter 7).
Part 15,AVC File Format (see Chapter 7).
Part 16,Animation Framework Extension.
4.8 CONCLUSIONS
In this chapter we have set the scene for the two standards,H.264 and MPEG-4 Visual,
charting their development history and summarising their main features and contents,For
most users of the standards,the key question is ‘how do I encode and decode video?’ and this
question will be addressed in Chapter 5 (covering the detail of MPEG-4 Visual) and Chapter
6 (concentrating on H.264).
THE MPEG-4 AND H.264 STANDARDS
98
4.9 REFERENCES
1,ISO/IEC 14496-2,Coding of audio-visual objects – Part 2,Visual,2001.
2,ISO/IEC 14496-10 and ITU-T Rec,H.264,Advanced Video Coding,2003.
3,ISO/IEC 15938,Information technology – multimedia content description interface (MPEG-7),
2002.
4,ISO/IEC 21000,Information technology – multimedia framework (MPEG-21),2003.
5,Terms of Reference,MPEG home page,http://mpeg.telecomitalialab.com/.
6,VCEG document site,http://standards.pictel.com/ftp/video-site/.
7,JVT experts FTP site,ftp://ftp.imtc-files.org/jvt-experts/.
8,Terms of Reference for Joint Video Team Activities,http://www.itu.int/ITU-T/studygroups/
com16/jvt/.
9,F,Pereira and T,Ebrahimi (eds),“The MPEG-4 Book”,Prentice Hall 2002 (section 1.1)
10,Internet Streaming Media Alliance,http://www.isma.org.
11,MPEG-4 Industry Forum,http://www.m4if.org.
12,ISO/IEC 10918-1 / ITU-T Recommendation T.81,Digital compression and coding of continuous-
tone still images,1992 (JPEG).
13,ISO/IEC 15444,Information technology – JPEG 2000 image coding system,2000.
14,ISO/IEC 11172,Information technology – coding of moving pictures and associated audio for
digital storage media at up to about 1.5 Mbit/s,1993 (MPEG-1).
15,ISO/IEC 13818,Information technology,generic coding of moving pictures and associated audio
information,1995 (MPEG-2).
16,ITU-T Recommendation H.261,Video CODEC for audiovisual services at px64 kbit/s,1993.
17,ITU-T Recommendation H.263,Video coding for low bit rate communication,Version 2,1998.
5
MPEG-4 Visual
5.1 INTRODUCTION
ISO/IEC Standard 14496 Part 2 [1] (MPEG-4 Visual) improves on the popular MPEG-2
standard both in terms of compression efficiency (better compression for the same visual
quality) and flexibility (enabling a much wider range of applications),It achieves this in two
main ways,by making use of more advanced compression algorithms and by providing an
extensive set of ‘tools’ for coding and manipulating digital media,MPEG-4 Visual consists of
a ‘core’ video encoder/decoder model together with a number of additional coding tools,The
core model is based on the well-known hybrid DPCM/DCT coding model (see Chapter 3) and
the basic function of the core is extended by tools supporting (among other things) enhanced
compression efficiency,reliable transmission,coding of separate shapes or ‘objects’ in a visual
scene,mesh-based compression and animation of face or body models.
It is unlikely that any single application would require all of the tools available in the
MPEG-4 Visual framework and so the standard describes a series of profiles,recommended
sets or groupings of tools for particular types of application,Examples of profiles include
Simple (a minimal set of tools for low-complexity applications),Core and Main (with tools
for coding multiple arbitrarily-shaped video objects),Advanced Real Time Simple (with tools
for error-resilient transmission with low delay) and Advanced Simple (providing improved
compression at the expense of increased complexity).
MPEG-4 Visual is embodied in ISO/IEC 14496-2,a highly detailed document run-
ning to over 500 pages,Version 1 was released in 1998 and further tools and profiles were
added in two Amendments to the standard culminating in Version 2 in late 2001,More tools
and profiles are planned for future Amendments or Versions but the ‘toolkit’ structure of
MPEG-4 means that any later versions of 14496-2 should remain backwards compatible with
Version 1.
This chapter is a guide to the tools and features of MPEG-4 Visual,Practical implemen-
tations of MPEG-4 Visual are based on one or more of the profiles defined in the standard and
so this chapter is organised according to profiles,After an overview of the standard and its
approach and features,the profiles for coding rectangular video frames are discussed (Simple,
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
MPEG-4 VISUAL
100
Advanced Simple and Advanced Real-Time Simple profiles),These are by far the most popular
profiles in use at the present time and so they are covered in some detail,Tools and profiles for
coding of arbitrary-shaped objects are discussed next (the Core,Main and related profiles),
followed by profiles for scalable coding,still texture coding and high-quality (‘studio’) coding
of video.
In addition to tools for coding of ‘natural’ (real-world) video material,MPEG-4 Visual
defines a set of profiles for coding of ‘synthetic’ (computer-generated) visual objects such
as 2D and 3D meshes and animated face and body models,The focus of this book is very
much on coding of natural video and so these profiles are introduced only briefly,Coding
tools in the MPEG-4 Visual standard that are not included in any Profile (such as Over-
lapped Block Motion Compensation,OBMC) are (perhaps contentiously!) not covered in this
chapter.
5.2 OVERVIEW OF MPEG-4 VISUAL (NATURAL VIDEO CODING)
5.2.1 Features
MPEG-4 Visual attempts to satisfy the requirements of a wide range of visual communi-
cation applications through a toolkit-based approach to coding of visual information,Some
of the key features that distinguish MPEG-4 Visual from previous visual coding standards
include:
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Efficient compression of progressive and interlaced ‘natural’ video sequences (compression
of sequences of rectangular video frames),The core compression tools are based on the
ITU-T H.263 standard and can out-perform MPEG-1 and MPEG-2 video compression.
Optional additional tools further improve compression efficiency.
a114
Coding of video objects (irregular-shaped regions of a video scene),This is a new concept for
standard-based video coding and enables (for example) independent coding of foreground
and background objects in a video scene.
a114
Support for effective transmission over practical networks,Error resilience tools help a
decoder to recover from transmission errors and maintain a successful video connection in
an error-prone network environment and scalable coding tools can help to support flexible
transmission at a range of coded bitrates.
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Coding of still ‘texture’ (image data),This means,for example,that still images can be
coded and transmitted within the same framework as moving video sequences,Texture
coding tools may also be useful in conjunction with animation-based rendering.
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Coding of animated visual objects such as 2D and 3D polygonal meshes,animated faces
and animated human bodies.
a114
Coding for specialist applications such as ‘studio’ quality video,In this type of application,
visual quality is perhaps more important than high compression.
5.2.2 Tools,Objects,Profiles and Levels
MPEG-4 Visual provides its coding functions through a combination of tools,objects and
profiles.Atool is a subset of coding functions to support a specific feature (for example,basic
OVERVIEW OF MPEG-4 VISUAL (NATURAL VIDEO CODING)
101
Table 5.1 MPEG-4 Visual profiles for coding natural video
MPEG-4 Visual profile Main features
Simple Low-complexity coding of rectangular video frames
Advanced Simple Coding rectangular frames with improved efficiency and support
for interlaced video
Advanced Real-Time Simple Coding rectangular frames for real-time streaming
Core Basic coding of arbitrary-shaped video objects
Main Feature-rich coding of video objects
Advanced Coding Efficiency Highly efficient coding of video objects
N-Bit Coding of video objects with sample resolutions other
than 8 bits
Simple Scalable Scalable coding of rectangular video frames
Fine Granular Scalability Advanced scalable coding of rectangular frames
Core Scalable Scalable coding of video objects
Scalable Texture Scalable coding of still texture
Advanced Scalable Texture Scalable still texture with improved efficiency and object-based
features
Advanced Core Combines features of Simple,Core and Advanced Scalable
Texture Profiles
Simple Studio Object-based coding of high quality video sequences
Core Studio Object-based coding of high quality video with improved
compression efficiency.
Table 5.2 MPEG-4 Visual profiles for coding synthetic or hybrid video
MPEG-4 Visual profile Main features
Basic Animated Texture 2D mesh coding with still texture
Simple Face Animation Animated human face models
Simple Face and Body Animation Animated face and body models
Hybrid Combines features of Simple,Core,Basic Animated
Texture and Simple Face Animation profiles
video coding,interlaced video,coding object shapes,etc.),An object is a video element (e.g.
a sequence of rectangular frames,a sequence of arbitrary-shaped regions,a still image) that
is coded using one or more tools,For example,a simple video object is coded using a limited
subset of tools for rectangular video frame sequences,a core video object is coded using tools
for arbitrarily-shaped objects and so on,A profile is a set of object types that a CODEC is
expected to be capable of handling.
The MPEG-4 Visual profiles for coding ‘natural’ video scenes are listed in Table 5.1
and these range from Simple Profile (coding of rectangular video frames) through profiles
for arbitrary-shaped and scalable object coding to profiles for coding of studio-quality video.
Table 5.2 lists the profiles for coding ‘synthetic’ video (animated meshes or face/body models)
and the hybrid profile (incorporates features from synthetic and natural video coding),These
profiles are not (at present) used for natural video compression and so are not covered in detail
in this book.
MPEG-4 VISUAL
102
Profile
Simple
Advanced Simple
Advanced Real-Time Simple
Core
Advanced Core
Main
Advanced Coding Efficiency
N-bit
Simple Scalable
Fine Granular Scalability
Core Scalable
Scalable Texture
Advanced Scalable Texture
Simple Studio
Core Studio
Basic Animated Texture
Simple Face Animation
Simple FBA
Hybrid
F
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Figure 5.1 MPEG-4 Visual profiles and objects
Figure 5.1 lists each of the MPEG-4 Visual profiles (left-hand column) and visual object
types (top row),The table entries indicate which object types are contained within each
profile,For example,a CODEC compatible with Simple Profile must be capable of coding
and decoding Simple objects and a Core Profile CODEC must be capable of coding and
decoding Simple and Core objects.
Profiles are an important mechanism for encouraging interoperability between CODECs
from different manufacturers,The MPEG-4 Visual standard describes a diverse range of coding
tools and it is unlikely that any commercial CODEC would require the implementation of all the
tools,Instead,a CODEC designer chooses a profile that contains adequate tools for the target
application,For example,a basic CODEC implemented on a low-power processor may use
Simple profile,a CODEC for streaming video applications may choose Advanced Real Time
Simple and so on,To date,some profiles have had more of an impact on the marketplace than
others,The Simple and Advanced Simple profiles are particularly popular with manufacturers
and users whereas the profiles for the coding of arbitrary-shaped objects have had very limited
commercial impact (see Chapter 8 for further discussion of the commercial impact of MPEG-4
Profiles).
Profiles define a subset of coding tools and Levels define constraints on the parameters
of the bitstream,Table 5.3 lists the Levels for the popular Simple-based profiles (Simple,
OVERVIEW OF MPEG-4 VISUAL (NATURAL VIDEO CODING)
103
Table 5.3 Levels for Simple-based profiles
Profile Level Typical resolution Max,bitrate Max,objects
Simple L0 176 × 144 64 kbps 1 simple
L1 176 × 144 64 kbps 4 simple
L2 352 × 288 128 kbps 4 simple
L3 352 × 288 384 kbps 4 simple
Advanced Simple (AS) L0 176 × 144 128 kbps 1 AS or simple
L1 176 × 144 128 kbps 4 AS or simple
L2 352 × 288 384 kbps 4 AS or simple
L3 352 × 288 768 kbps 4 AS or simple
L4 352 × 576 3 Mbps 4 AS or simple
L5 720 × 576 8 Mbps 4 AS or simple
Advanced Real-Time L1 176 × 144 64 kbps 4 ARTS or simple
Simple (ARTS)
L2 352 × 288 128 kbps 4 ARTS or simple
L3 352 × 288 384 kbps 4 ARTS or simple
L4 352 × 288 2 Mbps 16 ARTS or simple
Advanced Simple and Advanced Real Time Simple),Each Level places constraints on the
maximum performance required to decode an MPEG-4 coded sequence,For example,a mul-
timedia terminal with limited processing capabilities and a small amount of memory may only
support Simple Profile @ Level 0 bitstream decoding,The Level definitions place restrictions
on the amount of buffer memory,the decoded frame size and processing rate (in macroblocks
per second) and the number of video objects (one in this case,a single rectangular frame).
A terminal that can cope with these parameters is guaranteed to be capable of successfully
decoding any conforming Simple Profile @ Level 0 bitstream,Higher Levels of Simple Profile
require a decoder to handle up to four Simple Profile video objects (for example,up to four
rectangular objects covering the QCIF or CIF display resolution).
5.2.3 Video Objects
One of the key contributions of MPEG-4 Visual is a move away from the ‘traditional’ view of a
video sequence as being merely a collection of rectangular frames of video,Instead,MPEG-4
Visual treats a video sequence as a collection of one or more video objects,MPEG-4 Visual
defines a video object as a flexible ‘entity that a user is allowed to access (seek,browse) and
manipulate (cut and paste)’ [1],A video object (VO) is an area of the video scene that may
occupy an arbitrarily-shaped region and may exist for an arbitrary length of time,An instance
of a VO at a particular point in time is a video object plane (VOP).
This definition encompasses the traditional approach of coding complete frames,in which
each VOP is a single frame of video and a sequence of frames forms a VO (for example,
Figure 5.2 shows a VO consisting of three rectangular VOPs),However,the introduction of
the VO concept allows more flexible options for coding video,Figure 5.3 shows a VO that
consists of three irregular-shaped VOPs,each one existing within a frame and each coded
separately (object-based coding).
MPEG-4 VISUAL
104
video object
VOP1 VOP3VOP2
Time
Figure 5.2 VOPs and VO (rectangular)
VOP1
VOP3
VOP2
Time
Figure 5.3 VOPs and VO (arbitrary shape)
A video scene (e.g,Figure 5.4) may be made up of a background object (VO3 in this ex-
ample) and a number of separate foreground objects (VO1,VO2),This approach is potentially
much more flexible than the fixed,rectangular frame structure of earlier standards,The sep-
arate objects may be coded with different visual qualities and temporal resolutions to reflect
their ‘importance’ to the final scene,objects from multiple sources (including synthetic and
‘natural’ objects) may be combined in a single scene and the composition and behaviour of the
scene may be manipulated by an end-user in highly interactive applications,Figure 5.5 shows
a new video scene formed by adding VO1 from Figure 5.4,a new VO2 and a new background
VO,Each object is coded separately using MPEG-4 Visual (the compositing of visual and
audio objects is assumed to be handled separately,for example by MPEG-4 Systems [2]).
5.3 CODING RECTANGULAR FRAMES
Notwithstanding the potential flexibility offered by object-based coding,the most popular
application of MPEG-4 Visual is to encode complete frames of video,The tools required
CODING RECTANGULAR FRAMES
105
Figure 5.4 Video scene consisting of three VOs
Figure 5.5 Video scene composed of VOs from separate sources
to handle rectangular VOPs (typically complete video frames) are grouped together in the
so-called simple profiles,The tools and objects for coding rectangular frames are shown in
Figure 5.6,The basic tools are similar to those adopted by previous video coding standards,
DCT-based coding of macroblocks with motion compensated prediction,The Simple profile
is based around the well-known hybrid DPCM/DCT model (see Chapter 3,Section 3.6) with
MPEG-4 VISUAL
106
Advanced
Simple
Advanced Real
Time Simple
Simple
Global MC
Interlace
B-VOP
Alternate Quant
Quarter Pel
Dynamic
Resolution
Conversion
NEWPRED
Object
Tool
Short Header
I-VOP
P-VOP
4MV
UMV
Intra Pred
Video packets
Data Partitioning
RVLCs
Key:
Figure 5.6 Tools and objects for coding rectangular frames
additional tools to improve coding efficiency and transmission efficiency,Because of the
widespread popularity of Simple profile,enhanced profiles for rectangular VOPs have been
developed,The Advanced Simple profile improves further coding efficiency and adds support
for interlaced video and the Advanced Real-Time Simple profile adds tools that are useful for
real-time video streaming applications.
5.3.1 Input and output video format
The input to an MPEG-4 Visual encoder and the output of a decoder is a video sequence in
4:2:0,4:2:2 or 4:4:4 progressive or interlaced format (see Chapter 2),MPEG-4 Visual uses the
sampling arrangement shown in Figure 2.11 for progressive sampled frames and the method
shown in Figure 2.12 for allocating luma and chroma samples to each pair of fields in an
interlaced sequence.
5.3.2 The Simple Profile
A CODEC that is compatible with Simple Profile should be capable of encoding and decoding
Simple Video Objects using the following tools:
a114
I-VOP (Intra-coded rectangular VOP,progressive video format);
a114
P-VOP (Inter-coded rectangular VOP,progressive video format);
CODING RECTANGULAR FRAMES
107
source
frame
DCT Q Reorder RLE VLE
decoded
frame
IDCT Q
-1
Reorder RLD VLD
coded
I-VOP
Figure 5.7 I-VOP encoding and decoding stages
source
frame
DCT Q Reorder RLE VLE
decoded
frame
IDCT Q
-1
Reorder RLD VLD
coded
P-VOP
MCP
ME
MCR
reconstructed
frame
Figure 5.8 P-VOP encoding and decoding stages
a114
short header (mode for compatibility with H.263 CODECs);
a114
compression efficiency tools (four motion vectors per macroblock,unrestricted motion
vectors,Intra prediction);
a114
transmission efficiency tools (video packets,Data Partitioning,Reversible Variable Length
Codes).
5.3.2.1 The Very Low Bit Rate Video Core
The Simple Profile of MPEG-4 Visual uses a CODEC model known as the Very Low Bit Rate
Video (VLBV) Core (the hybrid DPCM/DCT model described in Chapter 3),In common with
other standards,the architecture of the encoder and decoder are not specified in MPEG-4
Visual but a practical implementation will require to carry out the functions shown in
Figure 5.7 (coding of Intra VOPs) and Figure 5.8 (coding of Inter VOPs),The basic tools
required to encode and decode rectangular I-VOPs and P-VOPs are described in the next
section (Section 3.6 of Chapter 3 provides a more detailed ‘walk-through’ of the encoding
and decoding process),The tools in the VLBV Core are based on the H.263 standard and the
‘short header’ mode enables direct compatibility (at the frame level) between an MPEG-4
Simple Profile CODEC and an H.263 Baseline CODEC.
5.3.2.2 Basic coding tools
I-VOP
A rectangular I-VOP is a frame of video encoded in Intra mode (without prediction from any
other coded VOP),The encoding and decoding stages are shown in Figure 5.7.
MPEG-4 VISUAL
108
Table 5.4 Values of dc scaler parameter depending on QP range
Block type QP ≤ 45≤ QP ≤ 89≤ QP ≤ 24 25 ≤ QP
Luma 8 2 × QP QP + 8(2× QP)? 16
Chroma 8 (QP + 13)/2 (QP + 13)/2 QP? 6
DCT and IDCT,Blocks of luma and chroma samples are transformed using an 8 × 8 Forward
DCT during encoding and an 8 × 8 Inverse DCT during decoding (see Section 3.4).
Quantisation,The MPEG-4 Visual standard specifies the method of rescaling (‘inverse quan-
tising’) quantised transform coefficients in a decoder,Rescaling is controlled by a quantiser
scale parameter,QP,which can take values from 1 to 31 (larger values of QP produce a
larger quantiser step size and therefore higher compression and distortion),Two methods
of rescaling are described in the standard,‘method 2’ (basic method) and ‘method 1’ (more
flexible but also more complex),Method 2 inverse quantisation operates as follows,The
DC coefficient in an Intra-coded macroblock is rescaled by:
DC = DC
Q
,dc scaler (5.1)
DC
Q
is the quantised coefficient,DC is the rescaled coefficient and dc scaler is a parameter
defined in the standard,In short header mode (see below),dc scaler is 8 (i.e,all Intra DC
coefficients are rescaled by a factor of 8),otherwise dc scaler is calculated according to the
value of QP (Table 5.4),All other transform coefficients (including AC and Inter DC) are
rescaled as follows:
|F|=QP· (2 ·|F
Q
|+1) (if QP is odd and F
Q
negationslash= 0)
|F|=QP· (2 ·|F
Q
|+1)? 1 (if QP is even and F
Q
negationslash= 0)
F = 0 (if F
Q
= 0)
(5.2)
F
Q
is the quantised coefficient and F is the rescaled coefficient,The sign of F is made the
same as the sign of F
Q
,Forward quantisation is not defined by the standard.
Zig-zag scan,Quantised DCT coefficients are reordered in a zig-zag scan prior to encoding
(see Section 3.4).
Last-Run-Level coding,The array of reordered coefficients corresponding to each block is
encoded to represent the zero coefficients efficiently,Each nonzero coefficient is encoded
as a triplet of (last,run,level),where ‘last’ indicates whether this is the final nonzero
coefficient in the block,‘run’ signals the number of preceding zero coefficients and ‘level’
indicates the coefficient sign and magnitude.
Entropy coding,Header information and (last,run,level) triplets (see Section 3.5) are repre-
sented by variable-length codes (VLCs),These codes are similar to Huffman codes and are
defined in the standard,based on pre-calculated coefficient probabilities
A coded I-VOP consists of a VOP header,optional video packet headers and coded mac-
roblocks,Each macroblock is coded with a header (defining the macroblock type,identifying
which blocks in the macroblock contain coded coefficients,signalling changes in quantisation
parameter,etc.) followed by coded coefficients for each 8 × 8 block.
CODING RECTANGULAR FRAMES
109
In the decoder,the sequence of VLCs are decoded to extract the quantised transform
coefficients which are re-scaled and transformed by an 8 × 8 IDCT to reconstruct the decoded
I-VOP (Figure 5.7).
P-VOP
A P-VOP is coded with Inter prediction from a previously encoded I- or P-VOP (a reference
VOP),The encoding and decoding stages are shown in Figure 5.8.
Motion estimation and compensation,The basic motion compensation scheme is block-
based compensation of 16 × 16 pixel macroblocks (see Chapter 3),The offset between the
current macroblock and the compensation region in the reference picture (the motion vector)
may have half-pixel resolution,Predicted samples at sub-pixel positions are calculated us-
ing bilinear interpolation between samples at integer-pixel positions,The method of motion
estimation (choosing the ‘best’ motion vector) is left to the designer’s discretion,The match-
ing region (or prediction) is subtracted from the current macroblock to produce a residual
macroblock (Motion-Compensated Prediction,MCP in Figure 5.8).
After motion compensation,the residual data is transformed with the DCT,quantised,
reordered,run-level coded and entropy coded,The quantised residual is rescaled and inverse
transformed in the encoder in order to reconstruct a local copy of the decoded MB (for
further motion compensated prediction),A coded P-VOP consists of VOP header,optional
video packet headers and coded macroblocks each containing a header (this time including
differentially-encoded motion vectors) and coded residual coefficients for every 8 × 8 block.
The decoder forms the same motion-compensated prediction based on the received motion
vector and its own local copy of the reference VOP,The decoded residual data is added to the
prediction to reconstruct a decoded macroblock (Motion-Compensated Reconstruction,MCR
in Figure 5.8).
Macroblocks within a P-VOP may be coded in Inter mode (with motion compensated
prediction from the reference VOP) or Intra mode (no motion compensated prediction),Inter
mode will normally give the best coding efficiency but Intra mode may be useful in regions
where there is not a good match in a previous VOP,such as a newly-uncovered region.
Short Header
The ‘short header’ tool provides compatibility between MPEG-4 Visual and the ITU-T H.263
video coding standard,An I- or P-VOP encoded in ‘short header’ mode has identical syntax
to an I-picture or P-picture coded in the baseline mode of H.263,This means that an MPEG-4
I-VOP or P-VOP should be decodeable by an H.263 decoder and vice versa.
In short header mode,the macroblocks within a VOP are organised in Groups of Blocks
(GOBs),each consisting of one or more complete rows of macroblocks,Each GOB may
(optionally) start with a resynchronisation marker (a fixed-length binary code that enables a
decoder to resynchronise when an error is encountered,see Section 5.3.2.4).
5.3.2.3 Coding Efficiency Tools
The following tools,part of the Simple profile,can improve compression efficiency,They are
only used when short header mode is not enabled.
MPEG-4 VISUAL
110
Figure 5.9 One or four vectors per macroblock
Four motion vectors per macroblock
Motion compensation tends to be more effective with smaller block sizes,The default block
size for motion compensation is 16 × 16 samples (luma),8 × 8 samples (chroma),resulting
in one motion vector per macroblock,This tool gives the encoder the option to choose a
smaller motion compensation block size,8 × 8 samples (luma) and 4 × 4 samples (chroma),
giving four motion vectors per macroblock,This mode can be more effective at minimising
the energy in the motion-compensated residual,particularly in areas of complex motion or
near the boundaries of moving objects,There is an increased overhead in sending four motion
vectors instead of one,and so the encoder may choose to send one or four motion vectors on
a macroblock-by-macroblock basis (Figure 5.9).
Unrestricted Motion Vectors
In some cases,the best match for a macroblock may be a 16 × 16 region that extends outside
the boundaries of the reference VOP,Figure 5.10 shows the lower-left corner of a current
VOP (right-hand image) and the previous,reference VOP (left-hand image),The hand hold-
ing the bow is moving into the picture in the current VOP and so there isn’t a good match
for the highlighted macroblock inside the reference VOP,In Figure 5.11,the samples in
the reference VOP have been extrapolated (‘padded’) beyond the boundaries of the VOP.
A better match for the macroblock is obtained by allowing the motion vector to point into
this extrapolated region (the highlighted macroblock in Figure 5.11 is the best match in this
case),The Unrestricted Motion Vectors (UMV) tool allows motion vectors to point outside
the boundary of the reference VOP,If a sample indicated by the motion vector is outside
the reference VOP,the nearest edge sample is used instead,UMV mode can improve mo-
tion compensation efficiency,especially when there are objects moving in and out of the
picture.
Intra Prediction
Low-frequency transform coefficients of neighbouring intra-coded 8 × 8 blocks are often
correlated,In this mode,the DC coefficient and (optionally) the first row and column of AC
coefficients in an Intra-coded 8 × 8 block are predicted from neighbouring coded blocks.
Figure 5.12 shows a macroblock coded in intra mode and the DCT coefficients for each of the
four 8 × 8 luma blocks are shown in Figure 5.13,The DC coefficients (top-left) are clearly
CODING RECTANGULAR FRAMES
111
Figure 5.10 Reference VOP and current VOP
Figure 5.11 Reference VOP extrapolated beyond boundary
Figure 5.12 Macroblock coded in intra mode
similar but it is less obvious whether there is correlation between the first row and column of
the AC coefficients in these blocks.
The DC coefficient of the current block (X in Figure 5.14) is predicted from the DC
coefficient of the upper (C) or left (A) previously-coded 8 × 8 block,The rescaled DC
coefficient values of blocks A,B and C determine the method of DC prediction,If A,
B or C are outside the VOP boundary or the boundary of the current video packet (see
later),or if they are not intra-coded,their DC coefficient value is assumed to be equal to
MPEG-4 VISUAL
112
Upper left Upper right
Lower left Lower right
500
400
300
200
100
-100
0
2
4
6
8
5
0
0
500
400
300
200
100
-100
0
2
4
6
8
5
00
500
400
300
200
100
-100
0
2
4
6
8
5
0
0
500
400
300
200
100
-100
0
2
4
6
8
5
0
0
Figure 5.13 DCT coefficients (luma blocks)
1024 (the DC coefficient of a mid-grey block of samples),The direction of prediction is
determined by:
if |DC
A
DC
B
| < |DC
B
DC
C
|
predict from block C
else
predict from block A
The direction of the smallest DC gradient is chosen as the prediction direction for block X.
The prediction,P
DC
,is formed by dividing the DC coefficient of the chosen neighbouring
CODING RECTANGULAR FRAMES
113
X
C
A
B
Figure 5.14 Prediction of DC coefficients
X
C
A
Figure 5.15 Prediction of AC coefficients
block by a scaling factor and P
DC
is then subtracted from the actual quantised DC coefficient
(QDC
X
) and the residual (PQDC
X
) is coded and transmitted.
AC coefficient prediction is carried out in a similar way,with the first row or column
of AC coefficients predicted in the direction determined for the DC coefficient (Figure 5.15).
For example,if the prediction direction is from block A,the first column of AC coefficients in
block X is predicted from the first column of block A,If the prediction direction is from block
C,the first row of AC coefficients in X is predicted from the first row of C,The prediction is
scaled depending on the quantiser step sizes of blocks X and A or C.
5.3.2.4 Transmission Efficiency Tools
A transmission error such as a bit error or packet loss may cause a video decoder to lose
synchronisation with the sequence of decoded VLCs,This can cause the decoder to decode
incorrectly some or all of the information after the occurrence of the error and this means
that part or all of the decoded VOP will be distorted or completely lost (i.e,the effect of the
error spreads spatially through the VOP,‘spatial error propagation’),If subsequent VOPs are
predicted from the damaged VOP,the distorted area may be used as a prediction reference,
leading to temporal error propagation in subsequent VOPs (Figure 5.16).
MPEG-4 VISUAL
114
error position
forward prediction
damaged area
Figure 5.16 Spatial and temporal error propagation
When an error occurs,a decoder can resume correct decoding upon reaching a resynchro-
nisation point,typically a uniquely-decodeable binary code inserted in the bitstream,When
the decoder detects an error (for example because an invalid VLC is decoded),a suitable
recovery mechanism is to ‘scan’ the bitstream until a resynchronisation marker is detected,In
short header mode,resynchronisation markers occur at the start of each VOP and (optionally)
at the start of each GOB.
The following tools are designed to improve performance during transmission of coded
video data and are particularly useful where there is a high probability of network errors [3].
The tools may not be used in short header mode.
Video Packet
A transmitted VOP consists of one or more video packets,A video packet is analogous to
a slice in MPEG-1,MPEG-2 or H.264 (see Section 6) and consists of a resynchronisation
marker,a header field and a series of coded macroblocks in raster scan order (Figure 5.17).
(Confusingly,the MPEG-4 Visual standard occasionally refers to video packets as ‘slices’).
The resynchronisation marker is followed by a count of the next macroblock number,which
enables a decoder to position the first macroblock of the packet correctly,After this comes
the quantisation parameter and a flag,HEC (Header Extension Code),If HEC is set to 1,it
is followed by a duplicate of the current VOP header,increasing the amount of information
that has to be transmitted but enabling a decoder to recover the VOP header if the first VOP
header is corrupted by an error.
The video packet tool can assist in error recovery at the decoder in several ways,for
example:
1,When an error is detected,the decoder can resynchronise at the start of the next video
packet and so the error does not propagate beyond the boundary of the video packet.
CODING RECTANGULAR FRAMES
115
Sync Header HEC Macroblock data Sync(Header)
Figure 5.17 Video packet structure
2,If used,the HEC field enables a decoder to recover a lost VOP header from elsewhere
within the VOP.
3,Predictive coding (such as differential encoding of the quantisation parameter,prediction
of motion vectors and intra DC/AC prediction) does not cross the boundary between video
packets,This prevents (for example) an error in motion vector data from propagating to
another video packet.
Data Partitioning
The data partitioning tool enables an encoder to reorganise the coded data within a video
packet to reduce the impact of transmission errors,The packet is split into two partitions,the
first (immediately after the video packet header) containing coding mode information for each
macroblock together with DC coefficients of each block (for Intra macroblocks) or motion
vectors (for Inter macroblocks),The remaining data (AC coefficients and DC coefficients of
Inter macroblocks) are placed in the second partition following a resynchronisation marker.
The information sent in the first partition is considered to be the most important for adequate
decoding of the video packet,If the first partition is recovered,it is usually possible for the
decoder to make a reasonable attempt at reconstructing the packet,even if the 2nd partition is
damaged or lost due to transmission error(s).
Reversible VLCs
An optional set of Reversible Variable Length Codes (RVLCs) may be used to encode DCT
coefficient data,As the name suggests,these codes can be correctly decoded in both the
forward and reverse directions,making it possible for the decoder to minimise the picture area
affected by an error.
A decoder first decodes each video packet in the forward direction and,if an error is
detected (e.g,because the bitstream syntax is violated),the packet is decoded in the reverse
direction from the next resynchronisation marker,Using this approach,the damage caused
by an error may be limited to just one macroblock,making it easy to conceal the errored
region,Figure 5.18 illustrates the use of error resilient decoding,The figure shows a video
packet that uses HEC,data partitioning and RVLCs,An error occurs within the texture data
and the decoder scans forward and backward to recover the texture data on either side of the
error.
5.3.3 The Advanced Simple Profile
The Simple profile,introduced in the first version of the MPEG-4 Visual standard,rapidly
became popular with developers because of its improved efficiency compared with previous
standards (such as MPEG-1 and MPEG-2) and the ease of integrating it into existing video
applications that use rectangular video frames,The Advanced Simple profile was incorporated
MPEG-4 VISUAL
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Sync Header HEC
Header +
MV
Texture Sync
Error
Decode in forward
direction
Decode in reverse
direction
Figure 5.18 Error recovery using RVLCs
into a later version of the standard with added tools to support improved compression efficiency
and interlaced video coding,An Advanced Simple Profile CODEC must be capable of decoding
Simple objects as well as Advanced Simple objects which may use the following tools in
addition to the Simple Profile tools:
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B-VOP (bidirectionally predicted Inter-coded VOP);
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quarter-pixel motion compensation;
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global motion compensation;
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alternate quantiser;
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interlace (tools for coding interlaced video sequences).
B-VOP
The B-VOP uses bidirectional prediction to improve motion compensation efficiency,Each
block or macroblock may be predicted using (a) forward prediction from the previous I- or
P-VOP,(b) backwards prediction from the next I- or P-VOP or (c) an average of the forward and
backward predictions,This mode generally gives better coding efficiency than basic forward
prediction; however,the encoder must store multiple frames prior to coding each B-VOP which
increases the memory requirements and the encoding delay,Each macroblock in a B-VOP is
motion compensated from the previous and/or next I- or P-VOP in one of the following ways
(Figure 5.19).
1,Forward prediction,A single MV is transmitted,MV
F
,referring to the previous I- or
P-VOP.
2,Backward prediction,A single MV is transmitted,MV
B
,referring to the future I- or
P-VOP.
3,Bidirectional interpolated prediction,Two MVs are transmitted,MV
F
and MV
B
,referring
to the previous and the future I- or P-VOPs,The motion compensated prediction for the
current macroblock is produced by interpolating between the luma and chroma samples in
the two reference regions.
4,Bidirectional direct prediction,Motion vectors pointing to the previous and future I- or
P-VOPs are derived automatically from the MV of the same macroblock in the
future I- or P-VOP,A ‘delta MV’ correcting these automatically-calculated MVs is
transmitted.
CODING RECTANGULAR FRAMES
117
I B B P
temporal order
Forward Backward
Bidirectional
Figure 5.19 Prediction modes for B-VOP
MB in P7MB in B6
MVFMVF
MVB
Figure 5.20 Direct mode vectors
Example of direct mode (Figure 5.20)
Previous reference VOP,I
4
,display time = 2
Current B-VOP,B
6
,display time = 6
Future reference VOP,P
7
,display time = 7
MV for same macroblock position in P
7
,MV
7
= (+5,?10)
TRB = display time(B
6
) – display time(I
4
) = 4
TRD = display time(P
7
) – display time(I
4
) = 5
MV
D
= 0 (no delta vector)
MV
F
= (TRB/TRD).MV = (+4,?8)
MV
B
= (TRB-TRD/TRD).MV = (?1,+2)
Quarter-Pixel Motion Vectors
The Simple Profile supports motion vectors with half-pixel accuracy and this tool supports
vectors with quarter-pixel accuracy,The reference VOP samples are interpolated to half-pixel
positions and then again to quarter-pixel positions prior to motion estimation and compensa-
tion,This increases the complexity of motion estimation,compensation and reconstruction
MPEG-4 VISUAL
118
Table 5.5 Weighting matrix W
w
10 20 20 30 30 30 40 40
20 20 30 30 30 40 40 40
20 30 30 30 40 40 40 40
30 30 30 30 40 40 40 50
30 30 30 40 40 40 50 50
30 40 40 40 40 40 50 50
40 40 40 40 50 50 50 50
40 40 40 50 50 50 50 50
but can provide a gain in coding efficiency compared with half-pixel compensation (see
Chapter 3).
Alternate quantiser
An alternative rescaling (‘inverse quantisation’) method is supported in the Advanced Simple
Profile,Intra DC rescaling remains the same (see Section 5.3.2) but other quantised coefficients
may be rescaled using an alternative method
1
.
Quantised coefficients F
Q
(u,v) are rescaled to produce coefficients F(u,v) (where u,
vare the coordinates of the coefficient) as follows:
F = 0ifF
Q
= 0
F = [(2.F
Q
(u,v) + k) · W
w
(u,v) · QP]/16 if F
Q
negationslash= 0
(5.3)
k =
0 intra blocks
+1 F
Q
(u,v) > 0,nonintra
1 F
rmQ
(u,v) < 0,nonintra
where W
W
is a matrix of weighting factors,W
0
for intra macroblocks and W
1
for nonintra
macroblocks,In Method 2 rescaling (see Section 5.3.2.1),all coefficients (apart from Intra
DC) are quantised and rescaled with the same quantiser step size,Method 1 rescaling allows an
encoder to vary the step size depending on the position of the coefficient,using the weighting
matrix W
W
,For example,better subjective performance may be achieved by increasing the step
size for high-frequency coefficients and reducing it for low-frequency coefficients,Table 5.5
shows a simple example of a weighting matrix W
W
.
Global Motion Compensation
Macroblocks within the same video object may experience similar motion,For example,
camera pan will produce apparent linear movement of the entire scene,camera zoom or rotation
will produce a more complex apparent motion and macroblocks within a large object may
all move in the same direction,Global Motion Compensation (GMC) enables an encoder to
transmit a small number of motion (warping) parameters that describe a default ‘global’ motion
for the entire VOP,GMC can provide improved compression efficiency when a significant
number of macroblocks in the VOP share the same motion characteristics,The global motion
1
The MPEG-4 Visual standard describes the default rescaling method as ‘Second Inverse Quantisation Method’ and
the alternative,optional method as ‘First Inverse Quantisation Method’,The default (‘Second’) method is sometimes
known as ‘H.263 quantisation’ and the alternative (‘First’) method as ‘MPEG-4 quantisation’.
CODING RECTANGULAR FRAMES
119
Interpolated MV
Global MV
Figure 5.21 VOP,GMVs and interpolated vector
Figure 5.22 GMC (compensating for rotation)
parameters are encoded in the VOP header and the encoder chooses either the default GMC
parameters or an individual motion vector for each macroblock.
When the GMC tool is used,the encoder sends up to four global motion vectors (GMVs)
for each VOP together with the location of each GMV in the VOP,For each pixel position in
the VOP,an individual motion vector is calculated by interpolating between the GMVs and
the pixel position is motion compensated according to this interpolated vector (Figure 5.21).
This mechanism enables compensation for a variety of types of motion including rotation
(Figure 5.22),camera zoom (Figure 5.23) and warping as well as translational or linear
motion.
The use of GMC is enabled by setting the parameter sprite enable to ‘GMC’ in a Video
Object Layer (VOL) header,VOPs in the VOL may thereafter be coded as S(GMC)-VOPs
(‘sprite’ VOPs with GMC),as an alternative to the ‘usual’ coding methods (I-VOP,P-VOP
or B-VOP),The term ‘sprite’ is used here because a type of global motion compensation is
applied in the older ‘sprite coding’ mode (part of the Main Profile,see Section 5.4.2.2).
MPEG-4 VISUAL
120
Figure 5.23 GMC (compensating for camera zoom)
Figure 5.24 Close-up of interlaced VOP
Interlace
Interlaced video consists of two fields per frame (see Chapter 2) sampled at different times
(typically at 50 Hz or 60 Hz temporal sampling rate),An interlaced VOP contains alternate
lines of samples from two fields,Because the fields are sampled at different times,horizontal
movement may reduce correlation between lines of samples (for example,in the moving face
in Figure 5.24),The encoder may choose to encode the macroblock in Frame DCT mode,
in which each block is transformed as usual,or in Field DCT mode,in which the luminance
samples from Field 1 are placed in the top eight lines of the macroblock and the samples from
Field 2 in the lower eight lines of the macroblock before calculating the DCT (Figure 5.25).
Field DCT mode gives better performance when the two fields are decorrelated.
In Field Motion Compensation mode (similar to 16 × 8 Motion Compensation Mode
in the MPEG-two standard),samples belonging to the two fields in a macroblock are motion
CODING RECTANGULAR FRAMES
121
.
.
.
Figure 5.25 Field DCT
compensated separately so that two motion vectors are generated for the macroblock,one
for the first field and one for the second,The Direct Mode used in B-VOPs (see above) is
modified to deal with macroblocks that have Field Motion Compensated reference blocks,Two
forward and two backward motion vectors are generated,one from each field in the forward
and backward directions,If the interlaced video tool is used in conjunction with object-based
coding (see Section 5.4),the padding process may be applied separately to the two fields of a
boundary macroblock.
5.3.4 The Advanced Real Time Simple Profile
Streaming video applications for networks such as the Internet require good compression and
error-robust video coding tools that can adapt to changing network conditions,The coding
and error resilience tools within Simple Profile are useful for real-time streaming applications
and the Advanced Real Time Simple (ARTS) object type adds further tools to improve error
resilience and coding flexibility,NEWPRED (multiple prediction references) and Dynamic
Resolution Conversion (also known as Reduced Resolution Update),An ARTS Profile CODEC
should support Simple and ARTS object types.
NEWPRED
The NEWPRED (‘new prediction’) tool enables an encoder to select a prediction reference
VOP from any of a set of previously encoded VOPs for each video packet,A transmission
error that is imperfectly concealed will tend to propagate temporally through subsequent
predicted VOPs and NEWPRED can be used to limit temporal propagation as follows (Figure
5.26),Upon detecting an error in a decoded VOP (VOP1 in Figure 5.26),the decoder sends a
feedback message to the encoder identifying the errored video packet,The encoder chooses
a reference VOP prior to the errored packet (VOP 0 in this example) for encoding of the
following VOP (frame 4),This has the effect of ‘cleaning up’ the error and halting temporal
propagation,Using NEWPRED in this way requires both encoder and decoder to store multiple
reconstructed VOPs to use as possible prediction references,Predicting from an older reference
VOP (4 VOPs in the past in this example) tends to reduce compression performance because
the correlation between VOPs reduces with increasing time.
MPEG-4 VISUAL
122
Encoder
Decoder
initial error
feedback
indication
predict from older reference VOP
predict from older reference VOP
012345
01234
Figure 5.26 NEWPRED error handling
Dynamic Resolution Conversion
Dynamic Resolution Conversion (DRC),otherwise known as Reduced Resolution (RR) mode,
enables an encoder to encode a VOP with reduced spatial resolution,This can be a useful tool
to prevent sudden increases in coded bitrate due to (for example) increased detail or rapid
motion in the scene,Normally,such a change in the scene content would cause the encoder to
generate a large number of coded bits,causing problems for a video application transmitting
over a limited bitrate channel,Using the DRC tool,a VOP is encoded at half the normal
horizontal and vertical resolution,At the decoder,a residual macroblock within a Reduced
Resolution VOP is decoded and upsampled (interpolated) so that each 8 × 8 luma block covers
an area of 16 × 16 samples,The upsampled macroblock (now covering an area of 32 × 32
luma samples) is motion compensated from a 32 × 32-sample reference area (the motion
vector of the decoded macroblock is scaled up by a factor of 2) (Figure 5.27),The result is
that the Reduced Resolution VOP is decoded at half the normal resolution (so that the VOP
detail is reduced) with the benefit that the coded VOP requires fewer bits to transmit than a
full-resolution VOP.
5.4 CODING ARBITRARY-SHAPED REGIONS
Coding objects of arbitrary shape (see Section 5.2.3) requires a number of extensions to
the block-based VLBV core CODEC [4],Each VOP is coded using motion compensated
prediction and DCT-based coding of the residual,with extensions to deal with the special
cases introduced by object boundaries,In particular,it is necessary to deal with shape coding,
motion compensation and texture coding of arbitrary-shaped video objects.
CODING ARBITRARY-SHAPED REGIONS
123
Y
Cr Cb
16
16
8
8
Y
Cr Cb
16
16
32
32
Y
Cr Cb
16
16
32
32
upsample
motion
compensate
32x32 sample
reference area
decoded
macroblock
Figure 5.27 Reduced Resolution decoding of a macroblock
Shape coding,The shape of a video object is defined by Alpha Blocks,each covering a
16 × 16-pixel area of the video scene,Each Alpha Block may be entirely external to the
video object (in which case nothing needs to be coded),entirely internal to the VO (in
which case the macroblock is encoded as in Simple Profile) or it may cross a boundary
of the VO,In this last case,it is necessary to define the shape of the VO edge within the
Alpha Block,Shape information is defined using the concept of ‘transparency’,where a
‘transparent’ pixel is not part of the current VOP,an ‘opaque’ pixel is part of the VOP
and replaces anything ‘underneath’ it and a ‘semi-transparent’ pixel is part of the VOP
and is partly transparent,The shape information may be defined as binary (all pixels are
either opaque,1,or transparent,0) or grey scale (a pixel’s transparency is defined by a
number between 0,transparent,and 255,opaque),Binary shape information for a boundary
macroblock is coded as a binary alpha block (BAB) using arithmetic coding and grey scale
shape information is coded using motion compensation and DCT-based encoding.
Motion compensation,Each VOP may be encoded as an I-VOP (no motion compensation),
a P-VOP (motion compensated prediction from a past VOP) or a B-VOP (bidirection mo-
tion compensated prediction),Nontransparent pixels in a boundary macroblock are motion
compensated from the appropriate reference VOP(s) and the boundary pixels of a reference
MPEG-4 VISUAL
124
Simple
Advanced
Coding
Efficiency
N-Bit
N-Bit
Core
Core
Main
Core
B-VOP
Alternate Quant
PVOP temporal
scalability
Binary shape
Gray shape
Interlace
Sprite
Gray shape
Interlace
Quarter pel
Global MC
Shape adaptive
DCT
Figure 5.28 Tools and objects for coding arbitrary-shaped regions
VOP are ‘padded’ to the edges of the motion estimation search area to fill the transparent
pixel positions with data.
Texture coding,Motion-compensated residual samples (‘texture’) in internal blocks are coded
using the 8 × 8 DCT,quantisation and variable length coding described in Section 5.3.2.1.
Non-transparent pixels in a boundary block are padded to the edge of the 8 × 8 block prior
to applying the DCT.
Video object coding is supported by the Core and Main profiles,with extra tools in the
Advanced Coding Efficiency and N-Bit profiles (Figure 5.28).
5.4.1 The Core Profile
A Core Profile CODEC should be capable of encoding and decoding Simple Video Objects
and Core Video Objects,A Core VO may use any of the Simple Profile tools plus the following:
CODING ARBITRARY-SHAPED REGIONS
125
Figure 5.29 VO showing external (1),internal (2) and boundary (3) macroblocks
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B-VOP (described in Section 5.3.3);
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alternate quantiser (described in Section 5.3.3);
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object-based coding (with Binary Shape);
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P-VOP temporal scalability.
Scalable coding,described in detail in Section 5.5,enables a video sequence to be coded and
transmitted as two or more separate ‘layers’ which can be decoded and re-combined,The
Core Profile supports temporal scalability using P-VOPs and an encoder using this tool can
transmit two coded layers,a base layer (decodeable as a low frame-rate version of the video
scene) and a temporal enhancement layer containing only P-VOPs,A decoder can increase
the frame rate of the base layer by adding the decoded frames from the enhancement layer.
Probably the most important functionality in the Core Profile is its support for coding of
arbitrary-shaped objects,requiring several new tools,Each macroblock position in the picture
is classed as (1) opaque (fully ‘inside’ the VOP),(2) transparent (not part of the VOP) or (3)
on the boundary of the VOP (Figure 5.29).
In order to indicate the shape of the VOP to the decoder,alpha mask information is sent
for every macroblock,In the Core Profile,only binary alpha information is permitted and each
pixel position in the VOP is defined to be completely opaque or completely transparent,The
Core Profile supports coding of binary alpha information and provides tools to deal with the
special cases of motion and texture coding within boundary macroblocks.
5.4.1.1 Binary Shape Coding
For each macroblock in the picture,a code bab type is transmitted,This code indicates whether
the MB is transparent (not part of the current VOP,therefore no further data should be coded),
opaque (internal to the current VOP,therefore motion and texture are coded as usual) or a
boundary MB (part of the MB is opaque and part is transparent),Figure 5.30 shows a video
object plane and Figure 5.31 is the corresponding binary mask indicating which pixels are
MPEG-4 VISUAL
126
Figure 5.30 VOP
Figure 5.31 Binary alpha mask (complete VOP)
part of the VOP (white) and which pixels are outside the VOP (black),For a boundary MB
(e.g,Figure 5.32),it is necessary to encode a binary alpha mask to indicate which pixels are
transparent and which are opaque (Figure 5.33).
The binary alpha mask (BAB) for each boundary macroblock is coded using Context-
based binary Arithmetic Encoding (CAE),A BAB pixel value X is to be encoded,where X is
either 0 or 1,First,a context is calculated for the current pixel,A context template defines a
region of n neighbouring pixels that have previously been coded (spatial neighbours for intra-
coded BABs,spatial and temporal neighbours for inter-coded BABs),The n values of each
CODING ARBITRARY-SHAPED REGIONS
127
Figure 5.32 Boundary macroblock
Figure 5.33 Binary alpha mask (boundary MB)
BAB pixel in the context form an n-bit word,the context for pixel X,There are 2
n
possible
contexts and P(0),the probability that X is 0 given a particular context,is stored in the encoder
and decoder for each possible n-bit context,Each mask pixel X is coded as follows:
1,Calculate the context for X.
2,Look up the relevant entry in the probability table P(0).
3,Encode X with an arithmetic encoder (see Chapter 3 for an overview of arithmetic coding).
The sub-range is 0,,,P(0) if X is 0 (black),P(0),,,1.0 if X is 1 (white).
Intra BAB Encoding
In an intra-coded BAB,the context template for the current mask pixel is formed from 10
spatially neighbouring pixels that have been previously encoded,c
0
to c
9
in Figure 5.34,The
context is formed from the 10-bit word c
9
c
8
c
7
c
6
c
5
c
4
c
3
c
2
c
1
c
0
,Each of the 1024 possible context
probabilities is listed in a table in the MPEG-4 Visual standard as an integer in the range 0 to
65535 and the actual probability of zero P(0) is derived by dividing this integer by 65535.
MPEG-4 VISUAL
128
Xc0c1
c6 c5 c4 c3 c2
c9 c8 c7
Figure 5.34 Context template for intra BAB
Examples
Context (binary) Context (decimal) Description P(0)
0000000000 0 All context pixels are 0 65267/65535 = 0.9959
0000000001 1 c
0
is 1,all others are 0 16468/65535 = 0.2513
1111111111 1023 All context pixels are 1 235/65535 = 0.0036
The context template (Figure 5.34) extends 2 pixels horizontally and vertically from the
position of X,If any of these pixels are undefined (e.g,c
2
,c
3
and c
7
may be part of a BAB that
has not yet been coded,or some of the pixels may belong to transparent BABs),the undefined
pixels are set to the value of the nearest neighbour within the current BAB,Depending on
the shape of the binary mask,more efficient coding may be obtained by scanning through the
BAB in vertical order (rather than raster order) so that the context template is placed on its
‘side’,The choice of scan order for each BAB is signalled in the bitstream.
Inter BAB Encoding
The context template (Figure 5.35) consists of nine pixel positions,four in the current VOP
(c
0
to c
3
) and five in a reference VOP (c
4
to c
8
),The position of the central context pixel in the
reference VOP (c
6
) may be offset from the position X by an integer sample vector,enabling
an inter BAB to be encoded using motion compensation,This ‘shape’ vector (MV
s
) may be
chosen independently of any ‘texture’ motion vector,There are nine context pixels and so a
total of 2
9
= 512 probabilities P(0) are stored by the encoder and decoder.
Examples:
Context (binary) Context (decimal) Description P(0)
000000001 1 c0 is 1,all others 0 62970/65535 = 0.9609
000100000 64 c6 is 1,all others 0 23130/65535 = 0.3529
000100001 65 c6 and c0 are 1,all others 0 7282/65535 = 0.1111
These examples indicate that the transparency of the current pixel position X is more heavily
influenced by c
6
(the same position in the previous motion-compensated BAB) than c
0
(the
previous pixel position in raster scan order),As with intra-coding,the scanning order of the
current (and previous) BAB may be horizontal or vertical.
CODING ARBITRARY-SHAPED REGIONS
129
Xc0
c3 c2 c1
c7 c6 c5
c8
c4
Figure 5.35 Context template for inter BAB
A single vector MV
s
is coded for each boundary inter-coded BAB,For P-VOPs,the
reference VOP is the previous I- or P-VOP and for a B-VOP,the reference VOP is the temporally
‘nearest’ I- or P-VOP.
5.4.1.2 Motion Compensated Coding of Arbitrary-shaped VOPs
A P-VOP or B-VOP is predicted from a reference I- or P-VOP using motion compensation.
It is possible for a motion vector to point to a reference region that extends outside of the
opaque area of the reference VOP,i.e,some of the pixels in the reference region may be
‘transparent’,Figure 5.36 illustrates three examples,The left-hand diagram shows a reference
VOP (with opaque pixels coloured grey) and the right-hand diagram shows a current VOP
consisting of nine macroblocks,MB1 is entirely opaque but its MV points to a region in the
reference VOP that contains transparent pixels,MB2 is a boundary MB and the opaque part of
its motion-compensated reference region is smaller than the opaque part of MB2,MB3 is also
a boundary MB and part of its reference region is located in a completely transparent MB in the
reference VOP,In each of these cases,some of the opaque pixels in the current MB are motion-
compensated from transparent pixels in the reference VOP,The values of transparent pixels
are not defined and so it is necessary to deal with these special cases,This is done by padding
transparent pixel positions in boundary and transparent macroblocks in the reference VOP.
Padding of Boundary MBs
Transparent pixels in each boundary MB in a reference VOP are extrapolated horizontally and
vertically from opaque pixels as shown in Figure 5.37.
1,Opaque pixels at the edge of the BAB (dark grey in Figure 5.37) are extrapolated hori-
zontally to fill transparent pixel positions in the same row,If a row is bordered by opaque
pixels at only one side,the value of the nearest opaque pixel is copied to all transparent
pixel positions,If a row is bordered on two sides by opaque pixels (e.g,the top row in
Figure 5.37(a)),the transparent pixel positions are filled with the mean value of the two
neighbouring opaque pixels,The result of horizontal padding is shown in Figure 5.37(b).
2,Opaque pixels (including those ‘filled’ by the first stage of horizontal padding) are extrap-
olated vertically to fill the remaining transparent pixel positions,Columns of transparent
MPEG-4 VISUAL
130
MB1
MB2
Reference
area for
MB2
Reference
area for
MB1
Reference VOP Current VOP
MB3
Reference
area for
MB3
Figure 5.36 Examples of reference areas containing transparent pixels
(a) Horizontal padding (c) Vertical padding(b) After horizontal padding
Figure 5.37 Horizontal and vertical padding in boundary MB
pixels with one opaque neighbour are filled with the value of that pixel and columns with
two opaque neighbours (such as those in Figure 5.37(c)) are filled with the mean value of
the opaque pixels at the top and bottom of the column.
Example
Figure 5.38 shows a boundary macroblock from a VOP with transparent pixels plotted in black.
The opaque pixels are extrapolated horizontally (step 1) to produce Figure 5.39 (note that five
transparent pixel positions have two opaque horizontal neighbours),The result of step 1 is then
extrapolated vertically (step 2) to produce Figure 5.40.
Padding of Transparent MBs
Fully transparent MBs must also be filled with padded pixel values because they may fall
partly or wholly within a motion-compensated reference region (e.g,the reference region for
MB3 in Figure 5.36),Transparent MBs with a single neighbouring boundary MB are filled
by horizontal or vertical extrapolation of the boundary pixels of that MB,For example,in
Figure 5.41,a transparent MB to the left of the boundary MB shown in Figure 5.38 is padded
by filling each pixel position in the transparent MB with the value of the horizontally adjacent
CODING ARBITRARY-SHAPED REGIONS
131
Figure 5.38 Boundary MB
Figure 5.39 Boundary MB after horizontal padding
MPEG-4 VISUAL
132
Figure 5.40 Boundary MB after vertical padding
edge pixel,Transparent MBs are always padded after all boundary MBs have been fully
padded.
If a transparent MB has more than one neighbouring boundary MB,one of its neighbours
is chosen for extrapolation according to the following rule,If the left-hand MB is a boundary
MB,it is chosen; else if the top MB is a boundary MB,it is chosen; else if the right-hand MB
is a boundary MB,it is chosen; else the lower MB is chosen.
Transparent MBs with no nontransparent neighbours are filled with the pixel value 2
N?1
,
where N is the number of bits per pixel,If N is 8 (the usual case),these MBs are filled with
the pixel value 128.
5.4.1.3 Texture Coding in Boundary Macroblocks
The texture in an opaque MB (the pixel values in an intra-coded MB or the motion compensated
residual in an inter-coded MB) is coded by the usual process of 8 × 8 DCT,quantisation,run-
level encoding and entropy encoding (see Section 5.3.2),A boundary MB consists partly of
texture pixels (inside the boundary) and partly of undefined,transparent pixels (outside the
boundary),In a core profile object,each 8 × 8 texture block within a boundary MB is coded
using an 8 × 8 DCT followed by quantisation,run-level coding and entropy coding as usual
(see Section 7.2 for an example),(The Shape-Adaptive DCT,part of the Advanced Coding
Efficiency Profile and described in Section 5.4.3,provides a more efficient method of coding
boundary texture.)
CODING ARBITRARY-SHAPED REGIONS
133
Figure 5.41 Padding of transparent MB from horizontal neighbour
5.4.2 The Main Profile
A Main Profile CODEC supports Simple and Core objects plus Scalable Texture objects (see
Section 5.6.1) and Main objects,The Main object adds the following tools:
a114
interlace (described in Section 5.3.3);
a114
object-based coding with grey (‘alpha plane’) shape;
a114
Sprite coding.
In the Core Profile,object shape is specified by a binary alpha mask such that each pixel position
is marked as ‘opaque’ or ‘transparent’,The Main Profile adds support for grey shape masks,
in which each pixel position can take varying levels of transparency from fully transparent to
fully opaque,This is similar to the concept of Alpha Planes used in computer graphics and
allows the overlay of multiple semi-transparent objects in a reconstructed (rendered) scene.
Sprite coding is designed to support efficient coding of background objects,In many
video scenes,the background does not change significantly and those changes that do occur
are often due to camera movement,A ‘sprite’ is a video object (such as the scene background)
that is fully or partly transmitted at the start of a scene and then may change in certain limited
ways during the scene.
5.4.2.1 Grey Shape Coding
Binary shape coding (described in Section 5.4.1.1) has certain drawbacks in the representation
of video scenes made up of multiple objects,Objects or regions in a ‘natural’ video scene
may be translucent (partially transparent) but binary shape coding only supports completely
transparent (‘invisible’) or completely opaque regions,It is often difficult or impossible to
segment video objects neatly (since object boundaries may not exactly correspond with pixel
positions),especially when segmentation is carried out automatically or semi-automatically.
MPEG-4 VISUAL
134
Figure 5.42 Grey-scale alpha mask for boundary MB
Figure 5.43 Boundary MB with grey-scale transparency
For example,the edge of the VOP shown in Figure 5.30 is not entirely ‘clean’ and this may
lead to unwanted artefacts around the VOP edge when it is rendered with other VOs.
Grey shape coding gives more flexible control of object transparency,A grey-scale alpha
plane is coded for each macroblock,in which each pixel position has a mask value between
0 and 255,where 0 indicates that the pixel position is fully transparent,255 indicates that it
is fully opaque and other values specify an intermediate level of transparency,An example
of a grey-scale mask for a boundary MB is shown in Figure 5.42,The transparency ranges
from fully transparent (black mask pixels) to opaque (white mask pixels),The rendered MB
is shown in Figure 5.43 and the edge of the object now ‘fades out’ (compare this figure
with Figure 5.32),Figure 5.44 is a scene constructed of a background VO (rectangular) and
two foreground VOs,The foreground VOs are identical except for their transparency,the
left-hand VO uses a binary alpha mask and the right-hand VO has a grey alpha mask which
helps the right-hand VO to blend more smoothly with the background,Other uses of grey
shape coding include representing translucent objects,or deliberately altering objects to make
them semi-transparent (e.g,the synthetic scene in Figure 5.45).
CODING ARBITRARY-SHAPED REGIONS
135
Figure 5.44 Video scene with binary-alpha object (left) and grey-alpha object (right)
Figure 5.45 Video scene with semi-transparent object
Grey scale alpha masks are coded using two components,a binary support mask that
indicates which pixels are fully transparent (external to the VO) and which pixels are semi-
or fully-opaque (internal to the VO),and a grey scale alpha plane,Figure 5.33 is the binary
support mask for the grey-scale alpha mask of Figure 5.42,The binary support mask is coded
in the same way as a BAB (see Section 5.4.1.1),The grey scale alpha plane (indicating the
level of transparency of the internal pixels) is coded separately in the same way as object
texture (i.e,each 8 × 8 block within the alpha plane is transformed using the DCT,quantised,
MPEG-4 VISUAL
136
Figure 5.46 Sequence of frames
reordered,run-level and entropy coded),The decoder reconstructs the grey scale alpha plane
(which may not be identical to the original alpha plane due to quantisation distortion) and the
binary support mask,If the binary support mask indicates that a pixel is outside the VO,the
corresponding grey scale alpha plane value is set to zero,In this way,the object boundary is
accurately preserved (since the binary support mask is losslessly encoded) whilst the decoded
grey scale alpha plane (and hence the transparency information) may not be identical to the
original.
The increased flexibility provided by grey scale alpha shape coding is achieved at a cost
of reduced compression efficiency,Binary shape coding requires the transmission of BABs
for each boundary MB and in addition,grey scale shape coding requires the transmission of
grey scale alpha plane data for every MB that is semi-transparent.
5.4.2.2 Static Sprite Coding
Three frames from a video sequence are shown in Figure 5.46,Clearly,the background does not
change during the sequence (the camera position is fixed),The background (Figure 5.47) may
be coded as a static sprite,A static sprite is treated as a texture image that may move or warp
in certain limited ways,in order to compensate for camera changes such as pan,tilt,rotation
and zooming,In a typical scenario,a sprite may be much larger than the visible area of the
scene,As the camera ‘viewpoint’ changes,the encoder transmits parameters indicating how
the sprite should be moved and warped to recreate the appropriate visible area in the decoded
scene,Figure 5.48 shows a background sprite (the large region) and the area viewed by the
camera at three different points in time during a video sequence,As the sequence progresses,
the sprite is moved,rotated and warped so that the visible area changes appropriately,A sprite
may have arbitrary shape (Figure 5.48) or may be rectangular.
The use of static sprite coding is indicated by setting sprite enable to ‘Static’ in a VOL
header,after which static sprite coding is used throughout the VOP,The first VOP in a static
sprite VOL is an I-VOP and this is followed by a series of S-VOPs (Static Sprite VOPs),Note
that a Static Sprite S-VOP is coded differently from a Global Motion Compensation S(GMC)-
VOP (described in Section 5.3.3).There are two methods of transmitting and manipulating
sprites,a ‘basic’ sprite (sent in its entirety at the start of a sequence) and a ‘low-latency’ sprite
(updated piece by piece during the sequence).
CODING ARBITRARY-SHAPED REGIONS
137
Figure 5.47 Background sprite
background sprite
1
2
3
Figure 5.48 Background sprite and three different camera viewpoints
Basic Sprite
The first VOP (I-VOP) contains the entire sprite,encoded in the same way as a ‘normal’
I-VOP,The sprite may be larger than the visible display size (to accommodate camera move-
ments during the sequence),At the decoder,the sprite is placed in a Sprite Buffer and is not
immediately displayed,All further VOPs in the VOL are S-VOPs,An S-VOP contains up
to four warping parameters that are used to move and (optionally) warp the contents of the
Sprite Buffer in order to produce the desired background display,The number of warping
parameters per S-VOP (up to four) is chosen in the VOL header and determines the flexibility
of the Sprite Buffer transformation,A single parameter per S-VOP enables linear transla-
tion (i.e,a single motion vector for the entire sprite),two or three parameters enable affine
MPEG-4 VISUAL
138
transformation of the sprite (e.g,rotation,shear) and four parameters enable a perspective
transform.
Low-latency sprite
Transmitting an entire sprite in Basic Sprite mode at the start of a VOL may introduce sig-
nificant latency because the sprite may be much larger than an individual displayed VOP.
The Low-Latency Sprite mode enables an encoder to send initially a minimal size and/or low-
quality version of the sprite and then update it during transmission of the VOL,The first I-VOP
contains part or all of the sprite (optionally encoded at a reduced quality to save bandwidth)
together with the height and width of the entire sprite.
Each subsequent S-VOP may contain warping parameters (as in the Basic Sprite mode)
and one or more sprite ‘pieces’,A sprite ‘piece’ covers a rectangular area of the sprite and
contains macroblock data that (a) constructs part of the sprite that has not previously been
decoded (‘static-sprite-object’ piece) or (b) improves the quality of part of the sprite that
has been previously decoded (‘static-sprite-update’ piece),Macroblocks in a ‘static-sprite-
object’ piece are encoded as intra macroblocks (including shape information if the sprite is not
rectangular),Macroblocks in a ‘static-sprite-update’ piece are encoded as inter macroblocks
using forward prediction from the previous contents of the sprite buffer (but without motion
vectors or shape information).
Example
The sprite shown in Figure 5.47 is to be transmitted in low-latency mode,The initial I-VOP
contains a low-quality version of part of the sprite and Figure 5.49 shows the contents of the
sprite buffer after decoding the I-VOP,An S-VOP contains a new piece of the sprite,encoded in
high-quality mode (Figure 5.50) and this extends the contents of the sprite buffer (Figure 5.51).
A further S-VOP contains a residual piece (Figure 5.52) that improves the quality of the top-left
part of the current sprite buffer,After adding the decoded residual,the sprite buffer contents are
as shown Figure 5.53,Finally,four warping points are transmitted in a further S-VOP to produce
a change of rotation and perspective (Figure 5.54).
5.4.3 The Advanced Coding Efficiency Profile
The ACE profile is a superset of the Core profile that supports coding of grey-alpha video
objects with high compression efficiency,In addition to Simple and Core objects,it includes
the ACE object which adds the following tools:
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quarter-pel motion compensation (Section 5.3.3);
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GMC (Section 5.3.3);
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interlace (Section 5.3.3);
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grey shape coding (Section 5.4.2);
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shape-adaptive DCT.
The Shape-Adaptive DCT (SA-DCT) is based on pre-defined sets of one-dimensional DCT
basis functions and allows an arbitrary region of a block to be efficiently transformed and
compressed,The SA-DCT is only applicable to 8 × 8 blocks within a boundary BAB that
CODING ARBITRARY-SHAPED REGIONS
139
Figure 5.49 Low-latency sprite,decoded I-VOP
Figure 5.50 Low-latency sprite,static-sprite-object piece
Figure 5.51 Low-latency sprite,buffer contents (1)
Figure 5.52 Low-latency sprite,static-sprite-update piece
Figure 5.53 Low-latency sprite,buffer contents (2)
Figure 5.54 Low-latency sprite,buffer contents (3)
CODING ARBITRARY-SHAPED REGIONS
141
Residual X Residual X
Intermediate Y Intermediate Y Coefficients Z
Shift
vertically
1-D column
DCT
Shift
horizontally
1-D row
DCT
Figure 5.55 Shape-adaptive DCT
Fine Granular
Scalability
Core Scalable
Simple
Scalable
Core
Simple
Interlace
B-VOP
Alternate Quant
FGS
FGS Temporal
Scalability
Temporal
Scalability
(rectangular)
Spatial Scalability
(rectangular)
Object-based
spatial scalability
I-VOP
P-VOP
4MV
UMV
Intra Pred
Video packets
Data Partitioning
RVLCs
B-VOP
Temporal
Scalability
(rectangular)
Spatial Scalability
(rectangular)
Figure 5.56 Tools and objects for scalable coding
contain one or more transparent pixels,The Forward SA-DCT consists of the following steps
(Figure 5.55):
1,Shift opaque residual values X to the top of the 8 × 8 block.
2,Apply a 1D DCT to each column (the number of points in the transform matches the number
of opaque values in each column).
3,Shift the resulting intermediate coefficients Y to the left of the block.
4,Apply a 1D DCT to each row (matched to the number of values in each row).
The final coefficients (Z) are quantised,zigzag scanned and encoded,The decoder reverses
the process (making use of the shape information decoded from the BAB) to reconstruct the
8 × 8 block of samples,The SA-DCT is more complex than the normal 8 × 8 DCT but can
improve coding efficiency for boundary MBs.
5.4.4 The N-bit Profile
The N-bit profile contains Simple and Core objects plus the N-bit tool,This supports coding of
luminance and chrominance data containing between four and twelve bits per sample (instead
of the usual restriction to eight bits per sample),Possible applications of the N-bit profile
include video coding for displays with low colour depth (where the limited display capability
means that less than eight bits are required to represent each sample) or for high-quality display
applications (where the display has a colour depth of more than eight bits per sample and high
coded fidelity is desired).
MPEG-4 VISUAL
142
video
sequence
encoder
base layer
enhancement
layer 1
enhancement
layer N
decoder A
decoder B
...
basic-quality
sequence
high-quality
sequence
Figure 5.57 Scalable coding,general concept
5.5 SCALABLE VIDEO CODING
Scalable encoding of video data enables a decoder to decode selectively only part of the coded
bitstream,The coded stream is arranged in a number of layers,including a ‘base’ layer and
one or more ‘enhancement’ layers (Figure 5.57),In this figure,decoder A receives only the
base layer and can decode a ‘basic’ quality version of the video scene,whereas decoder B
receives all layers and decodes a high quality version of the scene,This has a number of
applications,for example,a low-complexity decoder may only be capable of decoding the
base layer; a low-rate bitstream may be extracted for transmission over a network segment
with limited capacity; and an error-sensitive base layer may be transmitted with higher priority
than enhancement layers.
MPEG-4 Visual supports a number of scalable coding modes,Spatial scalability enables
a (rectangular) VOP to be coded at a hierarchy of spatial resolutions,Decoding the base
layer produces a low-resolution version of the VOP and decoding successive enhancement
layers produces a progressively higher-resolution image,Temporal scalability provides a low
frame-rate base layer and enhancement layer(s) that build up to a higher frame rate,The
standard also supports quality scalability,in which the enhancement layers improve the visual
quality of the VOP and complexity scalability,in which the successive layers are progressively
more complex to decode,Fine Grain Scalability (FGS) enables the quality of the sequence
to be increased in small steps,An application for FGS is streaming video across a network
connection,in which it may be useful to scale the coded video stream to match the available
bit rate as closely as possible.
5.5.1 Spatial Scalability
The base layer contains a reduced-resolution version of each coded frame,Decoding the
base layer alone produces a low-resolution output sequence and decoding the base layer with
enhancement layer(s) produces a higher-resolution output,The following steps are required
to encode a video sequence into two spatial layers:
1,Subsample each input video frame (Figure 5.58) (or video object) horizontally and vertically
(Figure 5.59).
2,Encode the reduced-resolution frame to form the base layer.
3,Decode the base layer and up-sample to the original resolution to form a prediction frame
(Figure 5.60).
4,Subtract the full-resolution frame from this prediction frame (Figure 5.61).
5,Encode the difference (residual) to form the enhancement layer.
SCALABLE VIDEO CODING
143
Figure 5.58 Original video frame
Figure 5.59 Sub-sampled frame to be encoded as base layer
Figure 5.60 Base layer frame (decoded and upsampled)
MPEG-4 VISUAL
144
Figure 5.61 Residual to be encoded as enhancement layer
A single-layer decoder decodes only the base layer to produce a reduced-resolution output
sequence,A two-layer decoder can reconstruct a full-resolution sequence as follows:
1,Decode the base layer and up-sample to the original resolution.
2,Decode the enhancement layer.
3,Add the decoded residual from the enhancement layer to the decoded base layer to form
the output frame.
An I-VOP in an enhancement layer is encoded without any spatial prediction,i.e,as a complete
frame or object at the enhancement resolution,In an enhancement layer P-VOP,the decoded,
up-sampled base layer VOP (at the same position in time) is used as a prediction without any
motion compensation,The difference between this prediction and the input frame is encoded
using the texture coding tools,i.e,no motion vectors are transmitted for an enhancement
P-VOP,An enhancement layer B-VOP is predicted from two directions,The backward pre-
diction is formed by the decoded,up-sampled base layer VOP (at the same position in time),
without any motion compensation (and hence without any MVs),The forward prediction is
formed by the previous VOP in the enhancement layer (even if this is itself a B-VOP),with
motion-compensated prediction (and hence MVs).
If the VOP has arbitrary (binary) shape,a base layer and enhancement layer BAB is
required for each MB,The base layer BAB is encoded as usual,based on the shape and size of
the base layer object,A BAB in a P-VOP enhancement layer is coded using prediction from
an up-sampled version of the base layer BAB,A BAB in a B-VOP enhancement layer may be
coded in the same way,or using forward prediction from the previous enhancement VOP (as
described in Section 5.4.1.1).
5.5.2 Temporal Scalability
The base layer of a temporal scalable sequence is encoded at a low video frame rate and a
temporal enhancement layer consists of I-,P- and/or B-VOPs that can be decoded together
with the base layer to provide an increased video frame rate,Enhancement layer VOPs are
predicted using motion-compensated prediction according to the following rules.
SCALABLE VIDEO CODING
145
1
20
3
enhancement
layer VOPs
base layer
VOPs
(i)
(ii) (iii)
Figure 5.62 Temporal enhancement P-VOP prediction options
1
20
(i)
(ii)
20
3 1
2
3
(iii)
Figure 5.63 Temporal enhancement B-VOP prediction options
An enhancement I-VOP is encoded without any prediction,An enhancement P-VOP is
predicted from (i) the previous enhancement VOP,(ii) the previous base layer VOP or (iii) the
next base layer VOP (Figure 5.62),An enhancement B-VOP is predicted from (i) the previous
enhancement and previous base layer VOPs,(ii) the previous enhancement and next base layer
VOPs or (iii) the previous and next base layer VOPs (Figure 5.63).
5.5.3 Fine Granular Scalability
Fine Granular Scalability (FGS) [5] is a method of encoding a sequence as a base layer and
enhancement layer,The enhancement layer can be truncated during or after encoding (reducing
the bitrate and the decoded quality) to give highly flexible control over the transmitted bitrate.
FGS may be useful for video streaming applications,in which the available transmission
bandwidth may not be known in advance,In a typical scenario,a sequence is coded as a base
layer and a high-quality enhancement layer,Upon receiving a request to send the sequence at
a particular bitrate,the streaming server transmits the base layer and a truncated version of the
enhancement layer,The amount of truncation is chosen to match the available transmission
bitrate,hence maximising the quality of the decoded sequence without the need to re-encode
the video clip.
MPEG-4 VISUAL
146
Texture FDCT Quant
Rescale
Encode
each
bitplane
Encode
coefficients
+
-
Base
layer
Enhancement
layer
Figure 5.64 FGS encoder block diagram (simplified)
13 -11
17
-3
0 0
00
0
0
...
...
...
...
...
Figure 5.65 Block of residual coefficients (top-left corner)
Encoding
Figure 5.64 shows a simplified block diagram of an FGS encoder (motion compensation is
not shown),In the Base Layer,the texture (after motion compensation) is transformed with
the forward DCT,quantised and encoded,The quantised coefficients are re-scaled (‘inverse
quantised’) and these re-scaled coefficients are subtracted from the unquantised DCT coeffi-
cients to give a set of difference coefficients,The difference coefficients for each block are
encoded as a series of bitplanes,First,the residual coefficients are reordered using a zigzag
scan,The highest-order bits of each coefficient (zeros or ones) are encoded first (the MS bit-
plane) followed by the next highest-order bits and so on until the LS bits have been encoded.
Example
A block of residual coefficients is shown in Figure 5.65 (coefficients not shown are zero),The
coefficients are reordered in a zigzag scan to produce the following list:
+13,?11,0,0,+17,0,0,0,?3,0,0,...
The bitplanes corresponding to the magnitude of each residual coefficient are shown in Table 5.6,In
this case,the highest plane containing nonzero bits is plane 4 (because the highest magnitude is 17).
SCALABLE VIDEO CODING
147
Table 5.6 Residual coefficient bitplanes (magnitude)
Value +13?1100+17000?3 0...
Plane 4 (MSB) 0 0 0 0 1 0 0 0 0 0...
Plane 3 1 1 0 0 0 0 0 0 0 0...
Plane 2 1 1 0 0 0 0 0 0 0 0...
Plane 1 0 0 0 0 0 0 0 0 1 0...
Plane 0 (LSB) 1 1 0 0 1 0 0 0 1 0...
Table 5.7 Encoded values
Plane Encoded values
4 (4,EOP) (+)
3 (0) (+) (0,EOP) (?)
2 (0,EOP)
1 (1) (6,EOP) (?)
0 (0) (0) (2) (3,EOP)
Each bitplane contains a series of zeros and ones,The ones are encoded as (run,EOP) where
‘EOP’ indicates ‘end of bitplane’ and each (run,EOP) pair is transmitted as a variable-length
code,Whenever the MS bit of a coefficient is encoded,it is immediately followed in the bitstream
by a sign bit,Table 5.7 lists the encoded values for each bitplane,Bitplane 4 contains four zeros,
followed by a 1,This is the last nonzero bit and so is encoded as (4,EOP),This also the MS bit
of the coefficient ‘+17’ and so the sign of this coefficient is encoded.
This example illustrates the processing of one block,The encoding procedure for a
complete frame is as follows:
1,Find the highest bit position of any difference coefficient in the frame (the MSB).
2,Encode each bitplane as described above,starting with the plane containing the MSB.
Each complete encoded bitplane is preceded by a start code,making it straightforward
to truncate the bitstream by sending only a limited number of encoded bitplanes.
Decoding
The decoder decodes the base layer and enhancement layer (which may be truncated).
The difference coefficients are reconstructed from the decoded bitplanes,added to the base
layer coefficients and inverse transformed to produce the decoded enhancement sequence
(Figure 5.66).
If the enhancement layer has been truncated,then the accuracy of the difference coef-
ficients is reduced,For example,assume that the enhancement layer described in the above
example is truncated after bitplane 3,The MS bits (and the sign) of the first three nonzero
coefficients are decoded (Table 5.8); if the remaining (undecoded) bitplanes are filled with
MPEG-4 VISUAL
148
Table 5.8 Decoded values (truncated after plane 3)
Plane 4 (MSB) 0 0 0 0 1 00000...
Plane 3 1 1 0 0 000000...
Plane 2 0 0 0 0 000000...
Plane 1 0 0 0 0 000000...
Plane 0 (LSB) 0 0 0 0 000000...
Decoded value +8?800+1600000...
Decode
coefficients
Rescale IDCT
Decode
bitplanes
+
+
IDCT
Base
layer
Enhancement
layer (may be
truncated)
Texture
(base layer)
Texture
(enhancement
layer)
Figure 5.66 FGS decoder block diagram (simplified)
zeros then the list of output values becomes:
+8,?8,0,0,+16,0,...
Optional enhancements to FGS coding include selective enhancement (in which bit planes
of selected MBs are bit-shifted up prior to encoding,in order to give them a higher priority and
a higher probability of being included in a truncated bitstream) and frequency weighting (in
which visually-significant low frequency DCT coefficients are shifted up prior to encoding,
again in order to give them higher priority in a truncated bitstream).
5.5.4 The Simple Scalable Profile
The Simple Scalable profile supports Simple and Simple Scalable objects,The Simple Scalable
object contains the following tools:
a114
I-VOP,P-VOP,4MV,unrestricted MV and Intra Prediction;
a114
Video packets,Data Partitioning and Reversible VLCs;
a114
B-VOP;
a114
Rectangular Temporal Scalability (1 enhancement layer) (Section 5.5.2);
a114
Rectangular Spatial Scalability (1 enhancement layer) (Section 5.5.1).
The last two tools support scalable coding of rectangular VOs.
5.5.5 The Core Scalable Profile
The Core Scalable profile includes Simple,Simple Scalable and Core objects,plus the Core
Scalable object which features the following tools,in each case with up to two enhancement
layers per object:
TEXTURE CODING
149
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Rectangular Temporal Scalability (Section 5.5.2);
a114
Rectangular Spatial Scalability (Section 5.5.1);
a114
Object-based Spatial Scalability (Section 5.5.1).
5.5.6 The Fine Granular Scalability Profile
The FGS profile includes Simple and Advanced Simple objects plus the FGS object which
includes these tools:
a114
B-VOP,Interlace and Alternate Quantiser tools;
a114
FGS Spatial Scalability;
a114
FGS Temporal Scalability.
FGS ‘Spatial Scalability’ uses the encoding and decoding techniques described in Section
5.5.3 to encode each frame as a base layer and an FGS enhancement layer,FGS ‘Tempo-
ral Scalability’ combines FGS (Section 5.5.3) with temporal scalability (Section 5.5.2),An
enhancement-layer frame is encoded using forward or bidirectional prediction from base layer
frame(s) only,The DCT coefficients of the enhancement-layer frame are encoded in bitplanes
using the FGS technique.
5.6 TEXTURE CODING
The applications targeted by the developers of MPEG4 include scenarios where it is necessary
to transmit still texture (i.e,still images),Whilst block transforms such as the DCT are widely
considered to be the best practical solution for motion-compensated video coding,the Discrete
Wavelet Transform (DWT) is particularly effective for coding still images (see Chapter 3) and
MPEG-4 Visual uses the DWT as the basis for tools to compress still texture,Applications
include the coding of rectangular texture objects (such as complete image frames),coding of
arbitrary-shaped texture regions and coding of texture to be mapped onto animated 2D or 3D
meshes (see Section 5.8).
The basic structure of a still texture encoder is shown in Figure 5.68,A 2D DWT is
applied to the texture object,producing a DC component (low-frequency subband) and a
number of AC (high-frequency) subbands (see Chapter 3),The DC subband is quantised,pre-
dictively encoded (using a form of DPCM) and entropy encoded using an arithmetic encoder.
The AC subbands are quantised and reordered (‘scanned’),zero-tree encoded and entropy
encoded.
Discrete Wavelet Transform
The DWT adopted for MPEG-4 Still Texture coding is the Daubechies (9,3)-tap biorthogonal
filter [6],This is essentially a matched pair of filters,one low pass (with three filter coefficients
or ‘taps’) and one high pass (with nine filter taps).
Quantisation
The DC subband is quantised using a scalar quantiser (see Chapter 3),The AC subbands may
be quantised in one of three ways:
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150
Advanced
Scalable
Texture
Scalable still
texture
Scalable
Texture
Scalable shape
coding
Texture error
resilience
Wavelet tiling
Figure 5.67 Tools and objects for texture coding
DWT
Quant
Predictive
coding
Quant and
Scanning
Zero-tree
coding
Arithmetic
encoder
Still
texture
DC subband
AC subbands
Coded
bitstream
Figure 5.68 Wavelet still texture encoder block diagram
1,Scalar quantisation using a single quantiser (‘mode 1’),prior to reordering and zero-tree
encoding.
2,‘Bilevel’ quantisation (‘mode 3’) after reordering,The reordered coefficients are coded one
bitplane at a time (see Section 5.5.3 for a discussion of bitplanes) using zero-tree encoding.
The coded bitstream can be truncated at any point to provide highly scalable decoding (in
a similar way to FGS,see previous section).
3,‘Multilevel’ quantisation (‘mode 2’) prior to reordering and zero-tree encoding,A series
of quantisers are applied,from coarse to fine,with the output of each quantiser forming a
series of layers (a type of scalable coding).
Reordering
The coefficients of the AC subbands are scanned or reordered in one of two ways:
1,Tree-order,A ‘parent’ coefficient in the lowest subband is coded first,followed by its
‘child’ coefficients in the next higher subband,and so on,This enables the EZW coding
(see below) to exploit the correlation between parent and child coefficients,The first three
trees to be coded in a set of coefficients are shown in Figure 5.69.
TEXTURE CODING
151
DC
1st tree
2nd tree 3rd tree
Figure 5.69 Tree-order scanning
DC
1st band 2nd band 3rd band
Figure 5.70 Band-by-band scanning
2,Band-by-band order,All the coefficients in the first AC subband are coded,followed by all
the coefficients in the next subband,and so on (Figure 5.70),This scanning method tends to
reduce coding efficiency but has the advantage that it supports a form of spatial scalability
since a decoder can extract a reduced-resolution image by decoding a limited number of
subbands.
DC Subband Coding
The coefficients in the DC subband are encoded using DPCM,Each coefficient is spatially
predicted from neighbouring,previously-encoded coefficients.
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152
Table 5.9 Zero-tree coding symbols
Symbol Meaning
ZeroTree Root (ZTR) The current coefficient and all subsequent coefficients in the tree
(or band) are zero,No further data is coded for this tree (or band).
Value + ZeroTree Root The current coefficient is nonzero but all subsequent coefficients are
(VZTR) zero,No further data is coded for this tree/band.
Value (VAL) The current coefficient is nonzero and one or more subsequent
coefficients are nonzero,Further data must be coded.
Isolated Zero (IZ) The current coefficient is zero but one or more subsequent coefficients
are nonzero,Further data must be coded.
AC Subband Coding
Coding of coefficients in the AC subbands is based on EZW (Embedded Zerotree Wavelet
coding),The coefficients of each tree (or each subband if band-by-band scanning is used) are
encoded starting with the first coefficient (the ‘root’ of the tree if tree-order scanning is used)
and each coefficient is coded as one of the four symbols listed in Table 5.9.
Entropy Coding
The symbols produced by the DC and AC subband encoding processes are entropy coded
using a context-based arithmetic encoder,Arithmetic coding is described in Chapter 3 and the
principle of context-based arithmetic coding is discussed in Section 5.4.1 and Chapter 6.
5.6.1 The Scalable Texture Profile
The Scalable Texture Profile contains just one object which in turn contains one tool,Scalable
Texture,This tool supports the coding process described in the preceding section,for rectan-
gular video objects only,By selecting the scanning mode and quantiser method it is possible
to achieve several types of scalable coding.
(a) Single quantiser,tree-ordered scanning,no scalability.
(b) Band-by-band scanning,spatial scalability (by decoding a subset of the bands).
(c) Bilevel quantiser,bitplane-based scalability,similar to FGS.
(d) Multilevel quantiser,‘quality’ scalability,with one layer per quantiser.
5.6.2 The Advanced Scalable Texture Profile
The Advanced Scalable Texture profile contains the Advanced Scalable Texture object which
adds extra tools to Scalable Texture,Wavelet tiling enables an image to be divided into several
nonoverlapping sub-images or ‘tiles’,each coded using the wavelet texture coding process
described above,This tool is particularly useful for CODECs with limited memory,since
the wavelet transform and other processing steps can be applied to a subset of the image
at a time,The shape coding tool adds object-based capabilities to the still texture coding
process by adapting the DWT to deal with arbitrary-shaped texture objects,Using the error
CODING STUDIO-QUALITY VIDEO
153
Core Studio
Simple Studio
P-VOP
Frame/Field
I-VOP
Interlace
Studio Slice
Studio DPCM
Studio Binary and
Gray Shape
Studio Sprite
Figure 5.71 Tools and objects for studio coding
resilience tool,the coded texture is partitioned into packets (‘texture packets’),The bitstream
is processed in Texture Units (TUs),each containing a DC subband,a complete coded tree
structure (tree-order scanning) or a complete coded subband (band-by-band scanning),A
texture packet contains one or more coded TUs,This packetising approach helps to minimise
the effect of a transmission error by localising it to one decoded TU.
5.7 CODING STUDIO-QUALITY VIDEO
Before broadcasting digital video to the consumer it is necessary to code (or transcode) the
material into a compressed format,In order to maximise the quality of the video delivered to
the consumer it is important to maintain high quality during capture,editing and distribution
between studios,The Simple Studio and Core Studio profiles of MPEG-4 Visual are designed
to support coding of video at a very high quality for the studio environment,Important con-
siderations include maintaining high fidelity (with near-lossless or lossless coding),support
for 4:4:4 and 4:2:2 colour depths and ease of transcoding (conversion) to/from legacy formats
such as MPEG-2.
5.7.1 The Simple Studio Profile
The Simple Studio object is intended for use in the capture,storage and editing of high quality
video,It supports only I-VOPs (i.e,no temporal prediction) and the coding process is modified
in a number of ways.
Source format,The Simple Studio profile supports coding of video sampled in 4:2:0,4:2:2 and
4:4:4 YCbCr formats (see Chapter 2 for details of these sampling modes) with progressive
MPEG-4 VISUAL
154
10
2 3
4
6
5
7
10
2 3
4
6
5
7
8
10 11
9
YCbCr
YCbCr
4:4:4 macroblock structure (12 blocks)
Figure 5.72 Modified macroblock structures (4:2:2 and 4:4:4 video)
1
5
......etc
0
2
4
3
876
9
Figure 5.73 Example slice structure
or interlaced scanning,The modified macroblock structures for 4:2:2 and 4:4:4 video are
shown in Figure 5.72.
Transform and quantisation,The precision of the DCT and IDCT are extended by three frac-
tional bits,Together with modifications to the forward and inverse quantisation processes,
this enables fully lossless DCT-based encoding and decoding,In some cases,lossless DCT
coding of intra data may result in a coded frame that is larger than the original and for this
reason the encoder may optionally use DPCM to code the frame data instead of the DCT
(see Chapter 3).
Shape coding,Binary shape information is coded using PCM rather than arithmetic coding
(in order to simplify the encoding and decoding process),Alpha (grey) shape may be coded
with an extended resolution of up to 12 bits.
Slices,Coded data are arranged in slices in a similar way to MPEG-2 coded video [7],Each
slice includes a start code and a series of coded macroblocks and the slices are arranged
in raster order to cover the coded picture (see for example Figure 5.73),This structure is
adopted to simplify transcoding to/from an MPEG-2 coded representation.
VOL headers,Additional data fields are added to the VOL header,mimicking those in an
MPEG-2 picture header in order to simplify MPEG-2 transcoding.
CODING SYNTHETIC VISUAL SCENES
155
Simple Face
Facial Animation
Parameters
Basic
Animated
Texture
Animated 2D
Mesh
Simple FBA
Body Animation
Parameters
Scalable still
texture
Binary Shape
2D dynamic mesh
(uniform topology)
Core
2D dynamic mesh
(Delaunay
topology)
Figure 5.74 Tools and objects for animation
5.7.2 The Core Studio Profile
The Core Studio object is intended for distribution of studio-quality video (for example be-
tween production studios) and adds support for Sprites and P-VOPs to the Simple Studio
tools,Sprite coding is modified by adding extra sprite control parameters that closely mimic
the properties of ‘real’ video cameras,such as lens distortion,Motion compensation and mo-
tion vector coding in P-VOPs is modified for compatibility with the MPEG-2 syntax,for
example,motion vectors are predictively coded using the MPEG-2 method rather than the
usual MPEG-4 median prediction method.
5.8 CODING SYNTHETIC VISUAL SCENES
For the first time in an international standard,MPEG4 introduced the concept of ‘hybrid’
synthetic and natural video objects for visual communication,According to this concept,
some applications may benefit from using a combination of tools from the video coding
community (designed for coding of ‘real world’ or ‘natural’ video material) and tools from
the 2D/3D animation community (designed for rendering ‘synthetic’ or computer-generated
visual scenes).
MPEG4 Visual includes several tools and objects that can make use of a combination
of animation and natural video processing (Figure 5.74),The Basic Animated Texture and
Animated 2D Mesh object types support the coding of 2D meshes that represent shape and
motion,together with still texture that may be mapped onto a mesh,A tool for representing
and coding 3D Mesh models is included in MPEG-4 Visual Version 2 but is not yet part of any
profile,The Face and Body Animation tools enable a human face and/or body to be modelled
and coded [8].
It has been shown that animation-based tools have potential applications to very low bit
rate video coding [9],However,in practice,the main application of these tools to date has
been in coding synthetic (computer-generated) material,As the focus of this book is natural
video coding,these tools will not be covered in detail.
5.8.1 Animated 2D and 3D Mesh Coding
A 2D mesh is made up of triangular patches and covers the 2D plane of an image or VO,De-
formation or motion between VOPs can be modelled by warping the triangular patches,A 3D
MPEG-4 VISUAL
156
mesh models an object as a collection of polygons in 3D space (including depth information).
The surface texture of a 2D or 3D mesh may be compressed as a static texture image (using
the DWT) which is projected onto the mesh at the decoder.
These tools have a number of applications including coding and representing synthetic
(computer generated) or ‘natural’ 2D and 3D objects in a scene and may be particularly useful
for applications that combine natural and computer-generated imagery (Synthetic Natural
Hybrid Coding,SNHC),It is possible to use mesh-based coding for compression of natural
video objects,For example,a mesh and a static texture map may be transmitted for selected
key frames,No texture is transmitted for intermediate frames,instead the mesh parameters
are transmitted and the decoder reconstructs intermediate frames by animating (deforming)
the mesh and the surface texture,This type of representation has much more flexibility than
block-based motion models,since the mesh can adapt to deformations and nonlinear motion
between frames,At the present time,however,automatic generation and tracking of mesh
parameters is prohibitively complex for practical video compression applications.
The Basic Animated Texture object type includes the Binary Shape,Scalable Still Texture
and 2D Dynamic Mesh tools and supports coding of 2D meshes (with uniform topology) and
arbitrary-shaped still texture maps,The Animated 2D Mesh object type is a superset of Basic
Animated Texture and adds Delaunay mesh topology (a more flexible method of defining
mesh triangles) and the Core Profile video coding tools to enable a flexible combination of
animated meshes and video objects.
5.8.2 Face and Body Animation
MPEG-4 Visual includes specific support for animated human face and body models within
the Simple Face Animation and Simple FBA (Face and Body Animation) visual object types.
The basic approach to face/body animation consists of (a) defining the geometric shape of
a body or face model (typically carried out once at the start of a session) and (b) sending
animation parameters to animate the body/face model.
A face model is described by Facial Definition Parameters (FDPs) and animated using
Facial Animation Parameters (FAPs),The default set of FDPs may be used to render a ‘generic’
face at the decoder and a custom set of FDPs may be transmitted to create a model of a specific
face,Once the model is available at the decoder,it can be animated by transmitting FAPs,In
a similar way,a body object is rendered from a set of Body Definition Parameters (BDPs)
and animated using Body Animation Parameters (BAPs),This enables the rendering of body
models ranging from a generic,synthetic body to a body with a specific shape.
Applications for face and body animation include the generation of virtual scenes or
worlds containing synthetic face and/or body objects,as well as model-based coding of natural
face or body scenes,in which face and/or body movement is analysed,transmitted as a set of
BAPs/FAPs and synthesized at the decoder,To date,these methods have not been widely used
for video coding.
5.9 CONCLUSIONS
The MPEG-4 Visual standard supports the coding and representation of visual objects with
efficient compression and unparalleled flexibility,The diverse set of coding tools described in
REFERENCES
157
the standard are capable of supporting a wide range of applications such as efficient coding
of video frames,video coding for unreliable transmission networks,object-based coding and
manipulation,coding of synthetic and ‘hybrid’ synthetic/natural scenes and highly interactive
visual applications.
The MPEG-4 standard continues to develop with the addition of new tools (for example,
profiles to support streaming video),However,amongst developers and manufacturers,the
most popular elements of MPEG-4 Visual to date have been the Simple and Advanced Simple
Profile tools and there is a clear industry requirement for efficient coding of rectangular video
frames,This requirement,together with a protracted period of uncertainty about MPEG-4
Visual patent and licensing issues (see Chapter 8),means that the newly-developed H.264
standard is showing signs of overtaking MPEG-4 Visual in the market,The next chapter
examines H.264 in detail.
5.10 REFERENCES
1,ISO/IEC 14496-2,Amendment 1,Information technology – coding of audio-visual objects – Part 2:
Visual,2001.
2,ISO/IEC 14496-1,Information technology – coding of audio-visual objects – Part 1,Systems,2001
3,Y,Wang,S,Wenger,J,Wen and A,Katsaggelos,Review of error resilient coding techniques for
real-time video communications,IEEE Signal Process,Mag.,July 2000.
4,N,Brady,MPEG-4 standardized methods for the compression of arbitrarily shaped video objects,
IEEE Trans,Circuits Syst,Video Technol.,pp,1170–1189,1999.
5,W,Li,Overview of Fine Granular Scalability in MPEG-4 Video standard,IEEE Trans,Circuits Syst.
Video Technol.,11(3),March 2001.
6,I,Daubechies,The wavelet transform,time-frequency localization and signal analysis,IEEE Trans.
Inf,Theory 36,pp,961–1005,1990.
7,ISO/IEC 13818,Information technology,generic coding of moving pictures and associated audio
information,1995 (MPEG-2).
8,I,Pandzic and R,Forchheimer,MPEG-4 Facial Animation,John Wiley & Sons,August 2002.
9,P,Eisert,T,Wiegand,and B,Girod,Model-aided coding,a new approach to incorporate facial
animation into motion-compensated video coding,IEEE Trans,Circuits Syst,Video Technol.,10(3),
pp,344–358,April 2000.
6
H.264/MPEG4 Part 10
6.1 INTRODUCTION
The Moving Picture Experts Group and the Video Coding Experts Group (MPEG and
VCEG) have developed a new standard that promises to outperform the earlier MPEG-4
and H.263 standards,providing better compression of video images,The new standard is
entitled ‘Advanced Video Coding’ (AVC) and is published jointly as Part 10 of MPEG-4 and
ITU-T Recommendation H.264 [1,3].
6.1.1 Terminology
Some of the important terminology adopted in the H.264 standard is as follows (the details of
these concepts are explained in later sections):
A field (of interlaced video) or a frame (of progressive or interlaced video) is encoded
to produce a coded picture,A coded frame has a frame number (signalled in the bitstream),
which is not necessarily related to decoding order,and each coded field of a progressive or
interlaced frame has an associated picture order count,which defines the decoding order
of fields,Previously coded pictures (reference pictures) may be used for inter prediction of
further coded pictures,Reference pictures are organised into one or two lists (sets of numbers
corresponding to reference pictures),described as list 0 and list 1.
A coded picture consists of a number of macroblocks,each containing 16 × 16 luma sam-
ples and associated chroma samples (8 × 8 Cb and 8 × 8 Cr samples in the current standard).
Within each picture,macroblocks are arranged in slices,where a slice is a set of macroblocks
in raster scan order (but not necessarily contiguous – see section 6.4.3),An I slice may contain
only I macroblock types (see below),a P slice may contain P and I macroblock types and a
B slice may contain B and I macroblock types,(There are two further slice types,SI and SP,
discussed in section 6.6.1).
I macroblocks are predicted using intra prediction from decoded samples in the current
slice,A prediction is formed either (a) for the complete macroblock or (b) for each 4 × 4 block
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
H.264/MPEG4 PART 10
160
F
n
(current)
F'
n-1
(reference)
MC
Intra
prediction
ME
Filter
Inter
Intra
T
T
-1
Q
Q
-1
Reorder
Entropy
encode
NAL
D
n
P
uF'
n
+
-
+
+
X
F'
n
(reconstructed)
D'
n
(1 or 2 previously
encoded frames)
Choose
Intra
prediction
Figure 6.1 H.264 Encoder
of luma samples (and associated chroma samples) in the macroblock,(An alternative to intra
prediction,I PCM mode,is described in section 6.4.6).
P macroblocks are predicted using inter prediction from reference picture(s),An inter
coded macroblock may be divided into macroblock partitions,i.e,blocks of size 16 × 16,
16 × 8,8 × 16 or 8 × 8 luma samples (and associated chroma samples),If the 8 × 8 parti-
tion size is chosen,each 8 × 8 sub-macroblock may be further divided into sub-macroblock
partitions of size 8 × 8,8 × 4,4 × 8or4× 4 luma samples (and associated chroma sam-
ples),Each macroblock partition may be predicted from one picture in list 0,If present,every
sub-macroblock partition in a sub-macroblock is predicted from the same picture in list 0.
B macroblocks are predicted using inter prediction from reference picture(s),Each mac-
roblock partition may be predicted from one or two reference pictures,one picture in list 0
and/or one picture in list 1,If present,every sub-macroblock partition in a sub-macroblock
is predicted from (the same) one or two reference pictures,one picture in list 0 and/or one
picture in list 1.
6.2 THE H.264 CODEC
In common with earlier coding standards,H.264 does not explicitly define a CODEC
(enCOder / DECoder pair) but rather defines the syntax of an encoded video bitstream together
with the method of decoding this bitstream,In practice,a compliant encoder and decoder are
likely to include the functional elements shown in Figure 6.1 and Figure 6.2,With the exception
of the deblocking filter,most of the basic functional elements (prediction,transform,quan-
tisation,entropy encoding) are present in previous standards (MPEG-1,MPEG-2,MPEG-4,
H.261,H.263) but the important changes in H.264 occur in the details of each functional
block.
The Encoder (Figure 6.1) includes two dataflow paths,a ‘forward’ path (left to right) and
a ‘reconstruction’ path (right to left),The dataflow path in the Decoder (Figure 6.2) is shown
from right to left to illustrate the similarities between Encoder and Decoder,Before examining
the detail of H.264,we will describe the main steps in encoding and decoding a frame (or field)
THE H.264 CODEC
161
F'
n
(reconstructed)
MC
Filter
Inter
Intra
T
-1
Q
-1
Reorder
Entropy
decode
NAL
P
XD'
n
uF'
n
F'
n-1
(reference)
Intra
prediction
(1 or 2 previously
encoded frames)
+
+
Figure 6.2 H.264 Decoder
of video,The following description is simplified in order to provide an overview of encoding
and decoding,The term,block” is used to denote a macroblock partition or sub-macroblock
partition (inter coding) or a 16 × 16 or 4× 4 block of luma samples and associated chroma
samples (intra coding).
Encoder (forward Path)
An input frame or field F
n
is processed in units of a macroblock,Each macroblock is encoded
in intra or inter mode and,for each block in the macroblock,a prediction PRED (marked ‘P’ in
Figure 6.1) is formed based on reconstructed picture samples,In Intra mode,PRED is formed
from samples in the current slice that have previously encoded,decoded and reconstructed
(uF
prime
n
in the figures; note that unfiltered samples are used to form PRED),In Inter mode,PRED
is formed by motion-compensated prediction from one or two reference picture(s) selected
from the set of list 0 and/or list 1 reference pictures,In the figures,the reference picture is
shown as the previous encoded picture F
prime
n?1
but the prediction reference for each macroblock
partition (in inter mode) may be chosen from a selection of past or future pictures (in display
order) that have already been encoded,reconstructed and filtered.
The prediction PRED is subtracted from the current block to produce a residual
(difference) block D
n
that is transformed (using a block transform) and quantised to give
X,a set of quantised transform coefficients which are reordered and entropy encoded,The
entropy-encoded coefficients,together with side information required to decode each block
within the macroblock (prediction modes,quantiser parameter,motion vector information,
etc.) form the compressed bitstream which is passed to a Network Abstraction Layer (NAL)
for transmission or storage.
Encoder (Reconstruction Path)
As well as encoding and transmitting each block in a macroblock,the encoder decodes (recon-
structs) it to provide a reference for further predictions,The coefficients X are scaled (Q
1
)
and inverse transformed (T
1
) to produce a difference block D
prime
n
,The prediction block PRED
is added to D
prime
n
to create a reconstructed block uF
prime
n
(a decoded version of the original block;
u indicates that it is unfiltered),A filter is applied to reduce the effects of blocking distortion
and the reconstructed reference picture is created from a series of blocks F
prime
n
.
Decoder
The decoder receives a compressed bitstream from the NAL and entropy decodes the data
elements to produce a set of quantised coefficients X,These are scaled and inverse transformed
H.264/MPEG4 PART 10
162
to give D
prime
n
(identical to the D
prime
n
shown in the Encoder),Using the header information decoded
from the bitstream,the decoder creates a prediction block PRED,identical to the original
prediction PRED formed in the encoder,PRED is added to D
prime
n
to produce uF
prime
n
which is filtered
to create each decoded block F
prime
n
.
6.3 H.264 STRUCTURE
6.3.1 Profiles and Levels
H.264 defines a set of three Profiles,each supporting a particular set of coding functions and
each specifying what is required of an encoder or decoder that complies with the Profile.
The Baseline Profile supports intra and inter-coding (using I-slices and P-slices) and entropy
coding with context-adaptive variable-length codes (CAVLC),The Main Profile includes sup-
port for interlaced video,inter-coding using B-slices,inter coding using weighted prediction
and entropy coding using context-based arithmetic coding (CABAC),The Extended Profile
does not support interlaced video or CABAC but adds modes to enable efficient switching
between coded bitstreams (SP- and SI-slices) and improved error resilience (Data Partition-
ing),Potential applications of the Baseline Profile include videotelephony,videoconferencing
and wireless communications; potential applications of the Main Profile include television
broadcasting and video storage; and the Extended Profile may be particularly useful for
streaming media applications,However,each Profile has sufficient flexibility to support a
wide range of applications and so these examples of applications should not be considered
definitive.
Figure 6.3 shows the relationship between the three Profiles and the coding tools supported
by the standard,It is clear from this figure that the Baseline Profile is a subset of the Extended
Profile,but not of the Main Profile,The details of each coding tool are described in Sections
6.4,6.5 and 6.6 (starting with the Baseline Profile tools).
Performance limits for CODECs are defined by a set of Levels,each placing limits on
parameters such as sample processing rate,picture size,coded bitrate and memory require-
ments.
6.3.2 Video Format
H.264 supports coding and decoding of 4:2:0 progressive or interlaced video
1
and the default
sampling format for 4:2:0 progressive frames is shown in Figure 2.11 (other sampling formats
may be signalled as Video Usability Information parameters),In the default sampling format,
chroma (Cb and Cr) samples are aligned horizontally with every 2nd luma sample and are
located vertically between two luma samples,An interlaced frame consists of two fields (a top
field and a bottom field) separated in time and with the default sampling format shown in
Figure 2.12.
1
An extension to H.264 to support alternative colour sampling structures and higher sample accuracy is currently
under development.
H.264 STRUCTURE
163
I slices
P slices
CAVLC
Slice Groups
and ASO
B slices
CABAC
SP and
SI slices
Interlace
Data
Partitioning
Main profile
Baseline profile
Extended profile
Weighted
Prediction
Redundant
Slices
Figure 6.3 H.264 Baseline,Main and Extended profiles
NAL
header
RBSP
NAL
header
RBSP
NAL
header
RBSP
.....,....
Figure 6.4 Sequence of NAL units
6.3.3 Coded Data Format
H.264 makes a distinction between a Video Coding Layer (VCL) and a Network Abstraction
Layer (NAL),The output of the encoding process is VCL data (a sequence of bits representing
the coded video data) which are mapped to NAL units prior to transmission or storage,Each
NAL unit contains a Raw Byte Sequence Payload (RBSP),a set of data corresponding to
coded video data or header information,A coded video sequence is represented by a sequence
of NAL units (Figure 6.4) that can be transmitted over a packet-based network or a bitstream
transmission link or stored in a file,The purpose of separately specifying the VCL and NAL
is to distinguish between coding-specific features (at the VCL) and transport-specific features
(at the NAL),Section 6.7 describes the NAL and transport mechanisms in more detail.
6.3.4 Reference Pictures
An H.264 encoder may use one or two of a number of previously encoded pictures as a
reference for motion-compensated prediction of each inter coded macroblock or macroblock
H.264/MPEG4 PART 10
164
Table 6.1 H.264 slice modes
Slice type Description Profile(s)
I (Intra) Contains only I macroblocks (each block or All
macroblock is predicted from previously coded
data within the same slice).
P (Predicted) Contains P macroblocks (each macroblock All
or macroblock partition is predicted from one
list 0 reference picture) and/or I macroblocks.
B (Bi-predictive) Contains B macroblocks (each macroblock or macroblock Extended and Main
partition is predicted from a list 0 and/or
a list 1 reference picture) and/or I macroblocks.
SP (Switching P) Facilitates switching between coded streams; contains Extended
P and/or I macroblocks.
SI (Switching I) Facilitates switching between coded streams; contains SI Extended
macroblocks (a special type of intra coded macroblock).
partition,This enables the encoder to search for the best ‘match’ for the current macroblock
partition from a wider set of pictures than just (say) the previously encoded picture.
The encoder and decoder each maintain one or two lists of reference pictures,containing
pictures that have previously been encoded and decoded (occurring before and/or after the
current picture in display order),Inter coded macroblocks and macroblock partitions in P slices
(see below) are predicted from pictures in a single list,list 0,Inter coded macroblocks and
macroblock partitions in a B slice (see below) may be predicted from two lists,list 0 and list 1.
6.3.5 Slices
A video picture is coded as one or more slices,each containing an integral number of
macroblocks from 1 (1 MB per slice) to the total number of macroblocks in a picture (1 slice
per picture) The number of macroblocks per slice need not be constant within a picture,There
is minimal inter-dependency between coded slices which can help to limit the propagation of
errors,There are five types of coded slice (Table 6.1) and a coded picture may be composed
of different types of slices,For example,a Baseline Profile coded picture may contain a
mixture of I and P slices and a Main or Extended Profile picture may contain a mixture of I,
P and B slices.
Figure 6.5 shows a simplified illustration of the syntax of a coded slice,The slice header
defines (among other things) the slice type and the coded picture that the slice ‘belongs’ to and
may contain instructions related to reference picture management (see Section 6.4.2),The slice
data consists of a series of coded macroblocks and/or an indication of skipped (not coded) mac-
roblocks,Each MB contains a series of header elements (see Table 6.2) and coded residual data.
6.3.6 Macroblocks
A macroblock contains coded data corresponding to a 16 × 16 sample region of the video
frame (16 × 16 luma samples,8 × 8 Cb and 8 × 8 Cr samples) and contains the syntax
elements described in Table 6.2,Macroblocks are numbered (addressed) in raster scan order
within a frame.
THE BASELINE PROFILE
165
Table 6.2 Macroblock syntax elements
mb type Determines whether the macroblock is coded in intra or inter (P or B)
mode; determines macroblock partition size (see Section 6.4.2).
mb pred Determines intra prediction modes (intra macroblocks); determines
list 0 and/or list 1 references and differentially coded motion.
vectors for each macroblock partition (inter macroblocks,except for
inter MBs with 8 × 8 macroblock partition size).
sub mb pred (Inter MBs with 8 × 8 macroblock partition size only) Determines
sub-macroblock partition size for each sub-macroblock; list 0 and/or
list 1 references for each macroblock partition; differentially coded motion
vectors for each macroblock sub-partition.
coded block pattern Identifies which 8 × 8 blocks (luma and chroma) contain coded transform
coefficients.
mb qp delta Changes the quantiser parameter (see Section 6.4.8).
residual Coded transform coefficients corresponding to the residual image samples
after prediction (see Section 6.4.8).
slice
header
slice data
MB MB MBskip_run MBMB
.....
mb_type mb_pred coded residual
Figure 6.5 Slice syntax
6.4 THE BASELINE PROFILE
6.4.1 Overview
The Baseline Profile supports coded sequences containing I- and P-slices,I-slices contain
intra-coded macroblocks in which each 16 × 16 or 4 × 4 luma region and each 8 × 8 chroma
region is predicted from previously-coded samples in the same slice,P-slices may contain
intra-coded,inter-coded or skipped MBs,Inter-coded MBs in a P slice are predicted from a
number of previously coded pictures,using motion compensation with quarter-sample (luma)
motion vector accuracy.
After prediction,the residual data for each MB is transformed using a 4 × 4 integer
transform (based on the DCT) and quantised,Quantised transform coefficients are reordered
and the syntax elements are entropy coded,In the Baseline Profile,transform coefficients are
entropy coded using a context-adaptive variable length coding scheme (CAVLC) and all other
H.264/MPEG4 PART 10
166
syntax elements are coded using fixed-length or Exponential-Golomb Variable Length Codes.
Quantised coefficients are scaled,inverse transformed,reconstructed (added to the prediction
formed during encoding) and filtered with a de-blocking filter before (optionally) being stored
for possible use in reference pictures for further intra- and inter-coded macroblocks.
6.4.2 Reference Picture Management
Pictures that have previously been encoded are stored in a reference buffer (the decoded picture
buffer,DPB) in both the encoder and the decoder,The encoder and decoder maintain a list of
previously coded pictures,reference picture list 0,for use in motion-compensated prediction
of inter macroblocks in P slices,For P slice prediction,list 0 can contain pictures before
and after the current picture in display order and may contain both short term and long term
reference pictures,By default,an encoded picture is reconstructed by the encoder and marked
as a short term picture,a recently-coded picture that is available for prediction,Short term
pictures are identified by their frame number,Long term pictures are (typically) older pictures
that may also be used for prediction and are identified by a variable LongTermPicNum,Long
term pictures remain in the DPB until explicitly removed or replaced.
When a picture is encoded and reconstructed (in the encoder) or decoded (in the de-
coder),it is placed in the decoded picture buffer and is either (a) marked as ‘unused for
reference’ (and hence not used for any further prediction),(b) marked as a short term pic-
ture,(c) marked as a long term picture or (d) simply output to the display,By default,short
term pictures in list 0 are ordered from the highest to the lowest PicNum (a variable derived
from the frame number) and long term pictures are ordered from the lowest to the highest
LongTermPicNum,The encoder may signal a change to the default reference picture list order.
As each new picture is added to the short term list at position 0,the indices of the remain-
ing short-term pictures are incremented,If the number of short term and long term pictures
is equal to the maximum number of reference frames,the oldest short-term picture (with
the highest index) is removed from the buffer (known as sliding window memory control).
The effect that this process is that the encoder and decoder each maintain a ‘window’ of N
short-term reference pictures,including the current picture and (N? 1) previously encoded
pictures.
Adaptive memory control commands,sent by the encoder,manage the short and long term
picture indexes,Using these commands,a short term picture may be assigned a long term frame
index,or any short term or long term picture may be marked as ‘unused for reference’.
The encoder chooses a reference picture from list 0 for encoding each macroblock
partition in an inter-coded macroblock,The choice of reference picture is signalled by an
index number,where index 0 corresponds to the first frame in the short term section and the
indices of the long term frames start after the last short term frame (as shown in the following
example).
Example,Reference buffer management (P-slice)
Current frame number = 250
Number of reference frames = 5
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167
Reference picture list
Operation 01234
Initial state –––––
Encode frame 250 250 – – – –
Encode 251 251 250 – – –
Encode 252 252 251 250 – –
Encode 253 253 252 251 250 –
Assign 251 to LongTermPicNum 0 253 252 250 0 –
Encode 254 254 253 252 250 0
Assign 253 to LongTermPicNum 4 254 252 250 0 4
Encode 255 255 254 252 0 4
Assign 255 to LongTermPicNum 3 254 252 0 3 4
Encode 256 256 254 0 3 4
(Note that in the above example,0,3 and 4 correspond to the decoded frames 251,255
and 253 respectively).
Instantaneous Decoder Refresh Picture
An encoder sends an IDR (Instantaneous Decoder Refresh) coded picture (made up of I- or
SI-slices) to clear the contents of the reference picture buffer,On receiving an IDR coded
picture,the decoder marks all pictures in the reference buffer as ‘unused for reference’,All
subsequent transmitted slices can be decoded without reference to any frame decoded prior
to the IDR picture,The first picture in a coded video sequence is always an IDR picture.
6.4.3 Slices
A bitstream conforming to the the Baseline Profile contains coded I and/or P slices,An I slice
contains only intra-coded macroblocks (predicted from previously coded samples in the same
slice,see Section 6.4.6) and a P slice can contain inter coded macroblocks (predicted from
samples in previously coded pictures,see Section 6.4.5),intra coded macroblocks or Skipped
macroblocks,When a Skipped macroblock is signalled in the bitstream,no further data is sent
for that macroblock,The decoder calculates a vector for the skipped macroblock (see Section
6.4.5.3) and reconstructs the macroblock using motion-compensated prediction from the first
reference picture in list 0.
An H.264 encoder may optionally insert a picture delimiter RBSP unit at the boundary
between coded pictures,This indicates the start of a new coded picture and indicates which
slice types are allowed in the following coded picture,If the picture delimiter is not used,the
decoder is expected to detect the occurrence of a new picture based on the header of the first
slice in the new picture.
Redundant coded picture
A picture marked as ‘redundant’ contains a redundant representation of part or all of a
coded picture,In normal operation,the decoder reconstructs the frame from ‘primary’
H.264/MPEG4 PART 10
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Table 6.3 Macroblock to slice group map types
Type Name Description
0 Interleaved run length MBs are assigned to each slice group in turn
(Figure 6.6).
1 Dispersed MBs in each slice group are dispersed throughout the picture
(Figure 6.7).
2 Foreground and All but the last slice group are defined as rectangular regions
background within the picture,The last slice group contains all MBs not contained
in any other slice group (the ‘background’),In the example in
Figure 6.8,group 1 overlaps group 0 and so MBs not already allocated
to group 0 are allocated to group 1.
3 Box-out A ‘box’ is created starting from the centre of the frame (with
the size controlled by encoder parameters) and containing group 0;
all other MBs are in group 1 (Figure 6.9).
4 Raster scan Group 0 contains MBs in raster scan order from the top-left and
all other MBs are in group 1 (Figure 6.9).
5 Wipe Group 0 contains MBs in vertical scan order from the top-left
and all other MBs are in group 1 (Figure 6.9).
6 Explicit A parameter,slice group id,is sent for each MB to indicate its slice
group (i.e,the macroblock map is entirely user-defined).
(nonredundant)’ pictures and discards any redundant pictures,However,if a primary coded
picture is damaged (e.g,due to a transmission error),the decoder may replace the damaged
area with decoded data from a redundant picture if available.
Arbitrary Slice Order (ASO)
The Baseline Profile supports Arbitrary Slice Order which means that slices in a coded frame
may follow any decoding order,ASO is defined to be in use if the first macroblock in any slice
in a decoded frame has a smaller macroblock address than the first macroblock in a previously
decoded slice in the same picture.
Slice Groups
A slice group is a subset of the macroblocks in a coded picture and may contain one or more
slices,Within each slice in a slice group,MBs are coded in raster order,If only one slice group
is used per picture,then all macroblocks in the picture are coded in raster order (unless ASO is
in use,see above),Multiple slice groups (described in previous versions of the draft standard
as Flexible Macroblock Ordering or FMO) make it possible to map the sequence of coded
MBs to the decoded picture in a number of flexible ways,The allocation of macroblocks is
determined by a macroblock to slice group map that indicates which slice group each MB
belongs to,Table 6.3 lists the different types of macroblock to slice group maps.
Example,3 slice groups are used and the map type is ‘interleaved’ (Figure 6.6),The
coded picture consists of first,all of the macroblocks in slice group 0 (filling every 3
rd
row of
macroblocks); second,all of the macroblocks in slice group 1; and third,all of the macroblocks
in slice group 0,Applications of multiple slice groups include error resilience,for example if
one of the slice groups in the dispersed map shown in Figure 6.7 is ‘lost’ due to errors,the
missing data may be concealed by interpolation from the remaining slice groups.
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0
1
2
0
1
2
0
1
2
Figure 6.6 Slice groups,Interleaved map (QCIF,three slice groups)
01230123012
23012301230
01230123012
23012301230
01230123012
23012301230
01230123012
23012301230
01230123012
Figure 6.7 Slice groups,Dispersed map (QCIF,four slice groups)
1
2
3
0
Figure 6.8 Slice groups,Foreground and Background map (four slice groups)
6.4.4 Macroblock Prediction
Every coded macroblock in an H.264 slice is predicted from previously-encoded data,Samples
within an intra macroblock are predicted from samples in the current slice that have already
been encoded,decoded and reconstructed; samples in an inter macroblock are predicted from
previously-encoded.
A prediction for the current macroblock or block (a model that resembles the current
macroblock or block as closely as possible) is created from image samples that have already
H.264/MPEG4 PART 10
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Box-out
0
1
Raster
1
0
Wipe
1
0
Figure 6.9 Slice groups,Box-out,Raster and Wipe maps
been encoded (either in the same slice or in a previously encoded slice),This predic-
tion is subtracted from the current macroblock or block and the result of the subtraction
(residual) is compressed and transmitted to the decoder,together with information required
for the decoder to repeat the prediction process (motion vector(s),prediction mode,etc.).
The decoder creates an identical prediction and adds this to the decoded residual or block.
The encoder bases its prediction on encoded and decoded image samples (rather than on
original video frame samples) in order to ensure that the encoder and decoder predictions are
identical.
6.4.5 Inter Prediction
Inter prediction creates a prediction model from one or more previously encoded video frames
or fields using block-based motion compensation,Important differences from earlier standards
include the support for a range of block sizes (from 16 × 16 down to 4 × 4) and fine sub-
sample motion vectors (quarter-sample resolution in the luma component),In this section we
describe the inter prediction tools available in the Baseline profile,Extensions to these tools
in the Main and Extended profiles include B-slices (Section 6.5.1) and Weighted Prediction
(Section 6.5.2).
6.4.5.1 Tree structured motion compensation
The luminance component of each macroblock (16 × 16 samples) may be split up in four ways
(Figure 6.10) and motion compensated either as one 16 × 16 macroblock partition,two16× 8
partitions,two 8 × 16 partitions or four 8 × 8 partitions,If the 8 × 8 mode is chosen,each of
the four 8 × 8 sub-macroblocks within the macroblock may be split in a further 4 ways (Figure
6.11),either as one 8 × 8 sub-macroblock partition,two 8 × 4 sub-macroblock partitions,two
4 × 8 sub-macroblock partitions or four 4 × 4 sub-macroblock partitions,These partitions and
sub-macroblock give rise to a large number of possible combinations within each macroblock.
This method of partitioning macroblocks into motion compensated sub-blocks of varying size
is known as tree structured motion compensation.
A separate motion vector is required for each partition or sub-macroblock,Each motion
vector must be coded and transmitted and the choice of partition(s) must be encoded in the
compressed bitstream,Choosing a large partition size (16 × 16,16 × 8,8 × 16) means that
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171
0 0 1
0
1
0 1
2 3
16 88
16
16x16
16x88x16 8x8
Figure 6.10 Macroblock partitions,16 × 16,8 × 16,16 × 8,8 × 8
0 0 1
0
1
0 1
2 3
8
8
44
8x8 4x8 8x4 4x4
Figure 6.11 Sub-macroblock partitions,8 × 8,4 × 8,8 × 4,4 × 4
a small number of bits are required to signal the choice of motion vector(s) and the type of
partition but the motion compensated residual may contain a significant amount of energy
in frame areas with high detail,Choosing a small partition size (8 × 4,4 × 4,etc.) may give
a lower-energy residual after motion compensation but requires a larger number of bits to
signal the motion vectors and choice of partition(s),The choice of partition size therefore
has a significant impact on compression performance,In general,a large partition size is
appropriate for homogeneous areas of the frame and a small partition size may be beneficial
for detailed areas.
Each chroma component in a macroblock (Cb and Cr) has half the horizontal and vertical
resolution of the luminance (luma) component,Each chroma block is partitioned in the same
way as the luma component,except that the partition sizes have exactly half the horizontal and
vertical resolution (an 8 × 16 partition in luma corresponds to a 4 × 8 partition in chroma; an
8 × 4 partition in luma corresponds to 4 × 2 in chroma and so on),The horizontal and vertical
components of each motion vector (one per partition) are halved when applied to the chroma
blocks.
Example
Figure 6.12 shows a residual frame (without motion compensation),The H.264 reference encoder
selects the ‘best’ partition size for each part of the frame,in this case the partition size that
minimises the amount of information to be sent,and the chosen partitions are shown superimposed
on the residual frame,In areas where there is little change between the frames (residual appears
grey),a 16 × 16 partition is chosen and in areas of detailed motion (residual appears black or
white),smaller partitions are more efficient.
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Figure 6.12 Residual (without MC) showing choice of block sizes
(a) 4x4 block in current frame (b) Reference block,vector (1,-1) (c) Reference block,vector (0.75,-0.5)
Figure 6.13 Example of integer and sub-sample prediction
6.4.5.2 Motion Vectors
Each partition or sub-macroblock partition in an inter-coded macroblock is predicted from an
area of the same size in a reference picture,The offset between the two areas (the motion vector)
has quarter-sample resolution for the luma component and one-eighth-sample resolution for
the chroma components,The luma and chroma samples at sub-sample positions do not exist
in the reference picture and so it is necessary to create them using interpolation from nearby
coded samples,In Figure 6.13,a 4 × 4 block in the current frame (a) is predicted from a region
of the reference picture in the neighbourhood of the current block position,If the horizontal
and vertical components of the motion vector are integers (b),the relevant samples in the
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ddcc
A B
C D
E F G H I J
K L M N P Q
R S
T U
bb
b
s
gg
hh
h
aa
ffeemj
Figure 6.14 Interpolation of luma half-pel positions
reference block actually exist (grey dots),If one or both vector components are fractional
values (c),the prediction samples (grey dots) are generated by interpolation between adjacent
samples in the reference frame (white dots).
Generating Interpolated Samples
The samples half-way between integer-position samples (‘half-pel samples’) in the luma
component of the reference picture are generated first (Figure 6.14,grey markers),Each half-
pel sample that is adjacent to two integer samples (e.g,b,h,m,s in Figure 6.14) is interpolated
from integer-position samples using a six tap Finite Impulse Response (FIR) filter with weights
(1/32,?5/32,5/8,5/8,?5/32,1/32),For example,half-pel sample b is calculated from the
six horizontal integer samples E,F,G,H,I and J:
b = round((E? 5F + 20G + 20H? 5I + J) /32)
Similarly,h is interpolated by filtering A,C,G,M,R and T,Once all of the samples horizon-
tally and vertically adjacent to integer samples have been calculated,the remaining half-pel
positions are calculated by interpolating between six horizontal or vertical half-pel samples
from the first set of operations,For example,j is generated by filtering cc,dd,h,m,ee and ff
(note that the result is the same whether j is interpolated horizontally or vertically; note also
that un-rounded versions of h and m are used to generate j),The six-tap interpolation filter
is relatively complex but produces an accurate fit to the integer-sample data and hence good
motion compensation performance.
Once all the half-pel samples are available,the samples at quarter-step (‘quarter-pel’)
positions are produced by linear interpolation (Figure 6.15),Quarter-pel positions with two
horizontally or vertically adjacent half- or integer-position samples (e.g,a,c,i,k and d,f,n,
H.264/MPEG4 PART 10
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a
i
G H
M N
b
h mj
s
c
k
G H
M N
b
h mj
s
d f
n q
G H
M N
b
h mj
s
e g
p r
Figure 6.15 Interpolation of luma quarter-pel positions
10 20 30 40 50 60
10
20
30
40
50
60
Figure 6.16 Luma region interpolated to quarter-pel positions
q in Figure 6.15) are linearly interpolated between these adjacent samples,for example:
a = round((G + b) / 2)
The remaining quarter-pel positions (e,g,pandrin the figure) are linearly interpolated between
a pair of diagonally opposite half-pel samples,For example,e is interpolated between b and
h,Figure 6.16 shows the result of interpolating the reference region shown in Figure 3.16 with
quarter-pel resolution.
Quarter-pel resolution motion vectors in the luma component require eighth-sample
resolution vectors in the chroma components (assuming 4:2:0 sampling),Interpolated samples
are generated at eighth-sample intervals between integer samples in each chroma component
using linear interpolation (Figure 6.17),Each sub-sample position a is a linear combination
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175
dx
A B
C D
a
8-dx
dy
8-dy
Figure 6.17 Interpolation of chroma eighth-sample positions
of the neighbouring integer sample positions A,B,C and D:
a = round([(8? d
x
) · (8? d
y
)A + d
x
· (8? d
y
)B + (8? d
x
) · d
y
C + d
x
· d
y
D]/64)
In Figure 6.17,d
x
is 2 and d
y
is 3,so that:
a = round[(30A + 10B + 18C + 6D)/64]
6.4.5.3 Motion Vector Prediction
Encoding a motion vector for each partition can cost a significant number of bits,especially if
small partition sizes are chosen,Motion vectors for neighbouring partitions are often highly
correlated and so each motion vector is predicted from vectors of nearby,previously coded
partitions,A predicted vector,MVp,is formed based on previously calculated motion vectors
and MVD,the difference between the current vector and the predicted vector,is encoded and
transmitted,The method of forming the prediction MVp depends on the motion compensation
partition size and on the availability of nearby vectors.
Let E be the current macroblock,macroblock partition or sub-macroblock partition,let
A be the partition or sub-partition immediately to the left of E,let B be the partition or sub-
partition immediately above E and let C be the partition or sub-macroblock partition above and
to the right of E,If there is more than one partition immediately to the left of E,the topmost
of these partitions is chosen as A,If there is more than one partition immediately above E,the
leftmost of these is chosen as B,Figure 6.18 illustrates the choice of neighbouring partitions
when all the partitions have the same size (16 × 16 in this case) and Figure 6.19 shows an
H.264/MPEG4 PART 10
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B
E
C
A
Figure 6.18 Current and neighbouring partitions (same partition sizes)
E
16x16
B
4X8
C
16X8
A
8X4
Figure 6.19 Current and neighbouring partitions (different partition sizes)
example of the choice of prediction partitions when the neighbouring partitions have different
sizes from the current partition E.
1,For transmitted partitions excluding 16 × 8 and 8 × 16 partition sizes,MVp is the median
of the motion vectors for partitions A,B and C.
2,For 16 × 8 partitions,MVp for the upper 16 × 8 partition is predicted from B and MVp
for the lower 16 × 8 partition is predicted from A.
3,For 8 × 16 partitions,MVp for the left 8 × 16 partition is predicted from A and MVp for
the right 8 × 16 partition is predicted from C.
4,For skipped macroblocks,a 16 × 16 vector MVp is generated as in case (1) above (i.e,as
if the block were encoded in 16 × 16 Inter mode).
If one or more of the previously transmitted blocks shown in Figure 6.19 is not available
(e.g,if it is outside the current slice),the choice of MVp is modified accordingly,At the
decoder,the predicted vector MVp is formed in the same way and added to the decoded vector
difference MVD,In the case of a skipped macroblock,there is no decoded vector difference
and a motion-compensated macroblock is produced using MVp as the motion vector.
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Figure 6.20 QCIF frame
6.4.6 Intra Prediction
In intra mode a prediction block P is formed based on previously encoded and reconstructed
blocks and is subtracted from the current block prior to encoding,For the luma samples,P is
formed for each 4 × 4 block or for a 16 × 16 macroblock,There are a total of nine optional
prediction modes for each 4 × 4 luma block,four modes for a 16 × 16 luma block and four
modes for the chroma components,The encoder typically selects the prediction mode for each
block that minimises the difference between P and the block to be encoded.
Example
A QCIF video frame (Figure 6.20) is encoded in intra mode and each block or macroblock is
predicted from neighbouring,previously-encoded samples,Figure 6.21 shows the predicted luma
frame P formed by choosing the ‘best’ 4 × 4or16× 16 prediction mode for each region (the
mode that minimises the amount of information to be coded).
A further intra coding mode,I PCM,enables an encoder to transmit the values of the im-
age samples directly (without prediction or transformation),In some special cases (e.g,anoma-
lous image content and/or very low quantizer parameters),this mode may be more efficient
than the ‘usual’ process of intra prediction,transformation,quantization and entropy coding.
Including the I PCM option makes it possible to place an absolute limit on the number of bits
that may be contained in a coded macroblock without constraining decoded image quality.
6.4.6.1 4 × 4 Luma Prediction Modes
Figure 6.22 shows a 4 × 4 luma block (part of the highlighted macroblock in Figure 6.20) that
is required to be predicted,The samples above and to the left (labelled A–M in Figure 6.23)
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Figure 6.21 Predicted luma frame formed using H.264 intra prediction
4x4 luma block to be predicted
Figure 6.22 4 × 4 luma block to be predicted
have previously been encoded and reconstructed and are therefore available in the encoder
and decoder to form a prediction reference,The samples a,b,c,.,,,p of the prediction block
P (Figure 6.23) are calculated based on the samples A–M as follows,Mode 2 (DC prediction)
is modified depending on which samples A–M have previously been coded; each of the other
modes may only be used if all of the required prediction samples are available
2
.
2
Note that if samples E,F,G and H have not yet been decoded,the value of sample D is copied to these positions
and they are marked as ‘available’.
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179
M A B C D E F G H
I
J
K
L
a b c d
e f g h
i j k l
m n o p
Figure 6.23 Labelling of prediction samples (4 × 4)
Mean
(A..D,
I..L)
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
M A B C D E F G H
I
J
K
L
2 (DC)0 (vertical) 1 (horizontal) 4 (diagonal down-right)3 (diagonal down-left)
5 (vertical-right) 7 (vertical-left) 8 (horizontal-up)6 (horizontal-down)
Figure 6.24 4 × 4 luma prediction modes
Mode 0 (Vertical) The upper samples A,B,C,D are extrapolated vertically.
Mode 1 (Horizontal) The left samples I,J,K,L are extrapolated horizontally.
Mode 2 (DC) All samples in P are predicted by the mean of samples A...D
andI...L.
Mode 3 (Diagonal The samples are interpolated at a 45
angle between lower-left
Down-Left) and upper-right.
Mode 4 (Diagonal The samples are extrapolated at a 45
angle down and to the right.
Down-Right)
Mode 5 (Vertical-Right) Extrapolation at an angle of approximately 26.6
to the left of
vertical (width/height = 1/2).
Mode 6 (Horizontal-Down) Extrapolation at an angle of approximately 26.6
below
horizontal.
Mode 7 (Vertical-Left) Extrapolation (or interpolation) at an angle of approximately 26.6
to the right of vertical.
Mode 8 (Horizontal-Up) Interpolation at an angle of approximately 26.6
above horizontal.
The arrows in Figure 6.24 indicate the direction of prediction in each mode,For modes
3–8,the predicted samples are formed from a weighted average of the prediction samples
A–M,For example,if mode 4 is selected,the top-right sample of P (labelled ‘d’ in Figure
6.23) is predicted by,round(B/4+ C/2+ D/4).
Example
The nine prediction modes (0–8) are calculated for the 4 × 4 block shown in Figure 6.22 and
the resulting prediction blocks P are shown in Figure 6.25,The Sum of Absolute Errors (SAE)
for each prediction indicates the magnitude of the prediction error,In this case,the best match to
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180
the actual current block is given by mode 8 (horizontal-up) because this mode gives the smallest
SAE and a visual comparison shows that the P block appears quite similar to the original 4 × 4
block.
6.4.6.2 16 × 16 Luma Prediction Modes
As an alternative to the 4 × 4 luma modes described in the previous section,the entire
16 × 16 luma component of a macroblock may be predicted in one operation,Four modes are
available,shown in diagram form in Figure 6.26:
Mode 0 (vertical) Extrapolation from upper samples (H)
Mode 1 (horizontal) Extrapolation from left samples (V)
Mode 2 (DC) Mean of upper and left-hand samples (H + V).
Mode 4 (Plane) A linear ‘plane’ function is fitted to the upper and left-hand samples H
and V,This works well in areas of smoothly-varying luminance.
Example:
Figure 6.27 shows a luminance macroblock with previously-encoded samples at the upper and
left-hand edges,The results of the four prediction modes,shown in Figure 6.28,indicate that the
best match is given by mode 3 which in this case produces a plane with a luminance gradient from
light (upper-left) to dark (lower-right),Intra 16 × 16 mode works best in homogeneous areas of
an image.
6.4.6.3 8 × 8 Chroma Prediction Modes
Each 8 × 8 chroma component of an intra coded a macroblock is predicted from previously
encoded chroma samples above and/or to the left and both chroma components always use
the same prediction mode,The four prediction modes are very similar to the 16 × 16 luma
prediction modes described in Section 6.4.6.2 and illustrated in Figure 6.26,except that the
numbering of the modes is different,The modes are DC (mode 0),horizontal (mode 1),vertical
(mode 2) and plane (mode 3).
6.4.6.4 Signalling Intra Prediction Modes
The choice of intra prediction mode for each 4 × 4 block must be signalled to the decoder and
this could potentially require a large number of bits,However,intra modes for neighbouring
4 × 4 blocks are often correlated,For example,let A,B and E be the left,upper and current
4 × 4 blocks respectively (the same labelling as Figure 6.18),If previously-encoded 4 × 4
blocks A and B are predicted using mode 1,it is probable that the best mode for block E
(current block) is also mode 1,To take advantage of this correlation,predictive coding is used
to signal 4 × 4 intra modes.
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181
0 (vertical),SAE = 317 1 (horizontal),SAE = 401 2 (DC),SAE = 317
3 (diag down/left),SAE = 350 4 (diag down/right),SAE = 466 5 (vertical/right),SAE = 419
6 (horizontal/down),SAE = 530 7 (vertical/left),SAE = 351 8 (horizontal/up),SAE = 203
Figure 6.25 Prediction blocks,luma 4 × 4
..............
H
V
.
.
.
.
H
V
H
VMean(H+V)
H
V
0 (vertical) 1(horizontal) 2(DC) 3 (plane)
Figure 6.26 Intra 16 × 16 prediction modes
H.264/MPEG4 PART 10
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16x16 luminance block to be predicted
Figure 6.27 16 × 16 macroblock
For each current block E,the encoder and decoder calculate the most probable prediction
mode,the minimum of the prediction modes of A and B,If either of these neighbouring blocks
is not available (outside the current slice or not coded in Intra4×4 mode),the corresponding
value A or B is set to 2 (DC prediction mode).
The encoder sends a flag for each 4 × 4 block,prev intra4×4 pred mode,If the flag
is ‘1’,the most probable prediction mode is used,If the flag is ‘0’,another parameter
rem intra4×4 pred mode is sent to indicate a change of mode,If rem intra4×4 pred mode
is smaller than the current most probable mode then the prediction mode is set to
rem intra4×4 pred mode,otherwise the prediction mode is set to (rem intra4×4 pred mode
+1),In this way,only eight values of rem intra4×4 pred mode are required (0 to 7) to signal
the current intra mode (0 to 8).
Example
Blocks A and B have been predicted using mode 3 (diagonal down-left) and 1 (hori-
zontal) respectively,The most probable mode for block E is therefore 1 (horizontal).
prev intra4×4 pred mode is set to ‘0’ and so rem intra4×4 pred mode is sent,Depending on
the value of rem intra4×4 pred mode,one of the eight remaining prediction modes (listed in
Table 6.4) may be chosen.
The prediction mode for luma coded in Intra-16×16 mode or chroma coded in Intra mode is
signalled in the macroblock header and predictive coding of the mode is not used in these cases.
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Table 6.4 Choice of prediction mode (most probable
mode = 1)
rem intra4×4 pred mode prediction mode for block C
00
12
23
34
45
56
67
78
0 (vertical),SAE = 3985 1 (horizontal),SAE = 5097
2 (DC),SAE = 4991 3 (plane),SAE = 2539
Figure 6.28 Prediction blocks,intra 16 × 16
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abcd
e
f
g
h
ij
k
l
16x16 luma 8x8 chroma
Figure 6.29 Edge filtering order in a macroblock
p3 p2 p1
p0
q0 q1 q2 q3
Vertical boundary
p0
p1
p2
p3
q0
q1
q2
q3
Horizontal
boundary
Figure 6.30 Samples adjacent to vertical and horizontal boundaries
6.4.7 Deblocking Filter
A filter is applied to each decoded macroblock to reduce blocking distortion,The deblocking
filter is applied after the inverse transform in the encoder (before reconstructing and storing
the macroblock for future predictions) and in the decoder (before reconstructing and display-
ing the macroblock),The filter smooths block edges,improving the appearance of decoded
frames,The filtered image is used for motion-compensated prediction of future frames and
this can improve compression performance because the filtered image is often a more faithful
reproduction of the original frame than a blocky,unfiltered image
3
,The default operation of the
filter is as follows; it is possible for the encoder to alter the filter strength or to disable the filter.
Filtering is applied to vertical or horizontal edges of 4 × 4 blocks in a macroblock (except
for edges on slice boundaries),in the following order.
1,Filter 4 vertical boundaries of the luma component (in order a,b,c,d in Figure 6.29).
2,Filter 4 horizontal boundaries of the luma component (in order e,f,g,h,Figure 6.29).
3,Filter 2 vertical boundaries of each chroma component (i,j).
4,Filter 2 horizontal boundaries of each chroma component (k,l).
Each filtering operation affects up to three samples on either side of the boundary,Figure
6.30 shows four samples on either side of a vertical or horizontal boundary in adjacent blocks
3
Intra-coded macroblocks are filtered,but intra prediction (Section 6.4.6) is carried out using unfiltered reconstructed
macroblocks to form the prediction.
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p and q (p0,p1,p2,p3 and q0,q1,q2,q3),The ‘strength’ of the filter (the amount of filtering)
depends on the current quantiser,the coding modes of neighbouring blocks and the gradient
of image samples across the boundary.
Boundary Strength
The choice of filtering outcome depends on the boundary strength and on the gradient of
image samples across the boundary,The boundary strength parameter bS is chosen according
to the following rules (for coding of progressive frames):
p and/or q is intra coded and boundary is a macroblock boundary bS = 4 (strongest filtering)
p and q are intra coded and boundary is not a macroblock boundary bS = 3
neither p or q is intra coded; p and q contain coded coefficients bS = 2
neither p or q is intra coded; neither p or q contain coded bS = 1
coefficients; p and q use different reference pictures or a
different number of reference pictures or have motion vector
values that differ by one luma sample or more
otherwise bS = 0 (no filtering)
The result of applying these rules is that the filter is stronger at places where there is
likely to be significant blocking distortion,such as the boundary of an intra coded macroblock
or a boundary between blocks that contain coded coefficients.
Filter Decision
A group of samples from the set (p2,p1,p0,q0,q1,q2) is filtered only if:
(a) BS > 0 and
(b) |p0?q0| <αand |p1?p0| <βand |q1?q0|≤β.
α and β are thresholds defined in the standard; they increase with the average quantiser
parameter QP of the two blocks p and q,The effect of the filter decision is to ‘switch off’ the
filter when there is a significant change (gradient) across the block boundary in the original
image,When QP is small,anything other than a very small gradient across the boundary is
likely to be due to image features (rather than blocking effects) that should be preserved and
so the thresholds α and β are low,When QP is larger,blocking distortion is likely to be more
significant and α,β are higher so that more boundary samples are filtered.
Example
Figure 6.31 shows the 16 × 16 luma component of a macroblock (without any blocking distortion)
with four 4 × 4 blocks a,b,c and d highlighted,Assuming a medium to large value of QP,the
block boundary between a and b is likely to be filtered because the gradient across this boundary is
small,There are no significant image features to preserve and blocking distortion will be obvious
on this boundary,However,there is a significant change in luminance across the boundary between
c and d due to a horizontal image feature and so the filter is switched off to preserve this strong
feature.
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Figure 6.31 16 × 16 luma macroblock showing block edges
Filter Implementation
(a) bS ∈ {1,2,3}
A 4-tap filter is applied with inputs p1,p0,q0 and q1,producing filtered outputs p’0 and q’0,If
|p2? p0| is less than threshold β,another four-tap filter is applied with inputs p2,p1,p0 and
q0,producing filtered output p’1 (luma only),If |q2? q0| is less than the threshold β,a four-tap
filter is applied with inputs q2,q1,q0 and p0,producing filtered output q’1 (luma only).
(b) bS = 4
If |p2? p0| <βand |p0? q0| < round (α/4) and this is a luma block:
p’0 is produced by five-tap filtering of p2,p1,p0,q0 and q1,
p’1 is produced by four-tap filtering of p2,p1,p0 and q0,
p’2 is produced by five-tap filtering of p3,p2,p1,p0 and q0,
else:
p’0 is produced by three-tap filtering of p1,p0 and q1.
If |q2? q0| <βand |p0? q0| < round(α/4) and this is a luma block:
q’0 is produced by five-tap filtering of q2,q1,q0,p0 and p1,
q’1 is produced by four-tap filtering of q2,q1,q0 and p0,
q’2 is produced by five-tap filtering of q3,q2,q1,q0 and p0,
else:
q’0 is produced by three-tap filtering of q1,q0 and p1.
Example
A video clip is encoded with a fixed Quantisation Parameter of 36 (relatively high quantisation).
Figure 6.32 shows an original frame from the clip and Figure 6.33 shows the same frame after
THE BASELINE PROFILE
187
inter coding and decoding,with the loop filter disabled,Note the obvious blocking artefacts and
note also the effect of varying motion-compensation block sizes (for example,16 × 16 blocks
in the background to the left of the picture,4 × 4 blocks around the arm),With the loop filter
enabled (Figure 6.34) there is still some obvious distortion but most of the block edges have
disappeared or faded,Note that sharp contrast boundaries (such as the line of the arm against the
dark piano) are preserved by the filter whilst block edges in smoother regions of the picture (such
as the background to the left) are smoothed,In this example the loop filter makes only a small
contribution to compression efficiency,the encoded bitrate is around 1.5% smaller and the PSNR
around 1% larger for the sequence with the filter,However,the subjective quality of the filtered
sequence is significantly better,The coding performance gain provided by the filter depends on
the bitrate and sequence content.
Figure 6.35 and Figure 6.36 show the un-filtered and filtered frame respectively,this time
with a lower quantiser parameter (QP = 32).
6.4.8 Transform and Quantisation
H.264 uses three transforms depending on the type of residual data that is to be coded,a
Hadamard transform for the 4 × 4 array of luma DC coefficients in intra macroblocks predicted
in 16 × 16 mode,a Hadamard transform for the 2 × 2 array of chroma DC coefficients (in any
macroblock) and a DCT-based transform for all other 4 × 4 blocks in the residual data.
Data within a macroblock are transmitted in the order shown in Figure 6.47,If the
macroblock is coded in 16 × 16 Intra mode,then the block labelled ‘?1’,containing the
transformed DC coefficient of each 4 × 4 luma block,is transmitted first,Next,the luma
residual blocks 0–15 are transmitted in the order shown (the DC coefficients in a macroblock
coded in 16 × 16 Intra mode are not sent),Blocks 16 and 17 are sent,containing a 2 × 2 array
of DC coefficients from the Cb and Cr chroma components respectively and finally,chroma
residual blocks 18–25 (without DC coefficients) are sent.
6.4.8.1 4 × 4 Residual Transform and Quantisation (blocks 0–15,18–25)
This transform operates on 4 × 4 blocks of residual data (labelled 0–15 and 18–25 in Figure
6.37) after motion-compensated prediction or Intra prediction,The H.264 transform [3] is
based on the DCT but with some fundamental differences:
1,It is an integer transform (all operations can be carried out using integer arithmetic,without
loss of decoding accuracy).
2,It is possible to ensure zero mismatch between encoder and decoder inverse transforms
(using integer arithmetic).
3,The core part of the transform can be implemented using only additions and shifts.
4,A scaling multiplication (part of the transform) is integrated into the quantiser,reducing
the total number of multiplications.
The inverse quantisation (scaling) and inverse transform operations can be carried out
using 16-bit integer arithmetic (footnote,except in the case of certain anomalous residual
data patterns) with only a single multiply per coefficient,without any loss of accuracy.
H.264/MPEG4 PART 10
188
Figure 6.32 Original frame (violin frame 2)
Figure 6.33 Reconstructed,QP = 36 (no filter) Figure 6.34 Reconstructed,QP = 36 (with filter)
Figure 6.35 Reconstructed,QP = 32 (no filter) Figure 6.36 Reconstructed,QP = 32 (with filter)
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0 1 4 5
2 3 6 7
8 9 12 13
10 11 14 15
18 19
20 21
22 23
24 25
16 17-1
(16x16 Intra
mode only)
DC
Luma
Cb Cr
Figure 6.37 Scanning order of residual blocks within a macroblock
Development from the 4 × 4 DCT
Recall from Chapter 3 that the 4 × 4 DCT is given by:
Y = AXA
T
=
aaaa
bc?c?b
a?a?aa
c?bb?c
X
abac
ac?a?b
a?c?ab
a?ba?c
(6.1)
where:
a =
1
2
,b =
radicalbigg
1
2
cos
parenleftBig
π
8
parenrightBig
,c =
radicalbigg
1
2
cos
parenleftbigg
3π
8
parenrightbigg
This matrix multiplication can be factorised [3] to the following equivalent form (equation
6.2):
Y = (CXC
T
)? E =
1111
1 d?d?1
1?1?11
d?11?d
X
111d
1 d?1?1
1?d?11
1?11?d
a
2
ab a
2
ab
ab b
2
ab b
2
a
2
ab a
2
ab
ab b
2
ab b
2
(6.2)
CXC
T
is a ‘core’ 2D transform,E is a matrix of scaling factors and the symbol? indicates
that each element of (CXC
T
) is multiplied by the scaling factor in the same position in matrix
E (scalar multiplication rather than matrix multiplication),The constants a and b are as before
and d is c/b (approximately 0.414).
H.264/MPEG4 PART 10
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To simplify the implementation of the transform,d is approximated by 0.5,In order to
ensure that the transform remains orthogonal,b also needs to be modified so that:
a =
1
2
,b =
radicalbigg
2
5
,d =
1
2
The 2nd and 4th rows of matrix C and the 2nd and 4th columns of matrix C
T
are scaled
by a factor of two and the post-scaling matrix E is scaled down to compensate,avoiding
multiplications by half in the ‘core’ transform CXC
T
which could result in loss of accuracy
using integer arithmetic,The final forward transform becomes:
Y = C
f
XC
T
f
E
f
=
1111
21?1?2
1?1?11
1?22?1
X
1211
11?1?2
1?1?12
1?21?1
a
2
ab
2
a
2
ab
2
ab
2
b
2
4
ab
2
b
2
4
a
2
ab
2
a
2
ab
2
ab
2
b
2
4
ab
2
b
2
4
(6.3)
This transform is an approximation to the 4 × 4 DCT but because of the change to factors d
and b,the result of the new transform will not be identical to the 4 × 4 DCT.
Example
Compare the output of the 4 × 4 approximate transform with the output of a ‘true’ 4 × 4 DCT,
for input block X:
X:
j = 0123
i = 0511810
1 9 8412
2 1 10114
3196157
DCT output:
Y = AXA
T
=
35.0?0.079?1.51.115
3.299?4.768 0.443?9.010
5.53.029 2.04.699
4.045?3.010?9.384?1.232
Approximate transform output:
Y
prime
= (CXC
T
)? E
f
=
35.0?0.158?1.51.107
3.004?3.900 1.107?9.200
5.52.688 2.04.901
4.269?3.200?9.329?2.100
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191
Difference between DCT and integer transform outputs:
Y? Y
prime
=
00.079 0 0.008
0.295?0.868?0.664 0.190
00.341 0?0.203
0.224 0.190?0.055 0.868
There is clearly a difference in the output coefficients that depend on b or d,In the context of
the H.264 CODEC,the approximate transform has almost identical compression performance
to the DCT and has a number of important advantages,The ‘core’ part of the transform,
CXC
T
,can be carried out with integer arithmetic using only additions,subtractions and shifts.
The dynamic range of the transform operations is such that 16-bit arithmetic may be used
throughout (except in the case of certain anomalous input patterns) since the inputs are in the
range ±255,The post-scaling operation?E
f
requires one multiplication for every coefficient
which can be ‘absorbed’ into the quantisation process (see below).
The inverse transform is given by Equation 6.4,The H.264 standard [1] defines this
transform explicitly as a sequence of arithmetic operations:
Y = C
T
i
(Y? E
i
)C
i
=
111
1
2
1
1
2
1?1
1?
1
2
11
1?11?
1
2
X
a
2
ab a
2
ab
ab b
2
ab b
2
a
2
ab a
2
ab
ab b
2
ab b
2
1111
1
1
2
1
2
1
1?1?11
1
2
11?
1
2
(6.4)
This time,Y is pre-scaled by multiplying each coefficient by the appropriate weighting factor
from matrix E
i
,Note the factors ±1/2 in the matrices C and C
T
which can be implemented
by a right-shift without a significant loss of accuracy because the coefficients Y are pre-scaled.
The forward and inverse transforms are orthogonal,i.e,T
1
(T(X)) = X.
Quantisation
H.264 assumes a scalar quantiser (see Chapter 3),The mechanisms of the forward and inverse
quantisers are complicated by the requirements to (a) avoid division and/or floating point
arithmetic and (b) incorporate the post- and pre-scaling matrices E
f
and E
i
described above.
The basic forward quantiser [3] operation is:
Z
ij
= round(Y
ij
/Qstep)
where Y
ij
is a coefficient of the transform described above,Qstep is a quantizer step size and
Z
ij
is a quantised coefficient,The rounding operation here (and throughout this section) need
not round to the nearest integer; for example,biasing the ‘round’ operation towards smaller
integers can give perceptual quality improvements.
A total of 52 values of Qstep are supported by the standard,indexed by a Quantisation
Parameter,QP (Table 6.5),Qstep doubles in size for every increment of 6 in QP,The wide
range of quantiser step sizes makes it possible for an encoder to control the tradeoff accurately
and flexibly between bit rate and quality,The values of QP can be different for luma and
chroma,Both parameters are in the range 0–51 and the default is that the chroma parameter
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192
Table 6.5 Quantisation step sizes in H.264 CODEC
QP 0 1 2 3 4 5 6 7 8 9 10 11 12,,,
QStep 0.625 0.6875 0.8125 0.875 1 1.125 1.25 1.375 1.625 1.75 2 2.25 2.5,,,
QP,.,18,.,24,.,30,.,36,.,42,.,48,.,51
QStep 5 10 20 40 80 160 224
QP
C
is derived from QP
Y
so that QP
C
is less that QP
Y
for QP
Y
> 30,A user-defined mapping
between QP
Y
and QP
C
may be signalled in a Picture Parameter Set.
The post-scaling factor a
2
,ab/2orb
2
/4 (equation 6.3) is incorporated into the forward
quantiser,First,the input block X is transformed to give a block of unscaled coefficients W =
CXC
T
,Then,each coefficient W
ij
is quantised and scaled in a single operation:
Z
ij
= round
parenleftbigg
W
ij
.
PF
Qstep
parenrightbigg
(6.5)
PF is a
2
,ab/2orb
2
/4 depending on the position (i,j) (see equation 6.3):
Position PF
(0,0),(2,0),(0,2) or (2,2) a
2
(1,1),(1,3),(3,1) or (3,3) b
2
/4
other ab/2
In order to simplify the arithmetic),the factor (PF/Qstep) is implemented in the reference
model software [4] as a multiplication by a factor MF and a right-shift,avoiding any division
operations:
Z
ij
= round
parenleftbigg
W
ij
.
MF
2
qbits
parenrightbigg
where
MF
2
qbits
=
PF
Qstep
and
qbits = 15 + floor(QP/6) (6.6)
In integer arithmetic,Equation 6.6 can be implemented as follows:
|Z
ij
|=(|W
ij
|.MF+ f ) >> qbits
sign(Z
ij
) = sign(W
ij
) (6.7)
where >> indicates a binary shift right,In the reference model software,f is 2
qbits
/3 for Intra
blocks or 2
qbits
/6 for Inter blocks.
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193
Table 6.6 Multiplication factor MF
Positions Positions
QP (0,0),(2,0),(2,2),(0,2) (1,1),(1,3),(3,1),(3,3) Other positions
0 13107 5243 8066
1 11916 4660 7490
2 10082 4194 6554
3 9362 3647 5825
4 8192 3355 5243
5 7282 2893 4559
Example
QP = 4 and (i,j) = (0,0).
Qstep = 1.0,PF = a
2
= 0.25 and qbits = 15,hence 2
qbits
= 32768.
MF
2
qbits
=
PF
Qstep
,MF = (32768 × 0.25)/1 = 8192
The first six values of MF (for each coefficient position) used by the H.264 reference software
encoder are given in Table 6.6,The 2nd and 3rd columns of this table (positions with factors
b
2
/4 and ab/2) have been modified slightly
4
from the results of equation 6.6.
For QP > 5,the factors MF remain unchanged but the divisor 2
qbits
increases by a factor of
two for each increment of six in QP,For example,qbits = 16 for 6≤ QP ≤ 11,qbits = 17 for
12 ≤QP≤ 17 and so on.
ReScaling
The basic scaling (or ‘inverse quantiser’) operation is:
Y
prime
ij
= Z
ij
Qstep (6.8)
The pre-scaling factor for the inverse transform (from matrix E
i
,containing values a
2
,ab and
b
2
depending on the coefficient position) is incorporated in this operation,together with a
constant scaling factor of 64 to avoid rounding errors:
W
prime
ij
= Z
ij
Qstep · PF· 64 (6.9)
W
prime
ij
is a scaled coefficient which is transformed by the core inverse transform C
T
i
WC
i
(Equation 6.4),The values at the output of the inverse transform are divided by 64 to re-
move the scaling factor (this can be implemented using only an addition and a right-shift).
The H.264 standard does not specify Qstep or PF directly,Instead,the parameter V =
(Qstep.PF.64) is defined for 0 ≤ QP ≤ 5 and for each coefficient position so that the scaling
4
It is acceptable to modify a forward quantiser,for example in order to improve perceptual quality at the decoder,
since only the rescaling (inverse quantiser) process is standardised.
H.264/MPEG4 PART 10
194
operation becomes:
W
prime
ij
= Z
ij
V
ij
· 2
floor(QP/6)
(6.10)
Example
QP = 3 and (i,j) = (1,2)
Qstep = 0.875 and 2
floor(QP/6)
= 1
PF = ab = 0.3162
V = (Qstep · PF· 64) = 0.875 × 0.3162 × 65
～
= 18
W
prime
ij
= Z
ij
× 18 × 1
The values of V defined in the standard for 0 ≤ QP ≤ 5 are shown in Table 6.7.
The factor 2
floor(QP/6)
in Equation 6.10 causes the sclaed output increase by a factor of
two for every increment of six in QP.
6.4.9 4 × 4 Luma DC Coefficient Transform and Quantisation (16 × 16
Intra-mode Only)
If the macroblock is encoded in 16 × 16 Intra prediction mode (i.e,the entire 16 × 16
luma component is predicted from neighbouring samples),each 4 × 4 residual block is first
transformed using the ‘core’ transform described above (C
f
XC
T
f
),The DC coefficient of each
4 × 4 block is then transformed again using a 4 × 4 Hadamard transform:
Y
D
=
1111
11?1?1
1?1?11
1?11?1
W
D
1111
11?1?1
1?1?11
1?11?1
/2 (6.11)
W
D
is the block of 4 × 4 DC coefficients and Y
D
is the block after transformation,The output
coefficients Y
D(i,j)
are quantised to produce a block of quantised DC coefficients:
vextendsingle
vextendsingle
Z
D(i,j)
vextendsingle
vextendsingle
=
parenleftbigvextendsingle
vextendsingle
Y
D(i,j)
vextendsingle
vextendsingle
MF
(0,0)
+ 2 f
parenrightbig
>> (qbits + 1)
sign
parenleftbig
Z
D(i,j)
parenrightbig
= sign
parenleftbig
Y
D(i,j)
parenrightbig
(6.12)
MF
(0,0)
is the multiplication factor for position (0,0) in Table 6.6 and f,qbits are defined
as before.
At the decoder,an inverse Hadamard transform is applied followed by rescaling (note
that the order is not reversed as might be expected):
W
QD
=
1111
11?1?1
1?1?11
1?11?1
Z
D
1111
11?1?1
1?1?11
1?11?1
(6.13)
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195
Table 6.7 Scaling factor V
Positions Positions
QP (0,0),(2,0),(2,2),(0,2) (1,1),(1,3),(3,1),(3,3) Other positions
010 16 13
111 8 4
213 20 16
314 3 8
416 25 20
518 9 3
Decoder scaling is performed by:
W
prime
D(i,j)
= W
QD(i,j)
V
(0,0)
2
floor
(QP/6)? 2(QP ≥ 12)
W
prime
D(i,j)
=
bracketleftbig
W
QD(i,j)
V
(0,0)
+ 2
1? floor(QP/6)
bracketrightbig
>> (2? floor(QP/6) (QP < 12)
(6.14)
V
(0,0)
is the scaling factor V for position (0,0) in Table 6.7,Because V
(0,0)
is constant
throughout the block,rescaling and inverse transformation can be applied in any order,The
specified order (inverse transform first,then scaling) is designed to maximise the dynamic
range of the inverse transform.
The rescaled DC coefficients W
prime
D
are inserted into their respective 4 × 4 blocks and each
4 × 4 block of coefficients is inverse transformed using the core DCT-based inverse transform
(C
T
i
W
prime
C
i
),In a 16 × 16 intra-coded macroblock,much of the energy is concentrated in the DC
coefficients of each 4 × 4 block which tend to be highly correlated,After this extra transform,
the energy is concentrated further into a small number of significant coefficients.
6.4.10 2 × 2 Chroma DC Coefficient Transform and Quantisation
Each 4 × 4 block in the chroma components is transformed as described in Section 6.4.8.1.
The DC coefficients of each 4 × 4 block of chroma coefficients are grouped in a 2 × 2 block
(W
D
) and are further transformed prior to quantisation:
W
QD
=
bracketleftbigg
11
1?1
bracketrightbiggbracketleftbigg
W
D
bracketrightbiggbracketleftbigg
11
1?1
bracketrightbigg
(6.15)
Quantisation of the 2 × 2 output block Y
D
is performed by:
vextendsingle
vextendsingle
Z
D(i,j)
vextendsingle
vextendsingle
=
parenleftbigvextendsingle
vextendsingle
Y
D(i,j)
vextendsingle
vextendsingle
.MF
(0,0)
+ 2 f
parenrightbig
>> (qbits + 1) (6.16)
sign
parenleftbig
Z
D(i,j)
parenrightbig
= sign
parenleftbig
Y
D(i,j)
parenrightbig
MF
(0,0)
is the multiplication factor for position (0,0) in Table 6.6,f and qbits are defined as
before.
During decoding,the inverse transform is applied before scaling:
W
QD
=
bracketleftbigg
11
1?1
bracketrightbiggbracketleftbigg
Z
D
bracketrightbiggbracketleftbigg
11
1?1
bracketrightbigg
(6.17)
H.264/MPEG4 PART 10
196
encoder
output /
decoder
input
Forward
transform Cf
Input
block X
Post-scaling
and
quantisation
Rescale and
pre-scaling
Inverse
transform Ci
Output
block X''
2x2 or 4x4
DC
transform
2x2 or 4x4
DC inverse
transform
Chroma or Intra-
16 Luma only
Chroma or Intra-
16 Luma only
Figure 6.38 Transform,quantisation,rescale and inverse transform flow diagram
Scaling is performed by:
W
prime
D(i,j)
= W
QD(i,j)
.V
(0.0)
.2
floor(QP/6)?1
(if QP ≥ 6)
W
prime
D(i,j)
=
bracketleftbig
W
QD(i,j)
.V
(0,0)
bracketrightbig
>> 1 (if QP < 6)
The rescaled coefficients are replaced in their respective 4 × 4 blocks of chroma coefficients
which are then transformed as above (C
T
i
W
prime
C
i
),As with the Intra luma DC coefficients,
the extra transform helps to de-correlate the 2 × 2 chroma DC coefficients and improves
compression performance.
6.4.11 The Complete Transform,Quantisation,Rescaling and Inverse
Transform Process
The complete process from input residual block X to output residual block X
prime
is described
below and illustrated in Figure 6.38.
Encoding:
1,Input,4 × 4 residual samples,X
2,Forward ‘core’ transform,W = C
f
XC
T
f
(followed by forward transform for Chroma DC or Intra-16 Luma DC coefficients).
3,Post-scaling and quantisation,Z = W.round(PF/Qstep)
(different for Chroma DC or Intra-16 Luma DC).
Decoding:
(Inverse transform for Chroma DC or Intra-16 Luma DC coefficients)
4,Decoder scaling (incorporating inverse transform pre-scaling),W
prime
= Z.Qstep.PF.64
(different for Chroma DC or Intra-16 Luma DC).
5,Inverse ‘core’ transform,X
prime
= C
T
i
W
prime
C
i
6,Post-scaling,X
primeprime
= round(X
prime
/64)
7,Output,4 × 4 residual samples,X
primeprime
Example (luma 4 × 4 residual block,Intra mode)
QP = 10
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Input block X:
j = 0123
i = 0511810
1 9 8412
2 1 10114
3196157
Output of ‘core’ transform W:
j = 0123
i = 0 140?1?67
1?19?39 7?92
22217 8 31
3?27?32?59?21
MF = 8192,3355 or 5243 (depending on the coefficient position),qbits = 16 and f is
2
qbits
/3,Output of forward quantizer Z:
j = 0123
i = 0170?10
1?1?20?5
23112
3?2?1?5?1
V = 16,25 or 20 (depending on position) and 2
floor
(QP/6) = 2
1
= 2,Output of rescale W
prime
:
j = 0123
i = 0 544 0?32 0
1?40?100 0?250
29640 32 80
3?80?50?200?50
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start
end
Figure 6.39 Zig-zag scan for 4 × 4 luma block (frame mode)
Output of ‘core’ inverse transform X
primeprime
(after division by 64 and rounding):
j = 0123
i = 0413810
1 8 8412
2 1 10103
3185147
6.4.12 Reordering
In the encoder,each 4 × 4 block of quantised transform coefficients is mapped to a 16-element
array in a zig-zag order (Figure 6.39),In a macroblock encoded in 16 × 16 Intra mode,the
DC coefficients (top-left) of each 4 × 4 luminance block are scanned first and these DC
coefficients form a 4 × 4 array that is scanned in the order of Figure 6.39,This leaves 15 AC
coefficients in each luma block that are scanned starting from the 2nd position in Figure 6.39.
Similarly,the 2 × 2 DC coefficients of each chroma component are first scanned (in raster
order) and then the 15 AC coefficients in each chroma 4 × 4 block are scanned starting from
the 2nd position.
6.4.13 Entropy Coding
Above the slice layer,syntax elements are encoded as fixed- or variable-length binary codes.
At the slice layer and below,elements are coded using either variable-length codes (VLCs)
or context-adaptive arithmetic coding (CABAC) depending on the entropy encoding mode.
When entropy coding mode is set to 0,residual block data is coded using a context-adaptive
variable length coding (CAVLC) scheme and other variable-length coded units are coded
using Exp-Golomb codes,Parameters that require to be encoded and transmitted include the
following (Table 6.8).
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Table 6.8 Examples of parameters to be encoded
Parameters Description
Sequence-,picture- and Headers and parameters
slice-layer syntax elements
Macroblock type mb type Prediction method for each coded macroblock
Coded block pattern Indicates which blocks within a macroblock contain coded
coefficients
Quantiser parameter Transmitted as a delta value from the previous value of QP
Reference frame index Identify reference frame(s) for inter prediction
Motion vector Transmitted as a difference (mvd) from predicted motion vector
Residual data Coefficient data for each 4 × 4or2× 2 block
Table 6.9 Exp-Golomb codewords
code num Codeword
01
1 010
2 011
3 00100
4 00101
5 00110
6 00111
7 0001000
8 0001001
...,..
6.4.13.1 Exp-Golomb Entropy Coding
Exp-Golomb codes (Exponential Golomb codes,[5]) are variable length codes with a regular
construction,It is clear from examining the first few codewords (Table 6.9) that they are
constructed in a logical way:
[M zeros][1][INFO]
INFO is an M-bit field carrying information,The first codeword has no leading zero or trailing
INFO,Codewords 1 and 2 have a single-bit INFO field,codewords 3–6 have a two-bit INFO
field and so on,The length of each Exp-Golomb codeword is (2M + 1) bits and each codeword
can be constructed by the encoder based on its index code num:
M = floor(log
2
[code num + 1])
INFO = code num + 1? 2
M
A codeword can be decoded as follows:
1,Read in M leading zeros followed by 1.
2,Read M-bit INFO field.
3,code num = 2
M
+ INFO – 1
(For codeword 0,INFO and M are zero.)
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A parameter k to be encoded is mapped to code num in one of the following ways:
Mapping type Description
ue Unsigned direct mapping,code num = k,Used for macroblock type,reference
frame index and others.
te A version of the Exp-Golomb codeword table in which short codewords are
truncated.
se Signed mapping,used for motion vector difference,delta QP and others,k is
mapped to code num as follows (Table 6.10).
code num = 2|k| (k ≤ 0)
code num = 2|k|? 1(k> 0)
me Mapped symbols,parameter k is mapped to code num according to a table specified
in the standard,Table 6.11 lists a small part of the coded block
pattern table for Inter predicted macroblocks,indicating which 8 × 8 blocks in
a macroblock contain nonzero coefficients.
Table 6.10 Signed mapping se
k code num
00
11
12
23
24
35
...,..
Table 6.11 Part of coded block pattern table
coded block pattern (Inter prediction) code num
0 (no nonzero blocks) 0
16 (chroma DC block nonzero) 1
1 (top-left 8 × 8 luma block nonzero) 2
2 (top-right 8 × 8 luma block nonzero) 3
4 (lower-left 8 × 8 luma block nonzero) 4
8 (lower-right 8 × 8 luma block nonzero) 5
32 (chroma DC and AC blocks nonzero) 6
3 (top-left and top-right 8 × 8 luma blocks nonzero) 7
...,..
Each of these mappings (ue,te,se and me) is designed to produce short codewords for
frequently-occurring values and longer codewords for less common parameter values,For
example,inter macroblock type P L0 16 × 16 (prediction of 16 × 16 luma partition from a
previous picture) is assigned code num 0 because it occurs frequently; macroblock type P 8 ×
8 (prediction of 8 × 8 luma partition from a previous picture) is assigned code num 3 because
it occurs less frequently; the commonly-occurring motion vector difference (MVD) value of
0 maps to code num 0 whereas the less-common MVD =?3 maps to code num 6.
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6.4.13.2 Context-Based Adaptive Variable Length Coding (CAVLC)
This is the method used to encode residual,zig-zag ordered 4 × 4 (and 2 × 2) blocks of
transform coefficients,CAVLC [6] is designed to take advantage of several characteristics of
quantised 4 × 4 blocks:
1,After prediction,transformation and quantisation,blocks are typically sparse (containing
mostly zeros),CAVLC uses run-level coding to represent strings of zeros compactly.
2,The highest nonzero coefficients after the zig-zag scan are often sequences of ±1 and
CAVLC signals the number of high-frequency ±1 coefficients (‘Trailing Ones’) in a
compact way.
3,The number of nonzero coefficients in neighbouring blocks is correlated,The number of
coefficients is encoded using a look-up table and the choice of look-up table depends on
the number of nonzero coefficients in neighbouring blocks.
4,The level (magnitude) of nonzero coefficients tends to be larger at the start of the reordered
array (near the DC coefficient) and smaller towards the higher frequencies,CAVLC takes
advantage of this by adapting the choice of VLC look-up table for the level parameter
depending on recently-coded level magnitudes.
CAVLC encoding of a block of transform coefficients proceeds as follows:
coeff token encodes the number of non-zero coefficients (TotalCoeff) and TrailingOnes
(one per block)
trailing ones sign flag sign of TrailingOne value (one per trailing one)
level prefix first part of code for non-zero coefficient (one per coefficient,
excluding trailing ones)
level suffix second part of code for non-zero coefficient (not always present)
total zeros encodes the total number of zeros occurring after the first non-zero
coefficient (in zig-zag order) (one per block)
run before encodes number of zeros preceding each non-zero coefficient
in reverse zig-zag order
1,Encode the number of coefficients and trailing ones (coeff token)
The first VLC,coeff token,encodes both the total number of nonzero coefficients (TotalCoeffs)
and the number of trailing ±1 values (TrailingOnes),TotalCoeffs can be anything from 0 (no
coefficients in the 4 × 4 block)
5
to 16 (16 nonzero coefficients) and TrailingOnes can be
anything from 0 to 3,If there are more than three trailing ±1s,only the last three are treated
as ‘special cases’ and any others are coded as normal coefficients.
There are four choices of look-up table to use for encoding coeff token for a 4 × 4 block,
three variable-length code tables and a fixed-length code table,The choice of table depends on
the number of nonzero coefficients in the left-hand and upper previously coded blocks (n
A
and
n
B
respectively),A parameter nC is calculated as follows,If upper and left blocks nB and nA
5
Note,coded block pattern (described earlier) indicates which 8 × 8 blocks in the macroblock contain nonzero
coefficients but,within a coded 8 × 8 block,there may be 4 × 4 sub-blocks that do not contain any coefficients,
hence TotalCoeff may be 0 in any 4 × 4 sub-block,In fact,this value of TotalCoeff occurs most often and is assigned
the shortest VLC.
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Table 6.12 Choice of look-up table for
coeff token
N Table for coeff token
0,1 Table 1
2,3 Table 2
4,5,6,7 Table 3
8 or above Table 4
are both available (i.e,in the same coded slice),nC = round((nA + nB)/2),If only the upper
is available,nC = nB; if only the left block is available,nC = nA; if neither is available,
nC = 0.
The parameter nC selects the look-up table (Table 6.12) so that the choice of VLC
adapts to the number of coded coefficients in neighbouring blocks (context adaptive),Table 1
is biased towards small numbers of coefficients such that low values of TotalCoeffs are
assigned particularly short codes and high values of TotalCoeff particularly long codes.
Table 2 is biased towards medium numbers of coefficients (TotalCoeff values around 2–4
are assigned relatively short codes),Table 3 is biased towards higher numbers of coeffi-
cients and Table 4 assigns a fixed six-bit code to every pair of TotalCoeff and TrailingOnes
values.
2,Encode the sign of each TrailingOne
For each TrailingOne (trailing ±1) signalled by coeff token,the sign is encoded with a single
bit (0 =+,1 =?) in reverse order,starting with the highest-frequency TrailingOne.
3,Encode the levels of the remaining nonzero coefficients.
The level (sign and magnitude) of each remaining nonzero coefficient in the block is encoded in
reverseorder,starting with the highest frequency and working back towards the DC coefficient.
The code for each level is made up of a prefix (level prefix) and a suffix (level suffix),The
length of the suffix (suffixLength) may be between 0 and 6 bits and suffixLength is adapted
depending on the magnitude of each successive coded level (‘context adaptive’),A small
value of suffixLength is appropriate for levels with low magnitudes and a larger value of
suffixLength is appropriate for levels with high magnitudes,The choice of suffixLength is
adapted as follows:
1,Initialise suffixLength to 0 (unless there are more than 10 nonzero coefficients and less
than three trailing ones,in which case initialise to 1).
2,Encode the highest-frequency nonzero coefficient.
3,If the magnitude of this coefficient is larger than a predefined threshold,increment suf-
fixLength,(If this is the first level to be encoded and suffixLength was initialised to 0,set
suffixLength to 2).
In this way,the choice of suffix (and hence the complete VLC) is matched to the magnitude of
the recently-encoded coefficients,The thresholds are listed in Table 6.13; the first threshold is
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Table 6.13 Thresholds for determining whether to
increment suffixLength
Current suffixLength Threshold to increment suffixLength
00
13
26
312
424
548
6 N/A (highest suffixLength)
zero which means that suffixLength is always incremented after the first coefficient level has
been encoded.
4,Encode the total number of zeros before the last coefficient
The sum of all zeros preceding the highest nonzero coefficient in the reordered array is coded
with a VLC,total zeros,The reason for sending a separate VLC to indicate total zeros is that
many blocks contain a number of nonzero coefficients at the start of the array and (as will be
seen later) this approach means that zero-runs at the start of the array need not be encoded.
5,Encode each run of zeros.
The number of zeros preceding each nonzero coefficient (run before) is encoded in reverse
order,A run before parameter is encoded for each nonzero coefficient,starting with the highest
frequency,with two exceptions:
1,If there are no more zeros left to encode (i.e.
summationtext
[run before]=total zeros),it is not necessary
to encode any more run before values.
2,It is not necessary to encode run before for the final (lowest frequency) nonzero coefficient.
The VLC for each run of zeros is chosen depending on (a) the number of zeros that have not
yet been encoded (ZerosLeft) and (b) run before,For example,if there are only two zeros left
to encode,run before can only take three values (0,1 or 2) and so the VLC need not be more
than two bits long,If there are six zeros still to encode then run before can take seven values
(0 to 6) and the VLC table needs to be correspondingly larger.
Example 1
4 × 4 block:
0 3?1 0
0?1 1 0
1 0 0 0
0 0 0 0
Reordered block:
0,3,0,1,?1,?1,0,1,0.,,
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TotalCoeffs = 5 (indexed from highest frequency,4,to lowest frequency,0)
total zeros = 3
TrailingOnes = 3 (in fact there are four trailing ones but only three can be encoded as a ‘special
case’)
Encoding
Element Value Code
coeff token TotalCoeffs = 5,0000100
TrailingOnes= 3 (use Table 1)
TrailingOne sign (4) + 0
TrailingOne sign (3)? 1
TrailingOne sign (2)? 1
Level (1) +1 (use suffixLength = 0) 1 (prefix)
Level (0) +3 (use suffixLength = 1) 001 (prefix) 0 (suffix)
total zeros 3 111
run before(4) ZerosLeft = 3; run before = 110
run before(3) ZerosLeft = 2; run before = 01
run before(2) ZerosLeft = 2; run before =
run before(1) ZerosLeft = 2; run before = 101
run before(0) ZerosLeft = 1; run before = 1 No code required;
last coefficient.
The transmitted bitstream for this block is 000010001110010111101101.
Decoding
The output array is ‘built up’ from the decoded values as shown below,Values added to the output
array at each stage are underlined.
Code Element Value Output array
0000100 coeff token TotalCoeffs = 5,TrailingOnes = 3 Empty
0 TrailingOne sign + 1
1 TrailingOne sign1,1
1 TrailingOne sign 1,?1,1
1Levl +1 (suffixLength = 0; increment 1,?1,?1,1
suffixLength after decoding)
0010 Level +3 (suffixLength = 1) 3,1,?1,?1,0,1
111 total zeros 3 3,1,?1,?1,1
10 run before 1 3,1,?1,?1,0,1
1 run before 0 3,1,?1,?1,0,1
1 run before 0 3,1,?1,?1,0,1
01 run before 1 3,0,1,?1,?1,0,1
The decoder has already inserted two zeros,TotalZeros is equal to 3 and so another 1 zero is
inserted before the lowest coefficient,making the final output array:
0,3,0,1,?1,?1,0,1
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Example 2
4 × 4 block:
2 4 0?1
3 0 0 0
3 0 0 0
0 0 0 0
Reordered block:
2,4,3,?3,0,0,?1,...
TotalCoeffs = 5 (indexed from highest frequency,4,to lowest frequency,0)
total zeros = 2
TrailingOne = 1
Encoding:
Element Value Code
coeff token TotalCoeffs = 5,TrailingOnes = 1 0000000110
(use Table 1)
TrailingOne sign (4)? 1
Level (3) Sent as?2(see note 1) (suffixLength = 0; 0001 (prefix)
increment suffixLength)
Level (2) 3 (suffixLength = 1) 001 (prefix) 0 (suffix)
Level (1) 4 (suffixLength = 1; increment 0001 (prefix) 0 (suffix)
suffixLength
Level (0)?2 (suffixLength = 2) 1 (prefix) 11 (suffix)
total zeros 2 0011
run before(4) ZerosLeft= 2; run before= 200
run before(3..0) 0 No code required
The transmitted bitstream for this block is 000000011010001001000010111001100.
Note 1,Level (3),with a value of?3,is encoded as a special case,If there are less than 3
TrailingOnes,then the first non-trailing one level cannot have a value of ±1 (otherwise it
would have been encoded as a TrailingOne),To save bits,this level is incremented if negative
(decremented if positive) so that ±2 maps to ±1,±3 maps to ±2,and so on,In this way,shorter
VLCs are used.
Note 2,After encoding level (3),the level VLC table is incremented because the magnitude of this
level is greater than the first threshold (which is 0),After encoding level (1),with a magnitude of
4,the table number is incremented again because level (1) is greater than the second threshold
(which is 3),Note that the final level (?2) uses a different VLC from the first encoded level
(also –2).
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Decoding:
Code Element Value Output array
0000000110 coeff token TotalCoeffs = 5,T1s= 1 Empty
1 TrailingOne sign1
0001 Level?2 decoded as?3?3,?1
0010 Level +3 +3,?3,?1
00010 Level +4 +4,3,?3,?1
111 Level?2?2,4,3,?3,?1
0011 total zeros 2?2,4,3,?3,?1
00 run before 2?2,4,3,?3,0,0,?1
All zeros have now been decoded and so the output array is:
2,4,3,?3,0,0,?1
(This example illustrates how bits are saved by encoding TotalZeros,only a single zero run
(run before) needs to be coded even though there are five nonzero coefficients.)
Example 3
4 × 4 block:
0 0 1 0
0 0 0 0
1 0 0 0
0 0 0 0
Reordered block:
0,0,0,1,0,1,0,0,0,?1
TotalCoeffs = 3 (indexed from highest frequency [2] to lowest frequency [0])
total zeros = 7
TrailingOnes = 3
Encoding:
Element Value Code
coeff token TotalCoeffs = 3,TrailingOnes= 3 00011
use Table 1)
TrailingOne sign (2)? 1
TrailingOne sign (1) + 0
TrailingOne sign (0) + 0
total zeros 7 011
run before(2) ZerosLeft= 7; run before= 3 100
run before(1) ZerosLeft= 4; run before= 110
run before(0) ZerosLeft= 3; run before= 3 No code required;
last coefficient.
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The transmitted bitstream for this block is 0001110001110010.
Decoding:
Code Element Value Output array
00011 coeff token TotalCoeffs= 3,TrailingOnes= 3 Empty
1 TrailineOne sign1
0 TrailineOne sign + 1,?1
0 TrailineOne sign + 1,1,?1
011 total zeros 7 1,1,?1
100 run before 3 1,1,0,0,0,?1
10 run before 1 1,0,1,0,0,0,?1
The decoder has inserted four zeros,total zeros is equal to 7 and so another three zeros are
inserted before the lowest coefficient:
0,0,0,1,0,1,0,0,0,?1
6.5 THE MAIN PROFILE
Suitable application for the Main Profile include (but are not limited to) broadcast media
applications such as digital television and stored digital video,The Main Profile is almost a
superset of the Baseline Profile,except that multiple slice groups,ASO and redundant slices
(all included in the Baseline Profile) are not supported,The additional tools provided by Main
Profile are B slices (bi-predicted slices for greater coding efficiency),weighted prediction
(providing increased flexibility in creating a motion-compensated prediction block),support
for interlaced video (coding of fields as well as frames) and CABAC (an alternative entropy
coding method based on Arithmetic Coding).
6.5.1 B slices
Each macroblock partition in an inter coded macroblock in a B slice may be predicted from one
or two reference pictures,before or after the current picture in temporal order,Depending on
the reference pictures stored in the encoder and decoder (see the next section),this gives many
options for choosing the prediction references for macroblock partitions in a B macroblock
type,Figure 6.40 shows three examples,(a) one past and one future reference (similar to
B-picture prediction in earlier MPEG video standards),(b) two past references and (c) two
future references.
6.5.1.1 Reference pictures
B slices use two lists of previously-coded reference pictures,list 0 and list 1,containing short
term and long term pictures (see Section 6.4.2),These two lists can each contain past and/or
H.264/MPEG4 PART 10
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(a) one past,one future
(b) two past
(c) two future
B
partition
Figure 6.40 Partition prediction examples in a B macroblock type,(a) past/future,(b) past,(c) future
future coded pictures (pictures before or after the current picture in display order),The long
term pictures in each list behaves in a similar way to the description in Section 6.4.2,The
short term pictures may be past and/or future coded pictures and the default index order of
these pictures is as follows:
List 0,The closest past picture (based on picture order count) is assigned index 0,followed by
any other past pictures (increasing in picture order count),followed by any future pictures
(in increasing picture order count from the current picture).
List 1,The closest future picture is assigned index 0,followed by any other future picture (in
increasing picture order count),followed by any past picture (in increasing picture order
count).
Example
An H.264 decoder stores six short term reference pictures with picture order counts,123,125,
126,128,129,130,The current picture is 127,All six short term reference pictures are marked
as used for reference in list 0 and list 1,The pictures are indexed in the list 0 and list 1 short term
buffers as follows (Table 6.14).
Table 6.14 Short term buffer indices (B slice
prediction) (current picture order count is 127
Index List 0 List 1
0 126 128
1 125 129
2 123 130
3 128 126
4 129 125
5 130 123
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Table 6.15 Prediction options in B slice macroblocks
Partition Options
16 × 16 Direct,list 0,list1 or bi-predictive
16 × 8or8× 16 List 0,list 1 or bi-predictive (chosen separately for each partition)
8 × 8 Direct,list 0,list 1 or bi-predictive (chosen separately for each partition).
L0
Bipred
Direct L0
L1 Bipred
Figure 6.41 Examples of prediction modes in B slice macroblocks
The selected buffer index is sent as an Exp-Golomb codeword (see Section 6.4.13.1) and so
the most efficient choice of reference index (with the smallest codeword) is index 0 (i.e,the
previous coded picture in list 0 and the next coded picture in list 1).
6.5.1.2 Prediction Options
Macroblocks partitions in a B slice may be predicted in one of several ways,direct mode
(see Section 6.5.1.4),motion-compensated prediction from a list 0 reference picture,motion-
compensated prediction from a list 1 reference picture,or motion-compensated bi-predictive
prediction from list 0 and list 1 reference pictures (see Section 6.5.1.3),Different prediction
modes may be chosen for each partition (Table 6.15); if the 8 × 8 partition size is used,the
chosen mode for each 8 × 8 partition is applied to all sub-partitions within that partition.
Figure 6.41 shows two examples of valid prediction mode combinations,On the left,two
16 × 8 partitions use List 0 and Bi-predictive prediction respectively and on the right,four 8
× 8 partitions use Direct,List 0,List 1 and Bi-predictive prediction.
6.5.1.3 Bi-prediction
In Bi-predictive mode,a reference block (of the same size as the current partition or sub-
macroblock partition) is created from the list 0 and list 1 reference pictures,Two motion-
compensated reference areas are obtained from a list 0 and a list 1 picture respectively (and
hence two motion vectors are required) and each sample of the prediction block is calculated as
an average of the list 0 and list 1 prediction samples,Except when using Weighted Prediction
(see Section 6.5.2),the following equation is used:
pred(i,j) = (pred0(i,j) + pred1(i,j) + 1) >> 1
Pred0(i,j) and pred1(i,j) are prediction samples derived from the list 0 and list 1 reference
frames and pred(i,j) is a bi-predictive sample,After calculating each prediction sample,the
motion-compensated residual is formed by subtracting pred(i,j) from each sample of the
current macroblock as usual.
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Example
A macroblock is predicted in B Bi 16 × 16 mode (i.e,bi-prediction of the complete mac-
roblock),Figure 6.42 and Figure 6.43 show motion-compensated reference areas from list 0 and
list 1 references pictures respectively and Figure 6.44 shows the bi-prediction formed from these
two reference areas.
The list 0 and list 1 vectors in a bi-predictive macroblock or block are each predicted from
neighbouring motion vectors that have the same temporal direction,For example a vector for
the current macroblock pointing to a past frame is predicted from other neighbouring vectors
that also point to past frames.
6.5.1.4 Direct Prediction
No motion vector is transmitted for a B slice macroblock or macroblock partition encoded
in Direct mode,Instead,the decoder calculates list 0 and list 1 vectors based on previously-
coded vectors and uses these to carry out bi-predictive motion compensation of the decoded
residual samples,A skipped macroblock in a B slice is reconstructed at the decoder using
Direct prediction.
A flag in the slice header indicates whether a spatial or temporal method will be used to
calculate the vectors for direct mode macroblocks or partitions.
In spatial direct mode,list 0 and list 1 predicted vectors are calculated as follows.
Predicted list 0 and list 1 vectors are calculated using the process described in section 6.4.5.3.
If the co-located MB or partition in the first list 1 reference picture has a motion vector that
is less than ±
1
/
2
luma samples in magnitude (and in some other cases),one or both of the
predicted vectors are set to zero; otherwise the predicted list 0 and list 1 vectors are used to
carry out bi-predictive motion compensation,In temporal direct mode,the decoder carries out
the following steps:
1,Find the list 0 reference picture for the co-located MB or partition in the list 1 picture,This
list 0 reference becomes the list 0 reference of the current MB or partition.
2,Find the list 0 vector,MV,for the co-located MB or partition in the list 1 picture.
3,Scale vector MV based on the picture order count ‘distance’ between the current and list 1
pictures,this is the new list 1 vector MV1.
4,Scale vector MV based on the picture order count distance between the current and list 0
pictures,this is the new list 0 vector MV0.
These modes are modified when,for example,the prediction reference macroblocks or
partitions are not available or are intra coded.
Example:
The list 1 reference for the current macroblock occurs two pictures after the current frame (Figure
6.45),The co-located MB in the list 1 reference has a vector MV(+2.5,+5) pointing to a list
0 reference picture that occurs three pictures before the current picture,The decoder calculates
MV1(?1,?2) and MV0(+1.5,+3) pointing to the list 1 and list 0 pictures respectively,These
vectors are derived from MV and have magnitudes proportional to the picture order count distance
to the list 0 and list 1 reference frames.
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Figure 6.42 Reference area (list 0 picture) Figure 6.43 Reference area (list 1 picture)
Figure 6.44 Prediction (non-weighted)
6.5.2 Weighted Prediction
Weighted prediction is a method of modifying (scaling) the samples of motion-compensated
prediction data inaPorBslice macroblock,There are three types of weighted prediction in
H.264:
1,P slice macroblock,‘explicit’ weighted prediction;
2,B slice macroblock,‘explicit’ weighted prediction;
3,B slice macroblock,‘implicit’ weighted prediction.
Each prediction sample pred0(i,j) or pred1(i,j) is scaled by a weighting factor w
0
or w
1
prior to motion-compensated prediction,In the ‘explicit’ types,the weighting factor(s) are
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212
MV(2.5,5)
MV1(-1,- 2)
(a) MV from list 1 (b) Calculated MV0 and MV1
MV0(1.5,3)
list 1 reference
list 0 reference
list 1 reference
list 0 reference
current
Figure 6.45 Temporal direct motion vector example
determined by the encoder and transmitted in the slice header,If ‘implicit’ prediction is used,
w
0
and w
1
are calculated based on the relative temporal positions of the list 0 and list 1
reference pictures,A larger weighting factor is applied if the reference picture is temporally
close to the current picture and a smaller factor is applied if the reference picture is temporally
further away from the current picture.
One application of weighted prediction is to allow explicit or implicit control of the
relative contributions of reference picture to the motion-compensated prediction process,For
example,weighted prediction may be effective in coding of ‘fade’ transitions (where one scene
fades into another).
6.5.3 Interlaced Video
Efficient coding of interlaced video requires tools that are optimised for compression of field
macroblocks,If field coding is supported,the type of picture (frame or field) is signalled in
the header of each slice,In macroblock-adaptive frame/field (MB-AFF) coding mode,the
choice of field or frame coding may be specified at the macroblock level,In this mode,the
current slice is processed in units of 16 luminance samples wide and 32 luminance samples
high,each of which is coded as a ‘macroblock pair’ (Figure 6.46),The encoder can choose
to encode each MB pair as (a) two frame macroblocks or (b) two field macroblocks and may
select the optimum coding mode for each region of the picture.
Coding a slice or MB pair in field mode requires modifications to a number of the
encoding and decoding steps described in Section 6.4,For example,each coded field is treated
as a separate reference picture for the purposes of P and B slice prediction,the prediction of
coding modes in intra MBs and motion vectors in inter MBs require to be modified depending
on whether adjacent MBs are coded in frame or field mode and the reordering scan shown in
Figure 6.47 replaces the zig-zag scan of Figure 6.39.
6.5.4 Context-based Adaptive Binary Arithmetic Coding (CABAC)
When the picture parameter set flag entropy coding mode is set to 1,an arithmetic coding
system is used to encode and decode H.264 syntax elements,Context-based Adaptive Binary
THE MAIN PROFILE
213
.
.
.
.
.
.
MB pair MB pair
32
16
32
16
(a) Frame mode (b) Field mode
Figure 6.46 Macroblock-adaptive frame/field coding
start
end
Figure 6.47 Reordering scan for 4 × 4 luma blocks (field mode)
Arithmetic Coding (CABAC) [7],achieves good compression performance through (a) se-
lecting probability models for each syntax element according to the element’s context,(b)
adapting probability estimates based on local statistics and (c) using arithmetic coding rather
than variable-length coding,Coding a data symbol involves the following stages:
1,Binarisation,CABAC uses Binary Arithmetic Coding which means that only binary de-
cisions (1 or 0) are encoded,A non-binary-valued symbol (e.g,a transform coefficient or
motion vector,any symbol with more than 2 possible values) is ‘binarised’ or converted
into a binary code prior to arithmetic coding,This process is similar to the process of
converting a data symbol into a variable length code (Section 6.4.13) but the binary code
is further encoded (by the arithmetic coder) prior to transmission.
Stages 2,3 and 4 are repeated for each bit (or ‘bin’) of the binarised symbol:
2,Context model selection,A ‘context model’ is a probability model for one or more bins
of the binarised symbol and is chosen from a selection of available models depending on
the statistics of recently-coded data symbols,The context model stores the probability of
each bin being ‘1’ or ‘0’.
H.264/MPEG4 PART 10
214
3,Arithmetic encoding,An arithmetic coder encodes each bin according to the selected
probability model (see section 3.5.3),Note that there are just two sub-ranges for each bin
(corresponding to ‘0’ and ‘1’).
4,Probability update,The selected context model is updated based on the actual coded value
(e.g,if the bin value was ‘1’,the frequency count of ‘1’s is increased).
The Coding Process
We will illustrate the coding process for one example,mvd
x
(motion vector difference
in the x-direction,coded for each partition or sub-macroblock partition in an inter
macroblock).
1,Binarise the value mvd
x
···mvd
x
is mapped to the following table of uniquely-decodeable
codewords for |mvd
x
| < 9 (larger values of mvd
x
are binarised using an Exp-Golomb
codeword).
|mvd
x
| Binarisation (s=sign)
00
1 10s
2 110s
3 1110s
4 11110s
5 111110s
6 1111110s
7 11111110s
8 111111110s
The first bit of the binarised codeword is bin 1,the second bit is bin 2 and so on.
2,Choose a context model for each bin,One of three models is selected for bin 1 (Table
6.16),based on the L1 norm of two previously-coded mvd
x
values,e
k
:
e
k
=|mvd
xA
|+|mvd
xB
| where A and B are the blocks immediately to the left
and above the current block.
If e
k
is small,then there is a high probability that the current MVD will have a small
magnitude and,conversely,if e
k
is large then it is more likely that the current MVD will
have a large magnitude,A probability table (context model) is selected accordingly,The
remaining bins are coded using one of four further context models (Table 6.17).
Table 6.16 context models for bin 1
e
k
Context model for bin 1
0 ≤ e
k
< 3 Model 0
3 ≤ e
k
< 33 Model 1
33 ≤ e
k
Model 2
THE MAIN PROFILE
215
Table 6.17 Context models
Bin Context model
1 0,1 or 2 depending on e
k
23
34
45
5 and higher 6
66
3,Encode each bin,The selected context model supplies two probability estimates,the prob-
ability that the bin contains ‘1’ and the probability that the bin contains ‘0’,that determine
the two sub-ranges used by the arithmetic coder to encode the bin.
4,Update the context models,For example,if context model 2 is selected for bin 1 and the
value of bin 1 is ‘0’,the frequency count of ‘0’s is incremented so that the next time this
model is selected,the probability of an ‘0’ will be slightly higher,When the total number
of occurrences of a model exceeds a threshold value,the frequency counts for ‘0’ and ‘1’
will be scaled down,which in effect gives higher priority to recent observations.
The Context Models
Context models and binarisation schemes for each syntax element are defined in the standard.
There are nearly 400 separate context models for the various syntax elements,At the beginning
of each coded slice,the context models are initialised depending on the initial value of the
Quantisation Parameter QP (since this has a significant effect on the probability of occurrence
of the various data symbols),In addition,for coded P,SP and B slices,the encoder may choose
one of 3 sets of context model initialisation parameters at the beginning of each slice,to allow
adaptation to different types of video content [8].
The Arithmetic Coding Engine
The arithmetic decoder is described in some detail in the Standard and has three distinct
properties:
1,Probability estimation is performed by a transition process between 64 separate probability
states for ‘Least Probable Symbol’ (LPS,the least probable of the two binary decisions ‘0’
or ‘1’).
2,The range R representing the current state of the arithmetic coder (see Chapter 3) is
quantised to a small range of pre-set values before calculating the new range at each step,
making it possible to calculate the new range using a look-up table (i.e,multiplication-free).
3,A simplified encoding and decoding process (in which the context modelling part is by-
passed) is defined for data symbols with a near-uniform probability distribution.
The definition of the decoding process is designed to facilitate low-complexity implemen-
tations of arithmetic encoding and decoding,Overall,CABAC provides improved coding
efficiency compared with VLC (see Chapter 7 for performance examples).
H.264/MPEG4 PART 10
216
6.6 THE EXTENDED PROFILE
The Extended Profile (known as the X Profile in earlier versions of the draft H.264 stan-
dard) may be particularly useful for applications such as video streaming,It includes all of
the features of the Baseline Profile (i.e,it is a superset of the Baseline Profile,unlike Main
Profile),together with B-slices (Section 6.5.1),Weighted Prediction (Section 6.5.2) and ad-
ditional features to support efficient streaming over networks such as the Internet,SP and
SI slices facilitate switching between different coded streams and ‘VCR-like’ functionality
and Data Partitioned slices can provide improved performance in error-prone transmission
environments.
6.6.1 SP and SI slices
SP and SI slices are specially-coded slices that enable (among other things) efficient switching
between video streams and efficient random access for video decoders [10],A common
requirement in a streaming application is for a video decoder to switch between one of several
encoded streams,For example,the same video material is coded at multiple bitrates for
transmission across the Internet and a decoder attempts to decode the highest-bitrate stream
it can receive but may require switching automatically to a lower-bitrate stream if the data
throughput drops.
Example
A decoder is decoding Stream A and wants to switch to decoding Stream B (Figure 6.48),For
simplicity,assume that each frame is encoded as a single slice and predicted from one reference
(the previous decoded frame),After decoding P-slices A
0
and A
1
,the decoder wants to switch to
Stream B and decode B
2
,B
3
and so on,If all the slices in Stream B are coded as P-slices,then
the decoder will not have the correct decoded reference frame(s) required to reconstruct B
2
(since
B
2
is predicted from the decoded picture B
1
which does not exist in stream A),One solution is
to code frame B
2
as an I-slice,Because it is coded without prediction from any other frame,it
can be decoded independently of preceding frames in stream B and the decoder can therefore
switch between stream A and stream B as shown in Figure 6.49,Switching can be accommodated
by inserting an I-slice at regular intervals in the coded sequence to create ‘switching points’.
However,an I-slice is likely to contain much more coded data than a P-slice and the result is an
undesirable peak in the coded bitrate at each switching point.
SP-slices are designed to support switching between similar coded sequences (for example,
the same source sequence encoded at various bitrates) without the increased bitrate penalty
of I-slices (Figure 6.49),At the switching point (frame 2 in each sequence),there are three
SP-slices,each coded using motion compensated prediction (making them more efficient
than I-slices),SP-slice A
2
can be decoded using reference picture A
1
and SP-slice B
2
can
be decoded using reference picture B
1
,The key to the switching process is SP-slice AB
2
(known as a switching SP-slice),created in such a way that it can be decoded using motion-
compensated reference picture A
1
,to produce decoded frame B
2
(i.e,the decoder output frame
B
2
is identical whether decoding B
1
followed by B
2
or A
1
followed by AB
2
),An extra SP-slice
is required at each switching point (and in fact another SP-slice,BA
2
,would be required to
switch in the other direction) but this is likely to be more efficient than encoding frames A
2
THE EXTENDED PROFILE
217
A0 A1 A2 A3 A4
Stream A
B0 B1 B2 B3 B4
Stream B
P slices
P slices P slicesI slice
switch point
Figure 6.48 Switching streams using I-slices
A0 A1 A2 A3 A4
AB
2
B0 B1 B2 B3 B4
P slices P slicesSP slices
Stream A
Stream B
Figure 6.49 Switching streams using SP-slices
H.264/MPEG4 PART 10
218
Table 6.18 Switching from stream A to stream B using
SP-slices
Input to decoder MC reference Output of decoder
P-slice A
0
[earlier frame] Decoded frame A
0
P-slice A
1
Decoded frame A
0
Decoded frame A
1
SP-slice AB
2
Decoded frame A
1
Decoded frame B
2
P-slice B
3
Decoded frame B
2
Decoded frame B
3
....,...,...
Frame A
2
Frame A
1
MC T
T Q VLE
+
-
SP A
2
'
Figure 6.50 Encoding SP-slice A
2
(simplified)
Frame B
2
Frame B
1
MC T
T Q VLE
+
-
SP B
2
'
Figure 6.51 Encoding SP-slice B
2
(simplified)
SP A2
Frame A1'
Frame A2'
MC T
Q
-1
VLD
+
T
-1
+
Q
Figure 6.52 Decoding SP-slice A
2
(simplified)
and B
2
as I-slices,Table 6.18 lists the steps involved when a decoder switches from stream A
to stream B.
Figure 6.50 shows a simplified diagram of the encoding process for SP-slice A
2
,produced
by subtracting a motion-compensated version of A
prime
1
(decoded frame A
1
) from frame A
2
and
then coding the residual,Unlike a ‘normal’ P-slice,the subtraction occurs in the transform
domain (after the block transform),SP-slice B
2
is encoded in the same way (Figure 6.51),A
decoder that has previously decoded frame A
1
can decode SP-slice A
2
as shown in Figure 6.52.
Note that these diagrams are simplified; in practice further quantisation and rescaling steps
are required to avoid mismatch between encoder and decoder and a more detailed treatment
of the process can be found in [11].
THE EXTENDED PROFILE
219
Frame B2
Frame A1' MC T
T
+
-
SP AB2Q VLE
Figure 6.53 Encoding SP-slice AB
2
(simplified)
SP AB2
Frame A1'
Frame B2'
MC T
Q
-1
VLD
+
T
-1
+
Figure 6.54 Decoding SP-slice AB
2
(simplified)
SP-slice AB
2
is encoded as shown in Figure 6.53 (simplified),Frame B
2
(the frame we
are switching to) is transformed and a motion-compensated prediction is formed from
A
prime
1
(the decoded frame from which we are switching),The ‘MC’ block in this dia-
gram attempts to find the best match for each MB of frame B
2
using decoded pic-
ture A
1
as a reference,The motion-compensated prediction is transformed,then sub-
tracted from the transformed B
2
(i.e,in the case of a switching SP slice,subtraction takes
place in the transform domain),The residual (after subtraction) is quantized,encoded and
transmitted.
A decoder that has previously decoded A
prime
1
can decode SP-slice AB
2
to produce B
prime
2
(Figure 6.54),A
prime
1
is motion compensated (using the motion vector data encoded as part of
AB
2
),transformed and added to the decoded and scaled (inverse quantized) residual,then the
result is inverse transformed to produce B
prime
2
.
If streams A and B are versions of the same original sequence coded at different bi-
trates,the motion-compensated prediction of B
2
from A
prime
1
(SP-slice AB
2
) should be quite
efficient,Results show that using SP-slices to switch between different versions of the
same sequence is significantly more efficient than inserting I-slices at switching points.
Another application of SP-slices is to provide random access and ‘VCR-like’ function-
alities,For example,an SP-slice and a switching SP-slice are placed at the position of
frame 10 (Figure 6.55),A decoder can fast-forward from A
0
directly to A
10
by (a) de-
coding A
0
,then (b) decoding switching SP-slice A
0?10
to produce A
10
by prediction from
A
0
.
A further type of switching slice,the SI-slice,is supported by the Extended Profile,This
is used in a similar way to a switching SP-slice,except that the prediction is formed using
the 4 × 4 Intra Prediction modes (see Section 6.4.6.1) from previously-decoded samples
of the reconstructed frame,This slice mode may be used (for example) to switch from one
sequence to a completely different sequence (in which case it will not be efficient to use motion
compensated prediction because there is no correlation between the two sequences).
H.264/MPEG4 PART 10
220
A
8
A
9
A
10
A
11
P slices SP slices
A
0
A
0
-A
10
....
Figure 6.55 Fast-forward using SP-slices
Sequence
parameter set
SEI
Picture
parameter set
I slice P slice P slice
Picture
delimiter
.....
Figure 6.56 Example sequence of RBSP elements
6.6.2 Data Partitioned Slices
The coded data that makes up a slice is placed in three separate Data Partitions (A,B and C),
each containing a subset of the coded slice,Partition A contains the slice header and header
data for each macroblock in the slice,Partition B contains coded residual data for Intra and SI
slice macroblocks and Partition C contains coded residual data for inter coded macroblocks
(forward and bi-directional),Each Partition can be placed in a separate NAL unit and may
therefore be transported separately.
If Partition A data is lost,it is likely to be difficult or impossible to reconstruct the slice,
hence Partition A is highly sensitive to transmission errors,Partitions B and C can (with careful
choice of coding parameters) be made to be independently decodeable and so a decoder may
(for example) decode A and B only,or A and C only,lending flexibility in an error-prone
environment.
6.7 TRANSPORT OF H.264
A coded H.264 video sequence consists of a series of NAL units,each containing an RBSP
(Table 6.19),Coded slices (including Data Partitioned slices and IDR slices) and the End of
Sequence RBSP are defined as VCL NAL units whilst all other elements are just NAL units.
An example of a typical sequence of RBSP units is shown in Figure 6.56,Each of these
units is transmitted in a separate NAL unit,The header of the NAL unit (one byte) signals the
type of RBSP unit and the RBSP data makes up the rest of the NAL unit.
TRANSPORT OF H.264
221
Table 6.19
RBSP type Description
Parameter Set ‘Global’ parameters for a sequence such as picture dimensions,video format,
macroblock allocation map (see Section 6.4.3).
Supplemental Side messages that are not essential for correct decoding of the video sequence.
Enhancement
Information
Picture Delimiter Boundary between video pictures (optional),If not present,the decoder infers
the boundary based on the frame number contained within each slice header.
Coded slice Header and data for a slice; this RBSP unit contains actual coded video data.
Data Partition Three units containing Data Partitioned slice layer data (useful for error resilient
A,B or C decoding),Partition A contains header data for all MBs in the slice,Partition
B contains intra coded data and partition C contains inter coded data.
End of sequence Indicates that the next picture (in decoding order) is an IDR picture
(see Section 6.4.2),(Not essential for correct decoding of the sequence).
End of stream Indicates that there are no further pictures in the bitstream,(Not essential for
correct decoding of the sequence).
Filler data Contains ‘dummy’ data (may be used to increase the number of bytes in the
sequence),(Not essential for correct decoding of the sequence).
Parameter sets
H.264 introduces the concept of parameter sets,each containing information that can be
applied to a large number of coded pictures,A sequence parameter set contains parameters
to be applied to a complete video sequence (a set of consecutive coded pictures),Parameters
in the sequence parameter set include an identifier (seq parameter set id),limits on frame
numbers and picture order count,the number of reference frames that may be used in decoding
(including short and long term reference frames),the decoded picture width and height and
the choice of progressive or interlaced (frame or frame / field) coding,A picture parameter set
contains parameters which are applied to one or more decoded pictures within a sequence,Each
picture parameter set includes (among other parameters) an identifier (pic parameter set id),
a selected seq parameter set id,a flag to select VLC or CABAC entropy coding,the number
of slice groups in use (and a definition of the type of slice group map),the number of reference
pictures in list 0 and list 1 that may be used for prediction,initial quantizer parameters and a
flag indicating whether the default deblocking filter parameters are to be modified.
Typically,one or more sequence parameter set(s) and picture parameter set(s) are sent to
the decoder prior to decoding of slice headers and slice data,A coded slice header refers to a
pic parameter set id and this ‘activates’ that particular picture parameter set,The ‘activated’
picture parameter set then remains active until a different picture parameter set is activated by
being referred to in another slice header,In a similar way,a picture parameter set refers to a
seq parameter set id which ‘activates’ that sequence parameter set,The activated set remains
in force (i.e,its parameters are applied to all consecutive coded pictures) until a different
sequence parameter set is activated.
The parameter set mechanism enables an encoder to signal important,infrequently-
changing sequence and picture parameters separately from the coded slices themselves,The
parameter sets may be sent well ahead of the slices that refer to them,or by another transport
H.264/MPEG4 PART 10
222
mechanism (e.g,over a reliable transmission channel or even ‘hard wired’ in a decoder im-
plementation),Each coded slice may ‘call up’ the relevant picture and sequence parameters
using a single VLC (pic parameter set id) in the slice header.
Transmission and Storage of NAL units
The method of transmitting NAL units is not specified in the standard but some distinction is
made between transmission over packet-based transport mechanisms (e.g,packet networks)
and transmission in a continuous data stream (e.g,circuit-switched channels),In a packet-
based network,each NAL unit may be carried in a separate packet and should be organised
into the correct sequence prior to decoding,In a circuit-switched transport environment,a start
code prefix (a uniquely-identifiable delimiter code) is placed before each NAL unit to make
a byte stream prior to transmission,This enables a decoder to search the stream to find a start
code prefix identifying the start of a NAL unit.
In a typical application,coded video is required to be transmitted or stored together
with associated audio track(s) and side information,It is possible to use a range of transport
mechanisms to achieve this,such as the Real Time Protocol and User Datagram Protocol
(RTP/UDP),An Amendment to MPEG-2 Systems specifies a mechanism for transporting
H.264 video (see Chapter 7) and ITU-T Recommendation H.241 defines procedures for using
H.264 in conjunction with H.32× multimedia terminals,Many applications require stor-
age of multiplexed video,audio and side information (e.g,streaming media playback,DVD
playback),A forthcoming Amendment to MPEG-4 Systems (Part 1) specifies how H.264
coded data and associated media streams can be stored in the ISO Media File Format (see
Chapter 7).
6.8 CONCLUSIONS
H.264 provides mechanisms for coding video that are optimised for compression efficiency
and aim to meet the needs of practical multimedia communication applications,The range
of available coding tools is more restricted than MPEG-4 Visual (due to the narrower focus
of H.264) but there are still many possible choices of coding parameters and strategies,The
success of a practical implementation of H.264 (or MPEG-4 Visual) depends on careful design
of the CODEC and effective choices of coding parameters,The next chapter examines design
issues for each of the main functional blocks of a video CODEC and compares the performance
of MPEG-4 Visual and H.264.
6.9 REFERENCES
1,ISO/IEC 14496-10 and ITU-T Rec,H.264,Advanced Video Coding,2003.
2,T,Wiegand,G,Sullivan,G,Bjontegaard and A,Luthra,Overview of the H.264 / AVC Video Coding
Standard,IEEE Transactions on Circuits and Systems for Video Technology,to be published in
2003.
3,A,Hallapuro,M,Karczewicz and H,Malvar,Low Complexity Transform and Quantization – Part
I,Basic Implementation,JVT document JVT-B038,Geneva,February 2002.
4,H.264 Reference Software Version JM6.1d,http://bs.hhi.de/～suehring/tml/,March 2003.
REFERENCES
223
5,S,W,Golomb,Run-length encoding,IEEE Trans,on Inf,Theory,IT-12,pp,399–401,1966.
6,G,Bj?ntegaard and K,Lillevold,Context-adaptive VLC coding of coefficients,JVT document
JVT-C028,Fairfax,May 2002.
7,D,Marpe,G,Bl¨attermann and T,Wiegand,Adaptive codes for H.26L,ITU-T SG16/6 document
VCEG-L13,Eibsee,Germany,January 2001.
8,H,Schwarz,D,Marpe and T,Wiegand,CABAC and slices,JVT document JVT-D020,Klagenfurt,
Austria,July 2002
9,D,Marpe,H,Schwarz and T,Wiegand,Context-Based Adaptive Binary Arithmetic Coding in the
H.264 / AVC Video Compression Standard,IEEE Transactions on Circuits and Systems for Video
Technology,to be published in 2003.
10,M,Karczewicz and R,Kurceren,A proposal for SP-frames,ITU-T SG16/6 document VCEG-L27,
Eibsee,Germany,January 2001.
11,M,Karczewicz and R,Kurceren,The SP and SI Frames Design for H.264/AVC,IEEE Transactions
on Circuits and Systems for Video Technology,to be published in 2003.
7
Design and Performance
7.1 INTRODUCTION
The MPEG-4 Visual and H.264 standards include a range of coding tools and processes and
there is significant scope for differences in the way standards-compliant encoders and decoders
are developed,Achieving good performance in a practical implementation requires careful
design and careful choice of coding parameters.
In this chapter we give an overview of practical issues related to the design of software or
hardware implementations of the coding standards,The design of each of the main functional
blocks of a CODEC (such as motion estimation,transform and entropy coding) can have a
significant impact on computational efficiency and compression performance,We discuss the
interfaces to a video encoder and decoder and the value of video pre-processing to reduce
input noise and post-processing to minimise coding artefacts.
Comparing the performance of video coding algorithms is a difficult task,not least be-
cause decoded video quality is dependent on the input video material and is inherently subjec-
tive,We compare the subjective and objective (PSNR) coding performance of MPEG-4 Visual
and H.264 reference model encoders using selected test video sequences,Compression per-
formance often comes at a computational cost and we discuss the computational performance
requirements of the two standards.
The compressed video data produced by an encoder is typically stored or transmitted
across a network,In many practical applications,it is necessary to control the bitrate of the
encoded data stream in order to match the available bitrate of a delivery mechanism,We
discuss practical bitrate control and network transport issues.
7.2 FUNCTIONAL DESIGN
Figures 3.51 and 3.52 show typical structures for a motion-compensated transform based video
encoder and decoder,A practical MPEG-4 Visual or H.264 CODEC is required to implement
some or all of the functions shown in these figures (even if the CODEC structure is different
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
DESIGN AND PERFORMANCE
226
from that shown),Conforming to the MPEG-4/H.264 standards,whilst maintaining good com-
pression and computational performance,requires careful design of the CODEC functional
blocks,The goal of a functional block design is to achieve good rate/distortion performance
(see Section 7.4.3) whilst keeping computational overheads to an acceptable level.
Functions such as motion estimation,transforms and entropy coding can be highly com-
putationally intensive,Many practical platforms for video compression are power-limited or
computation-limited and so it is important to design the functional blocks with these limita-
tions in mind,In this section we discuss practical approaches and tradeoffs in the design of
the main functional blocks of a video CODEC.
7.2.1 Segmentation
The object-based functionalities of MPEG-4 (Core,Main and related profiles) require a video
scene to be segmented into objects,Segmentation methods usually fall into three categories:
1,Manual segmentation,this requires a human operator to identify manually the borders of
each object in each source video frame,a very time-consuming process that is obviously
only suitable for ‘offline’ video content (video data captured in advance of coding and
transmission),This approach may be appropriate,for example,for segmentation of an
important visual object that may be viewed by many users and/or re-used many times in
different composed video sequences.
2,Semi-automatic segmentation,a human operator identifies objects and perhaps object
boundaries in one frame; a segmentation algorithm refines the object boundaries (if neces-
sary) and tracks the video objects through successive frames of the sequence.
3,Fully-automatic segmentation,an algorithm attempts to carry out a complete segmentation
of a visual scene without any user input,based on (for example) spatial characteristics such
as edges and temporal characteristics such as object motion between frames.
Semi-automatic segmentation [1,2] has the potential to give better results than fully-automatic
segmentation but still requires user input,Many algorithms have been proposed for automatic
segmentation [3,4],In general,better segmentation performance can be achieved at the expense
of greater computational complexity,Some of the more sophisticated segmentation algorithms
require significantly more computation than the video encoding process itself,Reasonably
accurate segmentation performance can be achieved by spatio-temporal approaches (e.g,[3])
in which a coarse approximate segmentation is formed based on spatial information and is
then refined as objects move,Excellent segmentation results can be obtained in controlled
environments (for example,if a TV presenter stands in front of a blue background) but the
results for practical scenarios are less robust.
The output of a segmentation process is a sequence of mask frames for each VO,each
frame containing a binary mask for one VOP (e.g,Figure 5.30) that determines the processing
of MBs and blocks and is coded as a BAB in each boundary MB position.
7.2.2 Motion Estimation
Motionestimationis the process of selecting an offset to a suitable reference area in a previously
coded frame (see Chapter 3),Motion estimation is carried out in a video encoder (not in a
FUNCTIONAL DESIGN
227
32×32 block in current frame
Figure 7.1 Current block (white border)
decoder) and has a significant effect on CODEC performance,A good choice of prediction
reference minimises the energy in the motion-compensated residual which in turn maximises
compression performance,However,finding the ‘best’ offset can be a very computationally-
intensive procedure.
The offset between the current region or block and the reference area (motion vector)
may be constrained by the semantics of the coding standard,Typically,the reference area is
constrained to lie within a rectangle centred upon the position of the current block or region.
Figure 7.1 shows a 32 × 32-sample block (outlined in white) that is to be motion-compensated.
Figure 7.2 shows the same block position in the previous frame (outlined in white) and a larger
square extending ± 7 samples around the block position in each direction,The motion vector
may ‘point’ to any reference area within the larger square (the search area),The goal of a
practical motion estimation algorithm is to find a vector that minimises the residual energy
after motion compensation,whilst keeping the computational complexity within acceptable
limits,The choice of algorithm depends on the platform (e.g,software or hardware) and on
whether motion estimation is block-based or region-based.
7.2.2.1 Block Based Motion Estimation
Energy Measures
Motion compensation aims to minimise the energy of the residual transform coefficients after
quantisation,The energy in a transformed block depends on the energy in the residual block
(prior to the transform),Motion estimation therefore aims to find a ‘match’ to the current
block or region that minimises the energy in the motion compensated residual (the difference
between the current block and the reference area),This usually involves evaluating the residual
energy at a number of different offsets,The choice of measure for ‘energy’ affects compu-
tational complexity and the accuracy of the motion estimation process,Equation 7.1,equa-
tion 7.2 and equation 7.3 describe three energy measures,MSE,MAE and SAE,The motion
DESIGN AND PERFORMANCE
228
Previous (reference) frame
Figure 7.2 Search region in previous (reference) frame
compensation block size is N × N samples; C
ij
and R
ij
are current and reference area samples
respectively.
1,Mean Squared Error,MSE =
1
N
2
N?1
summationdisplay
i=0
N?1
summationdisplay
j=0
(C
ij
R
ij
)
2
(7.1)
2,Mean Absolute Error,MAE =
1
N
2
N?1
summationdisplay
i=0
N?1
summationdisplay
j=0
|C
ij
R
ij
| (7.2)
3,Sum of Absolute Errors,SAE =
N?1
summationdisplay
i=0
N?1
summationdisplay
j=0
|C
ij
R
ij
| (7.3)
Example
Evaluating MSE for every possible offset in the search region of Figure 7.2 gives a ‘map’ of MSE
(Figure 7.3),This graph has a minimum at (+2,0) which means that the best match is obtained by
selecting a 32 × 32 sample reference region at an offset of 2 to the right of the block position in
the current frame,MAE and SAE (sometimes referred to as SAD,Sum of Absolute Differences)
are easier to calculate than MSE; their ‘maps’ are shown in Figure 7.4 and Figure 7.5,Whilst
the gradient of the map is different from the MSE case,both these measures have a minimum at
location (+2,0).
SAE is probably the most widely-used measure of residual energy for reasons of computa-
tional simplicity,The H.264 reference model software [5] uses SA(T)D,the sum of absolute
differences of the transformed residual data,as its prediction energy measure (for both Intra
and Inter prediction),Transforming the residual at each search location increases computation
but improves the accuracy of the energy measure,A simple multiply-free transform is used
and so the extra computational cost is not excessive.
The results of the above example indicate that the best choice of motion vector is
(+2,0),The minimum of the MSE or SAE map indicates the offset that produces a mini-
mal residual energy and this is likely to produce the smallest energy of quantised transform
-10
-5
0
5
10
-10
-5
0
5
10
0
1000
2000
3000
4000
5000
6000
MSE map
Figure 7.3 MSE map
-10
-5
0
5
10
-10
-5
0
5
10
0
10
20
30
40
50
60
MAE map
Figure 7.4 MAE map
-10
-5
0
5
10
-10
-5
0
5
10
0
1
2
3
4
5
6
x 10
4
SAE map
Figure 7.5 SAE map
DESIGN AND PERFORMANCE
230
Centre (0,0)
position
Initial search
location
Raster search order
Search ‘window’
Figure 7.6 Full search (raster scan)
coefficients,The motion vector itself must be transmitted to the decoder,however,and as
larger vectors are coded using more bits than small-magnitude vectors (see Chapter 3) it
may be useful to ‘bias’ the choice of vector towards (0,0),This can be achieved simply by
subtracting a constant from the MSE or SAE at position (0,0),A more sophisticated approach
is to treat the choice of vector as a constrained optimisation problem [6],The H.264 reference
model encoder [5] adds a cost parameter for each coded element (MVD,prediction mode,etc)
before choosing the smallest total cost of motion prediction.
It may not always be necessary to calculate SAE (or MAE or MSE) completely at each off-
set location,A popular shortcut is to terminate the calculation early once the previous minimum
SAE has been exceeded,For example,after calculating each inner sum of equation (7.3)
(
summationtext
N?1
j=0
|C
ij
R
ij
|),the encoder compares the total SAE with the previous minimum,If the
total so far exceeds the previous minimum,the calculation is terminated (since there is no point
in finishing the calculation if the outcome is already higher than the previous minimum SAE).
Full Search
Full Search motion estimation involves evaluating equation 7.3 (SAE) at each point in the
search window (±S samples about position (0,0),the position of the current macroblock).
Full search estimation is guaranteed to find the minimum SAE (or MAE or MSE) in the
search window but it is computationally intensive since the energy measure (e.g,equation
(7.3)) must be calculated at every one of (2S + 1)
2
locations.
Figure 7.6 shows an example of a Full Search strategy,The first search location is
at the top-left of the window (position [?S,?S]) and the search proceeds in raster order
FUNCTIONAL DESIGN
231
Initial search
location
Spiral
search
order
Search ‘window’
Figure 7.7 Full search (spiral scan)
until all positions have been evaluated,In a typical video sequence,most motion vectors are
concentrated around (0,0) and so it is likely that a minimum will be found in this region.
The computation of the full search algorithm can be simplified by starting the search at (0,0)
and proceeding to test points in a spiral pattern around this location (Figure 7.7),If early
termination is used (see above),the SAE calculation is increasingly likely to be terminated
early (thereby saving computation) as the search pattern widens outwards.
‘Fast’ Search Algorithms
Even with the use of early termination,Full Search motion estimation is too computationally
intensive for many practical applications,In computation- or power-limited applications,so-
called ‘fast search’ algorithms are preferable,These algorithms operate by calculating the
energy measure (e.g,SAE) at a subset of locations within the search window.
The popular Three Step Search (TSS,sometimes described as N-Step Search) is illustrated
in Figure 7.8,SAE is calculated at position (0,0) (the centre of the Figure) and at eight locations
±2
N?1
(for a search window of ±(2
N
1) samples),In the figure,S is 7 and the first nine
search locations are numbered ‘1’,The search location that gives the smallest SAE is chosen
as the new search centre and a further eight locations are searched,this time at half the previous
distance from the search centre (numbered ‘2’ in the figure),Once again,the ‘best’ location
is chosen as the new search origin and the algorithm is repeated until the search distance
cannot be subdivided further,The TSS is considerably simpler than Full Search (8N + 1
searches compared with (2
N+1
1)
2
searches for Full Search) but the TSS (and other fast
DESIGN AND PERFORMANCE
232
2
1 11
1 11
111
2
2 2
22
2
2
3
3
3 3 3
3
33
Figure 7.8 Three Step Search
-10
0
10
-8
-6
-4
-2
0
2
4
6
8
0
1
2
3
4
5
6
7
x10
4
SAE map
Figure 7.9 SAE map showing several local minima
search algorithms) do not usually perform as well as Full Search,The SAE map shown in
Figure 7.5 has a single minimum point and the TSS is likely to find this minimum correctly,but
the SAE map for a block containing complex detail and/or different moving components may
have several local minima (e.g,see Figure 7.9),Whilst the Full Search will always identify the
global minimum,a fast search algorithm may become ‘trapped’ in a local minimum,giving a
suboptimal result.
FUNCTIONAL DESIGN
233
0
1
23
1
1
1
1
2
2
3
Predicted vector
Figure 7.10 Nearest Neighbours Search
Many fast search algorithms have been proposed,such as Logarithmic Search,Hierar-
chical Search,Cross Search and One at a Time Search [7–9],In each case,the performance
of the algorithm can be evaluated by comparison with Full Search,Suitable comparison
criteria are compression performance (how effective is the algorithm at minimising the
motion-compensated residual?) and computational performance (how much computation is
saved compared with Full Search?),Other criteria may be helpful; for example,some ‘fast’
algorithms such as Hierarchical Search are better-suited to hardware implementation than
others.
Nearest Neighbours Search [10] is a fast motion estimation algorithm that has low com-
putational complexity but closely approaches the performance of Full Search within the frame-
work of MPEG-4 Simple Profile,In MPEG-4 Visual,each block or macroblock motion vector
is differentially encoded,A predicted vector is calculated (based on previously-coded vec-
tors from neighbouring blocks) and the difference (MVD) between the current vector and the
predicted vector is transmitted,NNS exploits this property by giving preference to vectors
that are close to the predicted vector (and hence minimise MVD),First,SAE is evaluated at
location (0,0),Then,the search origin is set to the predicted vector location and surrounding
points in a diamond shape are evaluated (labelled ‘1’ in Figure 7.10),The next step depends
on which of the points have the lowest SAE,If the (0,0) point or the centre of the diamond
have the lowest SAE,then the search terminates,If a point on the edge of the diamond has
the lowest SAE (the highlighted point in this example),that becomes the centre of a new
diamond-shaped search pattern and the search continues,In the figure,the search terminates
after the points marked ‘3’ are searched,The inherent bias towards the predicted vector gives
excellent compression performance (close to the performance achieved by full search) with
low computational complexity.
Sub-pixel Motion Estimation
Chapter 3 demonstrated that better motion compensation can be achieved by allowing the
offset into the reference frame (the motion vector) to take fractional values rather than just
integer values,For example,the woman’s head will not necessarily move by an integer number
of pixels from the previous frame (Figure 7.2) to the current frame (Figure 7.1),Increased
DESIGN AND PERFORMANCE
234
fractional accuracy (half-pixel vectors in MPEG-4 Simple Profile,quarter-pixel vectors in
Advanced Simple profile and H.264) can provide a better match and reduce the energy in
the motion-compensated residual,This gain is offset against the need to transmit fractional
motion vectors (which increases the number of bits required to represent motion vectors) and
the increased complexity of sub-pixel motion estimation and compensation.
Sub-pixel motion estimation requires the encoder to interpolate between integer sample
positions in the reference frame as discussed in Chapter 3,Interpolation is computationally
intensive,especially so for quarter-pixel interpolation because a high-order interpolation filter
is required for good compression performance (see Chapter 6),Calculating sub-pixel samples
for the entire search window is not usually necessary,Instead,it is sufficient to find the best
integer-pixel match (using Full Search or one of the fast search algorithms discussed above)
and then to search interpolated positions adjacent to this position,In the case of quarter-pixel
motion estimation,first the best integer match is found; then the best half-pixel position match
in the immediate neighbourhood is calculated; finally the best quarter-pixel match around this
half-pixel position is found.
7.2.2.2 Object Based Motion Estimation
Chapter 5 described the process of motion compensated prediction and reconstruction
(MC/MR) of boundary MBs in an MPEG-4 Core Profile VOP,During MC/MR,transparent
pixels in boundary and transparent MBs are padded prior to forming a motion compensated
prediction,In order to find the optimum prediction for each MB,motion estimation should be
carried out using the padded reference frame,Object-based motion estimation consists of the
following steps.
1,Pad transparent pixel positions in the reference VOP as described in Chapter 5.
2,Carry out block-based motion estimation to find the best match for the current MB in the
padded reference VOP,If the current MB is a boundary MB,the energy measure should
only be calculated for opaque pixel positions in the current MB.
Motion estimation for arbitrary-shaped VOs is more complex than for rectangular frames (or
slices/VOs),In [11] the computation and compression performance of a number of popular
motion estimation algorithms are compared for the rectangular and object-based cases,Meth-
ods of padding boundary MBs using graphics co-processor functions are described in [12]
and a hardware architecture for Motion Estimation,Motion Compensation and CAE shape
coding is presented in [13].
7.2.3 DCT/IDCT
The Discrete Cosine Transform is widely used in image and video compression algorithms
in order to decorrelate image or residual data prior to quantisation and compression (see
Chapter 3),The basic FDCT and IDCT equations (equations (3.4) and (3.5)),if implemented
directly,require a large number of multiplications and additions,It is possible to exploit the
structure of the transform matrix A in order to significantly reduce computational complexity
and this is one of the reasons for the popularity of the DCT.
FUNCTIONAL DESIGN
235
7.2.3.1 8 × 8 DCT
Direct evaluation of equation (3.4) for an 8 × 8 FDCT (where N = 8) requires 64 × 64 =
4096 multiplications and accumulations,From the matrix form (equation (3.1)) it is clear that
the 2D transform can be evaluated in two stages (i.e,calculate AX and then multiply by matrix
A
T
,or vice versa),The 1D FDCT is given by equation (7.4),where f
i
are the N input samples
and F
x
are the N output coefficients,Rearranging the 2D FDCT equation (equation (3.4))
shows that the 2D FDCT can be constructed from two 1D transforms (equation (7.5)),The
2D FDCT may be calculated by evaluating a 1D FDCT of each column of the input matrix
(the inner transform),then evaluating a 1D FDCT of each row of the result of the first set of
transforms (the outer transform),The 2D IDCT can be manipulated in a similar way (equation
(7.6)),Each eight-point 1D transform takes 64 multiply/accumulate operations,giving a total
of 64 × 8 × 2 = 1024 multiply/accumulate operations for an 8 × 8 FDCT or IDCT.
F
x
= C
x
N?1
summationtext
i=0
f
i
cos
(2i + 1)xπ
2N
(7.4)
Y
xy
= C
x
N?1
summationtext
i=0
bracketleftBigg
C
y
N?1
summationtext
j=0
X
ij
cos
(2 j + 1)yπ
2N
bracketrightBigg
cos
(2i + 1)xπ
2N
(7.5)
X
ij
=
N?1
summationtext
x=0
C
x
bracketleftBigg
N?1
summationtext
y=0
C
y
Y
xy
cos
(2 j + 1)yπ
2N
bracketrightBigg
cos
(2i + 1)xπ
2N
(7.6)
At first glance,calculating an eight-point 1-D FDCT (equation (7.4)) requires the evaluation of
eight different cosine factors (cos
(2i+1)xπ
2N
with eight values of i) for each of eight coefficient
indices (x = 0,..7),However,the symmetries of the cosine function make it possible to
combine many of these calculations into a reduced number of steps,For example,consider
the calculation of F
2
(from equation (7.4)):
F
2
=
1
2
bracketleftbigg
f
0
parenleftBig
π
8
parenrightBig
+ f
1
cos
parenleftbigg
3π
8
parenrightbigg
+ f
2
cos
parenleftbigg
5π
8
parenrightbigg
+ f
3
cos
parenleftbigg
7π
8
parenrightbigg
+ f
4
cos
parenleftbigg
9π
8
parenrightbigg
+ f
5
cos
parenleftbigg
11π
8
parenrightbigg
+ f
6
cos
parenleftbigg
13π
8
parenrightbigg
+ f
7
cos
parenleftbigg
15π
8
parenrightbiggbracketrightbigg
(7.7)
Evaluating equation (7.7) would seem to require eight multiplications and seven additions
(plus a scaling by a half),However,by making use of the symmetrical properties of the cosine
function this can be simplified to:
F
2
=
1
2
bracketleftbigg
( f
0
f
4
+ f
7
f
3
),cos
parenleftBig
π
8
parenrightBig
+ ( f
1
f
2
f
5
+ f
6
),cos
parenleftbigg
3π
8
parenrightbiggbracketrightbigg
(7.8)
In a similar way,F
6
may be simplified to:
F
6
=
1
2
bracketleftbigg
( f
0
f
4
+ f
7
f
3
),cos
parenleftbigg
3π
8
parenrightbigg
+ ( f
1
f
2
f
5
+ f
6
),cos
parenleftBig
π
8
parenrightBig
bracketrightbigg
(7.9)
The additions and subtractions are common to both coefficients and need only be carried out
once so that F
2
and F
6
can be calculated using a total of eight additions and four multiplica-
tions (plus a final scaling by a half),Extending this approach to the complete 8 × 8 FDCT
leads to a number of alternative ‘fast’ implementations such as the popular algorithm due to
DESIGN AND PERFORMANCE
236
-1
-1
-1
-1
-1
-1
-c4
c4
c4 -1
-1
c4
c4
c4
c4
-c4
c6
c6
c2
-c2
c7
c3
c3
c7
c1
-c1
-c5
c5
f0
f1
f2
f3
f4
f5
f6
f7
2F0
2F4
2F2
2F6
2F1
2F5
2F3
2F7
Figure 7.11 FDCT flowgraph
Chen,Smith and Fralick [14],The data flow through this 1D algorithm can be represented as
a ‘flowgraph’ (Figure 7.11),In this figure,a circle indicates addition of two inputs,a square
indicates multiplication by a constant and cX indicates the constant cos(Xπ/16),This algo-
rithm requires only 26 additions or subtractions and 20 multiplications (in comparison with
the 64 multiplications and 64 additions required to evaluate equation (7.4)).
Figure 7.11 is just one possible simplification of the 1D DCT algorithm,Many flowgraph-
type algorithms have been developed over the years,optimised for a range of implementation
requirements (e.g,minimal multiplications,minimal subtractions,etc.) Further computational
gains can be obtained by direct optimisation of the 2D DCT (usually at the expense of increased
implementation complexity).
Flowgraph algorithms are very popular for software CODECs where (in many cases)
the best performance is achieved by minimising the number of computationally-expensive
multiply operations,For a hardware implementation,regular data flow may be more important
than the number of operations and so a different approach may be required,Popular hardware
architectures for the FDCT / IDCT include those based on parallel multiplier arrays and
distributed arithmetic [15–18].
7.2.3.2 H.264 4 × 4 Transform
The integer IDCT approximations specified in the H.264 standard have been designed to be
suitable for fast,efficient software and hardware implementation,The original proposal for the
FUNCTIONAL DESIGN
237
Figure 7.12 8 × 8 block in boundary MB
forward and inverse transforms [19] describes alternative implementations using (i) a series of
shifts and additions (‘shift and add’),(ii) a flowgraph algorithm and (iii) matrix multiplications.
Some platforms (for example DSPs) are better-suited to ‘multiply-accumulate’ calculations
than to ‘shift and add’ operations and so the matrix implementation (described in C code
in [20]) may be more appropriate for these platforms.
7.2.3.3 Object Boundaries
In a Core or Main Profile MPEG-4 CODEC,residual coefficients in a boundary MB are coded
using the 8 × 8 DCT,Figure 7.12 shows one block from a boundary MB (with the transparent
pixels set to 0 and displayed here as black),The entire block (including the transparent pixels)
is transformed with an 8 × 8 DCT and quantised and the reconstructed block after rescaling
and inverse DCT is shown in Figure 7.13,Note that some of the formerly transparent pixels
are now nonzero due to quantisation distortion (e.g,the pixel marked with a white ‘cross’).
The decoder discards the transparent pixels (according to the BAB transparency map) and
retains the opaque pixels.
Using an 8 × 8 DCT and IDCT for an irregular-shaped region of opaque pixels is not
ideal because the transparent pixels contribute to the energy in the DCT coefficients and so
more data is coded than is absolutely necessary,Because the transparent pixel positions are
discarded by the decoder,the encoder may place any data at all in these positions prior to
the DCT,Various strategies have been proposed for filling (padding) the transparent positions
prior to applying the 8 × 8 DCT,for example,by padding with values selected to minimise
the energy in the DCT coefficients [21,22],but choosing the optimal padding values is a
computationally expensive process,A simple alternative is to pad the transparent positions in
an inter-coded MB with zeros (since the motion-compensated residual is usually close to zero
anyway) and to pad the transparent positions in an inter-coded MB with the value 2
N?1
,where
N is the number of bits per pixel (since this is mid-way between the minimum and maximum
pixel value),The Shape-Adaptive DCT (see Chapter 5) provides a more efficient solution for
transforming irregular-shaped blocks but is computationally intensive and is only available in
the Advanced Coding Efficiency Profile of MPEG-4 Visual.
DESIGN AND PERFORMANCE
238
Figure 7.13 8 × 8 block after FDCT,quant,rescale,IDCT
7.2.4 Wavelet Transform
The DWT was chosen for MPEG-4 still texture coding because it can out-perform block-
based transforms for still image coding (although the Intra prediction and transform in H.264
performs well for still images),A number of algorithms have been proposed for the efficient
coding and decoding of the DWT [23–25],One issue related to software and hardware imple-
mentations of the DWT is that it requires substantially more memory than block transforms,
since the transform operates on a complete image or a large section of an image (rather than
a relatively small block of samples).
7.2.5 Quantise/Rescale
Scalar quantisation and rescaling (Chapter 3) can be implemented by division and/or mul-
tiplication by constant parameters (controlled by a quantisation parameter or quantiser step
size),In general,multiplication is an expensive computation and some gains may be achieved
by integrating the quantisation and rescaling multiplications with the forward and inverse
transforms respectively,In H.264,the specification of the quantiser is combined with that of
the transform in order to facilitate this combination (see Chapter 6).
7.2.6 Entropy Coding
7.2.6.1 Variable-Length Encoding
In Chapter 3 we introduced the concept of entropy coding using variable-length codes (VLCs).
In MPEG-4 Visual and H.264,the VLC required to encode each data symbol is defined by the
standard,During encoding each data symbol is replaced by the appropriate VLC,determined
by (a) the context (e.g,whether the data symbol is a header value,transform coefficient,
FUNCTIONAL DESIGN
239
Table 7.1 Variable-length encoding example
Input VLC R (before output) R (after output)
Value,V Length,L Value Size Value Size Output
–– –0 –0 –
101 3 101 3 101 3 –
11100 5 11100101 8–011100101
100 3 100 3 100 3 –
101 3 101100 6 101100 6 –
101 3 101101100 91101101100
11100 5 111001 6 111001 6 –
1101 4 1101111001 10 11 2 01111001
.,,etc.
New data
symbol
Select VLC
table
Look up value
V and length L
Pack L bits of
V into output
register R
More than S
bytes in R?
Write S least
significant bytes to
stream
Right-shift R
by S bytes
Finished data
symbol
yes
no
Figure 7.14 Variable length encoding flowchart
motion vector component,etc.) and (b) the value of the data symbol,Chapter 3 presented
some examples of pre-defined VLC tables from MPEG-4 Visual.
VLCs (by definition) contain variable numbers of bits but in many practical transport
situations it is necessary to map a series of VLCs produced by the encoder to a stream of bytes
or words,A mechanism for carrying this out is shown in Figure 7.14,An output register,R,
collects encoded VLCs until enough data are present to write out one or more bytes to the
stream,When a new data symbol is encoded,the value V of the VLC is concatenated with
the previous contents of R (with the new VLC occupying the most significant bits),A count
of the number of bits held in R is incremented by L (the length of the new VLC in bits),If
R contains more than S bytes (where S is the number of bytes to be written to the stream at
a time),the S least significant bytes of R are written to the stream and the contents of R are
right-shifted by S bytes.
Example
A series of VLCs (from Table 3.12,Chapter 3) are encoded using the above method,S = 1,i.e.
1 byte is written to the stream at a time,Table 7.1 shows the variable-length encoding process at
each stage with each output byte highlighted in bold type.
Figure 7.15 shows a basic architecture for carrying out the VLE process,A new data
symbol and context indication (table selection) are passed to a look-up unit that returns the
value V and length L of the codeword,A packer unit concatenates sequences of VLCs and
outputs S bytes at a time (in a similar way to the above example).
DESIGN AND PERFORMANCE
240
Look-up
table
Pack
output
data
table select
value V
length L
sequence of
S-byte words
Figure 7.15 Variable length encoding architecture
Start decoding
Select VLC
table
Read 1 bit VLC detected? valid
Return syntax
element
Finished
decoding
incomplete
Return error
indication
invalid
Figure 7.16 Flowchart for decoding one VLC
Issues to consider when designing a variable length encoder include computational ef-
ficiency and look-up table size,In software,VLE can be processor-intensive because of the
large number of bit-level operations required to pack and shift the codes,Look-up table de-
sign can be problematic because of the large size and irregular structure of VLC tables,For
example,the MPEG-4 Visual TCOEF table (see Chapter 3) is indexed by the three parame-
ters Run (number of preceding zero coefficients),Level (nonzero coefficient level) and Last
(final nonzero coefficient in a block),There are only 102 valid VLCs but over 16 000 valid
combinations of Run,Level and Last,each corresponding to a VLC of up to 13 bits or a 20-bit
‘Escape’ code,and so this table may require a significant amount of storage,In the H.264
Variable Length Coding scheme,many symbols are represented by ‘universal’ Exp-Golomb
codes that can be calculated from the data symbol value (avoiding the need for large VLC
look-up tables) (see Chapter 6).
7.2.6.2 Variable-length Decoding
Decoding VLCs involves ‘scanning’ or parsing a received bitstream for valid codewords,ex-
tracting these codewords and decoding the appropriate syntax elements,As with the encoding
process,it is necessary for the decoder to know the current context in order to select the correct
codeword table,Figure 7.16 illustrates a simple method of decoding one VLC,The decoder
reads successive bits of the input bitstream until a valid VLC is detected (the usual case) or an
invalid VLC is detected (i.e,a code that is not valid within the current context),For example,
a code starting with nine or more zeros is not a valid VLC if the decoder is expecting an
MPEG-4 Transform Coefficient,The decoder returns the appropriate syntax element if a valid
VLC is found,or an error indication if an invalid VLC is detected.
VLC decoding can be computationally intensive,memory intensive or both,One method
of implementing the decoder is as a Finite State Machine,The decoder starts at an initial state
and moves through successive states based on the value of each bit,Eventually,the decoder
reaches a state that corresponds to (a) a complete,valid VLC or (b) an invalid VLC,The
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241
Table 7.2 Variable length decoding example,MPEG-4 Visual TCOEF
State Input Next state VLC Output (last,run,level)
0 0 1 0.,–
1 2 1.,–
1 0,.later state 00..
1,.later state 01..
20 0 10s (0,0,s1)
1 3 11..
30 0110s (0,1,s1)
1 4 111.,–
40 01110s (0,2,s1)
101111s (0,0,s2)
etc.,,,,,,,,,,,,
decoded syntax element (or error indication) is returned and the decoder restarts from the
initial state,Table 7.2 shows the first part of the decoding sequence for the MPEG-4 Visual
TCOEF (transform coefficient) context,starting with state 0,If the input bit is 0,the next state
is state 1 and if the input is 1,the next state is 2,From state 2,if the input is 0,the decoder
has ‘found’ a valid VLC,10,In this context it is necessary to decode 1 more bit at the end
of each VLC (the sign bit,s,indicating whether the level is positive or negative),after which
it outputs the relevant syntax element (0,1 or +/?1 in this case) and returns to state 0,Note
that when a syntax element containing ‘last = 1’ is decoded,we have reached the end of the
block of coefficients and it is necessary to reset or change the context.
In this example,the decoder can process one input bit at each stage (e.g,one bit per clock
cycle in a hardware implementation),This may be too slow for some applications in which
case a more sophisticated architecture that can examine multiple bits (or entire VLCs) in one
operation may be required,Examples of architectures for variable-length coding and decoding
include [26–29].
7.2.6.3 Arithmetic Coding
An arithmetic encoder (see Chapter 3) encodes each syntax element through successive re-
finement of a fractional number,Arithmetic coding has the potential for greater compression
efficiency than any variable-length coding algorithm (due to its ability to represent fractional
probability distributions accurately),In practice,it is usually necessary to represent the frac-
tional numbers produced by an arithmetic encoder using fixed-point values within a limited
dynamic range,Some implementation issues for the context-based arithmetic coder adopted
for H.264 Main Profile are discussed in Chapter 6 and a detailed overview of the CABAC
scheme is given in [30].
7.3 INPUT AND OUTPUT
7.3.1 Interfacing
Figure 7.17 shows a system in which video frames are encoded,transmitted or stored and
decoded,At the input to the encoder (A) and the output of the decoder (D),data are in the
DESIGN AND PERFORMANCE
242
video
frames
encode
network
adaptation
video
frames
decode
network
adaptation
network or
storage
A CBD
Figure 7.17 Video CODEC interfaces
format of uncompressed video frames,each represented by a set of samples,typically in the
YCbCr colour space using one of the sampling structures described in Chapter 2 (4:4:4,4:2:2
or 4:2:0),There are a number of different methods of combining the three components of
each frame,including interleaved (samples of Y,Cb and Cr are interleaved together in raster
scan order),concatenated (the complete Y component for a frame is followed by the Cb and
then Cr components) and using separate buffers or memory areas to store each of the three
components,The choice of method may depend on the application,For example,using separate
buffers for the Y,Cb and Cr components may be suitable for a software CODEC; a hardware
CODEC with limited memory and/or a requirement for low delay may use an interleaved
format.
At the output of the encoder (B) and the input to the decoder (C) the data consist of
a sequence of bits representing the video sequence in coded form,The H.264 and MPEG-4
Visual standards use fixed length codes,variable-length codes and/or arithmetic coding to
represent the syntax elements of the compressed sequence,The coded bitstream consists
of continuous sequences of bits,interspersed with fixed-length ‘marker’ codes,Methods of
mapping this bitstream to a transport or storage mechanism (‘delivery mechanism’) include
the following.
Bit-oriented,If the delivery mechanism is capable of dealing with an arbitrary number of bits,
the bitstream may be transmitted directly (optionally multiplexed with associated data such
as coded audio and ‘side’ information).
Byte-oriented,Many delivery mechanisms (e.g,file storage or network packets) require data
to be mapped to an integral number of bytes or words,It may be necessary to pad the coded
data at the end of a unit (e.g,slice,picture,VOP or sequence) to make an integral number
of bytes or words.
Packet-oriented,Both MPEG-4 Visual and H.264 support the concept of placing a complete
coded unit in a network packet,A video packet or NAL unit packet contains coded data that
corresponds to a discrete coded unit such as a slice (a complete frame or VOP or a portion
of a frame or VOP) (see Section 6.7).
7.3.2 Pre-processing
The compression efficiency of a video CODEC can be significantly improved by pre-
processing video frames prior to encoding,Problems with the source material and/or video
capture system may degrade the coding performance of a video encoder,Camera noise (in-
troduced by the camera and/or the digitisation process) is illustrated in Figure 7.18,The top
INPUT AND OUTPUT
243
Figure 7.18 Image showing camera noise (lower half)
half of this image is relatively noise-free and this is typical of the type of image captured by
a high-quality digital camera,Images captured from low-quality sources are more likely to
contain noise (shown in the lower half of this figure),Camera noise may appear in higher
spatial frequencies and change from frame to frame,An encoder will ‘see’ this noise as a
high-frequency component that is present in the motion-compensated residual and is encoded
together with the desired residual data,causing an increase in the coded bitrate,Camera noise
can therefore significantly reduce the compression efficiency of an encoder,By filtering the
input video sequence prior to encoding it may be possible to reduce camera noise (and hence
improve compression efficiency),The filter parameters should be chosen with care,to avoid
filtering out useful features of the video sequence.
Another phenomenon that can reduce compression efficiency is camera shake,small
movements of the camera between successive frames,characteristic of a hand-held or poorly
stabilised camera,These are ‘seen’ by the encoder as global motion between frames,Motion
compensation may partly correct the motion but block-based motion estimation algorithms
are not usually capable of correcting fully for camera shake and the result is an increase in
residual energy and a drop in compression performance,Many consumer and professional
camcorders incorporate image stabilisation systems that attempt to compensate automatically
for small camera movements using mechanical and/or image processing methods,As well as
improving the appearance of the captured video sequence,this has the effect of improving
compression performance if the material is coded using motion compensation.
7.3.3 Post-processing
Video compression algorithms that incorporate quantisation (such as the core algorithms of
MPEG-4 Visual and H.264) are inherently lossy,i.e,the decoded video frames are not identical
to the original,The goal of any practical CODEC is to minimise distortion and maximise
compression efficiency,It is often possible to reduce the actual or apparent distortion in the
decoded video sequence by processing (filtering) the decoded frames,If the filtered decoded
frames are then used for compensation,the filtering process can have the added benefit of
improving motion-compensated prediction and hence compression efficiency.
DESIGN AND PERFORMANCE
244
Figure 7.19 Distortion introduced by MPEG-4 Visual encoding (lower half)
Figure 7.20 Distortion introduced by H.264 encoding (lower half)
Block transform-based CODECs introduce characteristic types of distortion into the
decoded video data,The lower half of Figure 7.19 shows typical distortion in a frame encoded
and decoded using MPEG-4 Simple Profile (the upper half is the original,uncompressed
frame),This example shows ‘blocking’ distortion (caused by mismatches at the boundaries
of reconstructed 8 × 8 blocks) and ‘ringing’ distortion (faint patterns along the edges of
objects,caused by the ‘break through’ of DCT basis patterns),Blocking is probably the most
visually obvious (and therefore the most important) type of distortion introduced by video
compression,Figure 7.20 (lower half) shows the result of encoding and decoding using H.264
without loop filtering,The smaller transform size in H.264 (4 × 4 rather than 8 × 8 samples)
means that the blocking artefacts are correspondingly smaller,but are still obvious
1
.
1
The compressed halves of each of these figures were encoded at different bitrates.
INPUT AND OUTPUT
245
filter
input
frame
reconstructed
frame
motion-
compensated
prediction
transform,
quantise,
etc.
decoding,
rescaling,
inverse
transform
reconstructed
frame
decoded
frame
motion-
compensated
reconstruction
ENCODER DECODER
Figure 7.21 Post-filter implementation
filter
input
frame
reconstructed
frame
motion-
compensated
prediction
transform,
quantize,
etc.
decoding,
rescaling,
inverse
transform
reconstructed
frame
decoded
frame
motion-
compensated
reconstruction
ENCODER
DECODER
filter
Figure 7.22 Loop filter implementation
Filters to reduce blocking (de-blocking) and/or ringing effects (de-ringing) are widely
used in practical CODECs,Many filter designs have been proposed and implemented,ranging
from relatively simple algorithms to iterative algorithms that are many times more complex
than the encoding and decoding algorithms themselves [31–34],The goal of a de-blocking or
de-ringing filter is to minimise the effect of blocking or ringing distortion whilst preserving
important features of the image,MPEG-4 Visual describes a deblocking filter and a deringing
filter,these are ‘informative’ parts of the standard and are therefore optional,Both filters are
designed to be placed at the output of the decoder (Figure 7.21),With this type of post-filter,
unfiltered decoded frames are used as the reference for motion-compensated reconstruction
of further frames,This means that the filters improve visual quality at the decoder but have
no effect on the encoding and decoding processes.
It may be advantageous to place the filter inside the encoding and decoding ‘loops’
(Figure 7.22),At the decoder,the filtered decoded frame is stored for further motion-
compensated reconstruction,In order to ensure that the encoder uses an identical reference
frame,the same filter is applied to reconstructed frames in the encoder and the encoder uses the
filtered frame as a reference for further motion estimation and compensation,If the quality of
the filtered frame is better than that of an unfiltered decoded frame,then it will provide a better
match for further encoded frames,resulting in a smaller residual after motion compensation
and hence improved compression efficiency,H.264 makes use of this type of loop filter (see
Chapter 6 for details of the filter algorithm),One disadvantage of incorporating the filter into
the loop is that it must be specified in the standard (so that any decoder can successfully repeat
the filtering process) and there is therefore limited scope for innovative filter designs.
DESIGN AND PERFORMANCE
246
7.4 PERFORMANCE
In this section we compare the performance of selected profiles of MPEG-4 Visual and H.264.
It should be emphasised that what is considered to be ‘acceptable’ performance depends very
much on the target application and on the type of video material that is encoded,Further,coding
performance is strongly influenced by encoder decisions that are left to the discretion of the
designer (e.g,motion estimation algorithm,rate control method,etc.) and so the performance
achieved by a commercial CODEC may vary considerably from the examples reported here.
7.4.1 Criteria
Video CODEC performance can be considered as a tradeoff between three variables,quality,
compressed bit rate and computational cost,‘Quality’ can mean either subjective or objective
measured video quality (see Chapter 2),Compressed bit rate is the rate (in bits per second)
required to transmit a coded video sequence and computational cost refers to the processing
‘power’ required to code the video sequence,If video is encoded in real time,then the com-
putational cost must be low enough to ensure encoding of at least n frames per second (where
n is the target number of frames per second); if video is encoded ‘offline’,i.e,not in real time,
then the computational cost per frame determines the total coding time of a video sequence.
The rate–distortion performance of a video CODEC describes the tradeoff between two
of these variables,quality and bit rate,Plotting mean PSNR against coded bit rate produces
a characteristic rate–distortion curve (Figure 7.23),As the bit rate is reduced,quality (as
measured by PSNR) drops at an increasing rate,Plotting rate–distortion curves for identical
source material (i.e,the same resolution,frame rate and content) is a widely accepted method
of comparing the performance of two video CODECs,As Figure 7.23 indicates,‘better’
rate–distortion performance is demonstrated by moving the graph up and to the left.
Comparing and evaluating competing video CODECs is a difficult problem,Desirable
properties of a video CODEC include good rate–distortion performance and low (or accept-
able) computational complexity,When comparing CODECs,it is important to use common
better performance
worse performance
coded bitrate
Figure 7.23 Example of a rate–distortion curve
PERFORMANCE
247
test conditions where possible,For example,different video sequences can lead to dramatic
differences in rate–distortion performance (i.e,some video sequences are ‘easier’ to code than
others) and computational performance (especially if video processing is carried out in soft-
ware),Certain coding artefacts (e.g,blocking,ringing) may be more visible in some decoded
sequences than others,For example,blocking distortion is particularly visible in larger areas
of continuously-varying tone in an image and blurring of features (for example due to a crude
deblocking filter) is especially obvious in detailed areas of an image.
7.4.2 Subjective Performance
In this section we examine the subjective quality of video sequences after encoding and
decoding,The ‘Office’ sequence (Figure 7.24) contains 200 frames,each captured in 4:2:0
CIF format (see Chapter 2 for details of this format),The ‘Office’ sequence was shot from
a fixed camera position and the only movement is due to the two women,In contrast,the
‘Grasses’ sequence (Figure 7.25),also consisting of 200 CIF frames,was shot with a hand-
held camera and contains rapid,complex movement of grass stems,This type of sequence
is particularly difficult to encode due to the high detail and complex movement,since it is
difficult to find accurate matches during motion estimation.
Each sequence was encoded using three CODECs,an MPEG-2 Video CODEC,an
MPEG-4 Simple Profile CODEC and the H.264 Reference Model CODEC (operating in
Baseline Profile mode,using only one reference picture for motion compensation),In each
case,the first frame was encoded as an I-picture,The remaining frames were encoded as
Figure 7.24 Office,original frame
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248
Figure 7.25 Grasses,original frame
P-pictures using the MPEG-4 and H.264 CODECs and as a mixture of B- and P-pictures with
the MPEG-2 CODEC (with the sequence BBPBBP.,,),The ‘Office’ sequence was encoded
at a mean bitrate of 150 kbps with all three CODECs and the ‘Grasses’ sequence at a mean
bitrate of 900 kbps.
The decoded quality varies significantly between the three CODECs,A close-up of a
frame from the ‘Office’ sequence after encoding and decoding with MPEG-2 (Figure 7.26)
shows considerable blocking distortion and loss of detail,The MPEG-4 Simple Profile frame
(Figure 7.27) is noticeably better but there is still evidence of blocking and ringing distortion.
The H.264 frame (Figure 7.28) is the best of the three and at first sight there is little difference
between this and the original frame (Figure 7.24),Visually important features such as the
woman’s face and smooth areas of continuous tone variation have been preserved but fine
texture (such as the wood grain on the table and the texture of the wall) has been lost.
The results for the ‘Grasses’ sequence are less clear-cut,At 900 kbps,all three decoded
sequences are clearly distorted,The MPEG-2 sequence (a close-up of one frame is shown in
Figure 7.29) has the most obvious blocking distortion but blocking distortion is also clearly vis-
ible in the MPEG-4 Simple Profile sequence (Figure 7.30),The H.264 sequence (Figure 7.31)
does not show obvious block boundaries but the image is rather blurred due to the deblocking
filter,Played back at the full 25 fps frame rate,the H.264 sequence looks better than the other
two but the performance improvement is not as clear as for the ‘Office’ sequence.
These examples highlight the way CODEC performance can change depending on the
video sequence content,H.264 and MPEG-4 SP perform well at a relatively low bitrate (150
kbps) when encoding the ‘Office’ sequence; both perform significantly worse at a higher
bitrate (900 kbps) when encoding the more complex ‘Grasses’ sequence.
Figure 7.26 Office,encoded and decoded,MPEG-2 Video (close-up)
Figure 7.27 Office,encoded and decoded,MPEG-4 Simple Profile (close-up)
Figure 7.28 Office,encoded and decoded,H.264 Baseline Profile (close-up)
Figure 7.29 Grasses,encoded and decoded,MPEG-2 Video (close-up)
Figure 7.30 Grasses,encoded and decoded,MPEG-4 Simple Profile (close-up)
Figure 7.31 Grasses,encoded and decoded,H.264 Baseline Profile (close-up)
PERFORMANCE
251
Office (CIF,50 frames)
30
32
34
36
38
40
42
44
0 100000 200000 300000 400000 500000 600000 700000 800000 900000 1000000
Bitrate (bps)
YP
S
N
R
(
d
B
)
Office,MP4 SP
Office,H.264 Baseline
Figure 7.32 Rate–distortion comparison,‘Office’,CIF
7.4.3 Rate–distortion Performance
Measuring bitrate and PSNR at a range of quantiser settings provides an estimate of com-
pression performance that is numerically more accurate (but less closely related to visual
perception) than subjective comparisons,Some comparisons of MPEG4 and H.264 perfor-
mance are presented here.
Figure 7.32 and Figure 7.33 compare the performance of MPEG4 (Simple Profile) and
H.264 (Baseline Profile,1 reference frame) for the ‘Office’ and ‘Grasses’ sequences,Note
that ‘Office’ is easier to compress than ‘Grasses’ (see above) and at a given bitrate,the
PSNR of ‘Office’ is significantly higher than that of ‘Grasses’,H.264 out-performs MPEG4
compression at all of the tested bit rates,but the rate-distortion gain is more noticeable for the
‘Office’ sequence.
The rate–distortion performance of the popular ‘Carphone’ test sequence is plotted in
Figure 7.34,This sequence contains moderate motion and in this case the source is QCIF
resolution at 30 frames per second,Four sets of results are compared,two from MPEG-4 and
two from H.264,The first two are MPEG-4 Simple Profile (first frame coded as an I-picture,
subsequent frames coded as P-pictures) and MPEG-4 Advanced Simple Profile (using two B-
pictures between successive P-pictures,no other ASP tools used),The second pair are H.264
Baseline (first frame coded as an I-slice,subsequent frames coded as P-slices,one reference
frame used for inter prediction,UVLC/CAVLC entropy coding) and H.264 Main Profile (first
frame coded as an I-slice,subsequent frames coded as P-slices,five reference frames used for
inter prediction,CABAC entropy coding).
DESIGN AND PERFORMANCE
252
Grasses (CIF,50 frames)
20
22
24
26
28
30
32
34
36
38
40
0 500000 1000000 1500000 2000000 2500000 3000000 3500000 4000000 4500000 5000000
Bitrate (bps)
YP
S
N
R
(
d
B
)
Grasses,MP4 SP
Grasses,H.264 Baseline
Figure 7.33 Rate–distortion comparison,‘Grasses’,CIF
MPEG-4 ASP performs slightly better than MPEG-4 SP at higher bitrates but performs
worse at lower bitrates (in this case),It is interesting to note that other ASP tools (quarter-
pel MC and alternate quantiser) produced poorer performance in this test,H.264 Baseline
outperforms both MPEG-4 profiles at all bitrates and CABAC and multiple reference frames
provide a further performance gain,For example,at a PSNR of 35 dB,MPEG-4 SP produces a
coded bitrate of around 125 kbps,ASP reduces the bitrate to around 120 kbps,H.264 Baseline
(with one reference frame) produces a bitrate of around 80 kbps and H.264 with CABAC and
five reference frames gives a bitrate of less than 70 kbps.
The results for the ‘Carphone’ sequence show a more convincing performance gain from
H.264 than the results for ‘Grasses’ and ‘Office’,This is perhaps because ‘Carphone’ is a
professionally-captured sequence with high image fidelity whereas the other two sequences
were captured from a high-end consumer video camera and have more noise in the original
images.
Other Performance Studies
The compression performance of MPEG-4 Simple and Advanced Simple Profiles are com-
pared in [35],In this paper the Advanced Simple tools are found to improve the compression
performance significantly,producing a coded bitrate around 30–40% smaller for the same
video quality,at the expense of increased encoder complexity,Most of the performance gain
PERFORMANCE
253
QCIF sequence ("Carphone",200 frames)
25
27
29
31
33
35
37
39
41
43
45
0 100000 200000 300000 400000 500000 600000
Bitrate (bps)
YP
S
N
R(
d
B
)
MPEG4 SP
MPEG4 ASP
H264 UVLC,1 reference
H264 CABAC,5 reference
Figure 7.34 Rate–distortion comparison,‘Carphone’,QCIF
is due to the use of B-pictures (which require extra storage and encoding delay),quarter-
pixel motion compensation and rate–distortion optimised mode selection (i.e,choosing the
encoding mode of each macroblock to maximise compression performance).
Reference [36] evaluates the performance of H.264 (an older version of the test model)
and compares it with H.263++ (H.263 with optional modes to improve coding performance).
According to the results presented,H.264 (H.26L) consistently out-performs H.263++,The
authors study the contribution of some of the optional features of H.264 and conclude that
CABAC provides a consistent coding gain compared with VLCs,reducing the coded bit rate
by an average of 7.7% for the same objective quality (although the version of the test model
did not include the more efficient context-adaptive VLCs for coefficient encoding),Using
multiple reference frames for motion-compensated prediction provides better performance
than a single reference frame,although the gains are slightly less obvious (a mean gain of
5.7% over the single reference frame case),Small motion compensation block sizes (down to
4 × 4) provided a clear performance gain over a single vector per macroblock (a mean bit rate
saving of 16.4%),although most of the gain (13.7%) was achieved for a minimum block size
of 8 × 8.
H.264 is compared with both H.263++ and MPEG-4 Visual Advanced Simple Profile
in [37],The authors compared the luminance PSNR (see Chapter 2) of each CODEC under the
same test conditions,The three CODECs were chosen to represent the most highly-optimised
versions of each standard available at the time,Test Model 8 of H.26L (an earlier version
DESIGN AND PERFORMANCE
254
of H.264) out-performed H.263++ and MPEG-4 ASP by an average of 3.0 dB and 2.0 dB
respectively,The H.26L CODEC achieved roughly the same performance at a coded bitrate of
32 kbit/s as the other two CODECs at a bitrate of 64 kbit/s (QCIF video,10 frames per second),
i.e,in this test H.26L produced the same decoded quality at around half the bitrate of MPEG-4
ASP and H.263++,At higher bitrates (512 kbps and above) the gain was still significant (but
not so large),An overview of rate-constrained encoder control and a comparison of H.264
performance with H.263,MPEG-2 Video and MPEG-4 Visual is given in [38].
7.4.4 Computational Performance
MPEG-4 Visual and (to a lesser extent) H.264 provide a range of optional coding modes that
have the potential to improve compression performance,For example,MPEG-4’s Advanced
Simple Profile is designed to offer greater compression efficiency than the popular Simple
Profile (see Chapter 5); the Main Profile of H.264 is capable of providing better compression
efficiency than the Baseline Profile (see Chapter 6),Within a specific Profile,a designer or
user of a CODEC can choose whether or not to enable certain coding features,A Main Profile
H.264 decoder should support both Context Adaptive VLCs (CAVLC) and arithmetic coding
(CABAC) but the encoder has the choice of which mode to use in a particular application.
Improved coding efficiency often comes at the cost of higher computational complexity.
The situation is complicated by the fact that the computational cost and coding benefit of
a particular mode or feature can depend very much on the type of source material,In a
practical application,the choice of possible coding modes may depend on the limitations of
the processing platform and it may be necessary to choose encoding parameters to suit the
source material and available processing resources.
Example
The first 25 frames of the ‘Violin’ sequence (QCIF,25 frames per second,see Figure 7.18) were
encoded using the H.264 test model software (version JM4.0) with a fixed quantiser parameter
of 36,The sequence was encoded with a range of coding parameters to investigate the effect of
each on compression performance and coding time,Two reference configurations were used as
follows.
Basic configuration,CAVLC entropy coding,no B-pictures,loop filter enabled,rate–distortion
optimisation disabled,one reference frame for motion compensation,all block sizes (down to
4 × 4) available.
Advanced configuration,CABAC entropy coding,every 2nd picture coded as a B-picture,loop
filter enabled,rate–distortion optimisation enabled,five reference frames,all block sizes avail-
able.
The ‘basic’ configuration represents a suitable set-up for a low complexity,real-time CODEC
whilst the ‘advanced’ configuration might be suitable for a high-complexity,high-efficiency
CODEC,Table 7.3 summarises the results,The luminance PSNR (objective quality) of each
sequence is almost identical and the differences in performance are apparent in the coded bitrate
and encoding time.
The ‘basic’ configuration takes 40 seconds to encode the sequence and produces a bitrate
of 46 kbps (excluding the bits produced by the first I-slice),Using only 8 × 8 or larger motion
compensation block sizes reduces coding time (by c,6 seconds) but increases the coded bitrate,as
PERFORMANCE
255
Table 7.3 Computational performance of H.264 optional modes,violin,QCIF,25 frames
Average luminance Coded bitrate Encoding time
Configuration PSNR (dB) (P/B slices) (kbps) (seconds)
Basic 29.06 45.9 40.4
Basic + min,block size of 8 × 8 29.0 46.6 33.9
Basic + 5 reference frames 29.12 46.2 157.2
Basic + rate-distortion optimisation 29.18 44.6 60.5
Basic + every 2nd picture coded 29.19 42.2 55.7
as a B-picture
Basic + CABAC 29.06 44.0 40.5
Advanced 29.57 38.2 180
Advanced (only one reference 29.42 38.8 77
frame)
might be expected,Using multiple reference frames (five in this case) increases coding time (by
almost four times) but results in an increase in coded bitrate,Adding rate–distortion optimisation
(in which the encoder repeatedly codes each macroblock in different ways in order to find the best
coding parameters) reduces the bitrate at the expense of a 50% increase in coding time,B-pictures
provide a compression gain at the expense of increased coding time (nearly 50%); CABAC gives
a compression improvement and does not increase coding time.
The ‘advanced’ configuration takes over four times longer than the ‘basic’ configuration to
encode but produces a bitrate 17% smaller than the basic configuration,By using only one reference
frame,the coding time is reduced significantly at the expense of a slight drop in compression
efficiency.
These results show that,for this sequence and this encoder at least,the most useful performance
optimisations (in terms of coding efficiency improvement and computational complexity) are
CABAC and B-pictures,These give a respectable improvement in compression without a high
computational penalty,Conversely,multiple reference frames make only a slight improvement
(and then only in conjunction with certain other modes,notably rate-distortion optimised
encoding) and are computationally expensive,It is worth noting,however,(i) that different
outcomes would be expected with other types of source material (for example,see [36]) and
(ii) that the reference model encoder is not optimised for computational efficiency.
7.4.5 Performance Optimisation
Achieving the optimum balance between compression and decoded quality is a difficult and
complex challenge,Setting encoding parameters at the start of a video sequence and leaving
them unchanged throughout the sequence is unlikely to produce optimum rate–distortion
performance since the encoder faces a number of inter-related choices when coding each
macroblock,For example,the encoder may select a motion vector for an inter-coded MB that
minimises the energy in the motion-compensated residual,However,this is not necessarily the
best choice because larger MVs generally require more bits to encode and the optimum choice
of MV is the one that minimises the total number of bits in the coded MB (including header,MV
and coefficients),Thus finding the optimal choice of parameters (such as MV,quantisation
parameter,etc.) may require the encoder to code the MB repeatedly before selecting the
combination of parameters that minimise the coded size of the MB,Further,the choice of
DESIGN AND PERFORMANCE
256
parameters for MB1 affects the coding performance of MB2 since,for example,the coding
modes of MB2 (e.g,MV,intra prediction mode,etc.) may be differentially encoded from the
coding modes of MB1.
Achieving near-optimum rate–distortion performance can be a very complex problem
indeed,many times more complex than the video coding process itself,In a practical CODEC,
the choice of optimisation strategy depends on the available processing power and acceptable
coding latency,So-called ‘two-pass’ encoding is widely used in offline encoding,in which
each frame is processed once to generate sequence statistics which then influence the coding
strategy in the second coding pass (often together with a rate control algorithm to achieve a
target bit rate or file size).
Many alternative rate–distortion optimisation strategies have been proposed (such as
those based on Lagrangian optimisation) and a useful review can be found in [6],Rate–
distortion optimisation should not be considered in isolation from computational performance.
In fact,video CODEC optimisation is (a least) a three-variable problem since rate,distortion
and computational complexity are all inter-related,For example,rate–distortion optimised
mode decisions are achieved at the expense of increased complexity,‘fast’ motion estima-
tion algorithms often achieve low complexity at the expense of motion estimation (and hence
coding) performance,and so on,Coding performance and computational performance can be
traded against each other,For example,a real-time coding application for a hand-held device
may be designed with minimal processing load at the expense of poor rate–distortion perfor-
mance,whilst an application for offline encoding of broadcast video data may be designed
to give good rate–distortion performance,since processing time is not an important issue but
encoded quality is critical.
7.5 RATE CONTROL
The MPEG-4 Visual and H.264 standards require each video frame or object to be processed
in units of a macroblock,If the control parameters of a video encoder are kept constant (e.g.
motion estimation search area,quantisation step size,etc.),then the number of coded bits
produced for each macroblock will change depending on the content of the video frame,
causing the bit rate of the encoder output (measured in bits per coded frame or bits per second
of video) to vary,Typically,an encoder with constant parameters will produce more bits when
there is high motion and/or detail in the input sequence and fewer bits when there is low motion
and/or detail,Figure 7.35 shows an example of the variation in output bitrate produced by
coding the Office sequence (25 frames per second) using an MPEG-4 Simple Profile encoder,
with a fixed quantiser step size of 12,The first frame is coded as an I-VOP (and produces a
large number of bits because there is no temporal prediction) and successive frames are coded
as P-VOPs,The number of bits per coded P-VOP varies between 1300 and 9000 (equivalent
to a bitrate of 32–225 kbits per second).
This variation in bitrate can be a problem for many practical delivery and storage mech-
anisms,For example,a constant bitrate channel (such as a circuit-switched channel) can-
not transport a variable-bitrate data stream,A packet-switched network can support varying
throughput rates but the mean throughput at any point in time is limited by factors such as
link rates and congestion,In these cases it is necessary to adapt or control the bitrate produced
by a video encoder to match the available bitrate of the transmission mechanism,CD-ROM
RATE CONTROL
257
0 20 40 60 80 100 120 140 160 180 200
0
1000
2000
3000
4000
5000
6000
7000
8000
9000
10000
Frames
Bi
t
s
p
e
r
f
r
a
m
e
Office sequence,25 fps,MP4 Simple Profile,QP = 12
Figure 7.35 Bit rate variation (MPEG-4 Simple Profile)
video
frames
encoder decoder
video
frames
channel
constant
frame rate
variable
bitrate
constant
bitrate
constant
bitrate
variable
bitrate
constant
frame rate
Figure 7.36 Encoder output and decoder input buffers
and DVD media have a fixed storage capacity and it is necessary to control the rate of an
encoded video sequence (for example,a movie stored on DVD-Video) to fit the capacity of
the medium.
The variable data rate produced by an encoder can be ‘smoothed’ by buffering the encoded
data prior to transmission,Figure 7.36 shows a typical arrangement,in which the variable
bitrate output of the encoder is passed to a ‘First In/First Out’ (FIFO) buffer,This buffer is
emptied at a constant bitrate that is matched to the channel capacity,Another FIFO is placed
at the input to the decoder and is filled at the channel bitrate and emptied by the decoder at a
variable bitrate (since the decoder extracts P bits to decode each frame and P varies).
Example
The ‘Office’ sequence is coded using MPEG-4 Simple Profile with a fixed QP= 12 to produce the
variable bitrate plotted in Figure 7.35,The encoder output is buffered prior to transmission over
a 100 kbps constant bitrate channel,The video frame rate is 25 fps and so the channel transmits
DESIGN AND PERFORMANCE
258
0 1 2 3 4 5 6 7 8
0
1
2
3
4
5
6
7
8
9
10
x 10
4
Seconds
Buffer contents (bits)
Encoder buffer contents (channel bitrate 100kbps)
Figure 7.37 Buffer example (encoder; channel bitrate 100 kbps)
4 kbits (and hence removes 4 kbits from the buffer) in every frame period,Figure 7.37 plots the
contents of the encoder buffer (y-axis) against elapsed time (x-axis),The first I-VOP generates
over 50 kbits and subsequent P-VOPs in the early part of the sequence produce relatively few bits
and so the buffer contents drop for the first 2 seconds as the channel bitrate exceeds the encoded
bitrate,At around 3 seconds the encoded bitrate starts to exceed the channel bitrate and the buffer
fills up.
Figure 7.38 shows the state of the decoder buffer,filled at a rate of 100 kbps (4 kbits per
frame) and emptied as the decoder extracts each frame,It takes half a second before the first
complete coded frame (54 kbits) is received,From this point onwards,the decoder is able to
extract and decode frames at the correct rate (25 frames per second) until around 4 seconds have
elapsed,At this point,the decoder buffer is emptied and the decoder ‘stalls’ (i.e,it has to slow
down or pause decoding until enough data are available in the buffer),Decoding picks up again
after around 5.5 seconds.
If the decoder stalls in this way it is a problem for video playback because the video clip
‘freezes’ until enough data available to continue,The problem can be partially solved by adding a
deliberate delay at the decoder,For example,Figure 7.39 shows the results if the decoder waits for
1 second before it starts decoding,Delaying decoding of the first frame allows the buffer contents
to reach a higher level before decoding starts and in this case the contents never drop to zero and
so playback can proceed smoothly
2
.
2
Varying throughput rates from the channel can also be handled using a decoder buffer,For example,a widely-used
technique for video streaming over IP networks is for the decoder to buffer a few seconds of coded data before
commencing decoding,If data throughput drops temporarily (for example due to network congestion) then decoding
can continue as long as data remain in the buffer.
RATE CONTROL
259
0 1 2 3 4 5 6 7 8 9
0
1
2
3
4
5
6
7
x10
4
Decoder buffer contents (channel bitrate 100kbps)
Seconds
B
u
f
f
er
c
o
nt
en
t
s
(
b
i
t
s
)
1st frame decoded
Decoder stalls
Figure 7.38 Buffer example (decoder; channel bitrate 100 kbps)
0 1 2 3 4 5 6 7 8 9
0
2
4
6
8
10
12
x 10
4
Seconds
Buffer contents (bits)
Decoder buffer contents (channel bitrate 100kbps)
1st frame decoded
Figure 7.39 Buffer example (decoder; channel bitrate 100 kbps)
DESIGN AND PERFORMANCE
260
These examples show that a variable coded bitrate can be adapted to a constant bitrate delivery
medium using encoder and decoder buffers,However,this adaptation comes at a cost of buffer
storage space and delay and (as the examples demonstrate) the wider the bitrate variation,
the larger the buffer size and decoding delay,Furthermore,it is not possible to cope with an
arbitrary variation in bitrate using this method,unless the buffer sizes and decoding delay are
set at impractically high levels,It is usually necessary to implement a feedback mechanism to
control the encoder output bitrate in order to prevent the buffers from over- or under-flowing.
Rate control involves modifying the encoding parameters in order to maintain a target
output bitrate,The most obvious parameter to vary is the quantiser parameter or step size (QP)
since increasing QP reduces coded bitrate (at the expense of lower decoded quality) and vice
versa,A common approach to rate control is to modify QP during encoding in order to (a)
maintain a target bitrate (or mean bitrate) and (b) minimise distortion in the decoded sequence.
Optimising the tradeoff between bitrate and quality is a challenging task and many different
approaches and algorithms have been proposed and implemented,The choice of rate control
algorithm depends on the nature of the video application,for example:
(a) Offline encoding of stored video for storage on a DVD,Processing time is not a particular
constraint and so a complex algorithm can be employed,The goal is to ‘fit’ a compressed
video sequence into the available storage capacity whilst maximising image quality and
ensuring that the decoder buffer of a DVD player does not overflow or underflow during
decoding,Two-pass encoding (in which the encoder collects statistics about the video
sequence in a first pass and then carries out encoding in a second pass) is a good option
in this case.
(b) Encoding of live video for broadcast,A broadcast programme has one encoder and multiple
decoders; decoder processing and buffering is limited whereas encoding may be carried
out in expensive,fast hardware,A delay of a few seconds is usually acceptable and so there
is scope for a medium-complexity rate control algorithm,perhaps incorporating two-pass
encoding of each frame.
(c) Encoding for two-way videoconferencing,Each terminal has to carry out both encoding
and decoding and processing power may be limited,Delay must be kept to a minimum
(ideally less than around 0.5 seconds from frame capture at the encoder to display at the
decoder),In this scenario a low-complexity rate control algorithm is appropriate,Encoder
and decoder buffering should be minimised (in order to keep the delay small) and so the
encoder must tightly control output rate,This in turn may cause decoded video quality
to vary significantly,for example it may drop significantly when there is an increase in
movement or detail in the video scene.
Recommendation H.264 does not (at present) specify or suggest a rate control algorithm
(however,a proposal for H.264 rate control is described in [39]),MPEG-4 Visual describes a
possible rate control algorithm in an Informative Annex [40] (i.e,use of the algorithm is not
mandatory),This algorithm,known as the Scalable Rate Control (SRC) scheme,is appropriate
for a single video object (a rectangular V.O,that covers the entire frame) and a range of bit
rates and spatial/temporal resolutions,The SRC attempts to achieve a target bit rate over a
certain number of frames (a ‘segment’ of frames,usually starting with an I-VOP) and assumes
the following model for the encoder rate R:
R =
X
1
S
Q
+
X
2
S
Q
2
(7.10)
RATE CONTROL
261
where Q is the quantiser step size,S is the mean absolute difference of the residual frame after
motion compensation (a measure of frame complexity) and X
1
,X
2
are model parameters.
Rate control consists of the following steps which are carried out after motion compensation
and before encoding of each frame i:
1,Calculate a target bit rate R
i
,based on the number of frames in the segment,the number
of bits that are available for the remainder of the segment,the maximum acceptable buffer
contents and the estimated complexity of frame i,(The maximum buffer size affects the
latency from encoder input to decoder output,If the previous frame was complex,it is
assumed that the next frame will be complex and should therefore be allocated a suitable
number of bits,the algorithm attempts to balance this requirement against the limit on the
total number of bits for the segment.)
2,Compute the quantiser step size Q
i
(to be applied to the whole frame),Calculate S for the
complete residual frame and solve equation (7.10) to find Q.
3,Encode the frame.
4,Update the model parameters X
1
,X
2
based on the actual number of bits generated for
frame i.
The SRC algorithm aims to achieve a target bit rate across a segment of frames (rather than
a sequence of arbitrary length) and does not modulate the quantiser step size within a coded
frame,giving a uniform visual appearance within each frame but making it difficult to maintain
a small buffer size and hence a low delay,An extension to the SRC supports modulation of
the quantiser step size at the macroblock level and is suitable for low-delay applications that
require ‘tight’ rate control,The macroblock-level algorithm is based on a model for the number
of bits B
i
required to encode macroblock i,equation (7.11):
B
i
= A
parenleftbigg
K
σ
2
i
Q
2
i
+ C
parenrightbigg
(7.11)
where A is the number of pixels in a macroblock,σ
i
is the standard deviation of luminance and
chrominance in the residual macroblock (i.e,a measure of variation within the macroblock),
Q
i
is the quantisation step size and K,C are constant model parameters,The following steps
are carried out for each macroblock i:
1,Measure σ
i
.
2,Calculate Q
i
based on B,K,C,σ
i
and a macroblock weight α
i
.
3,Encode the macroblock.
4,Update the model parameters K and C based on the actual number of coded bits produced
for the macroblock.
The weight α
i
controls the ‘importance’ of macroblock i to the subjective appearance of
the image and a low value of α
i
means that the current macroblock is likely to be highly
quantised,These weights may be selected to minimise changes in Q
i
at lower bit rates since
each change involves sending a modified quantisation parameter DQUANT which means
encoding an extra five bits per macroblock,It is important to minimise the number of changes
to Q
i
during encoding of a frame at low bit rates because the extra five bits in a macroblock
may become significant; at higher bit rates,this DQUANT overhead is less important and Q
may change more frequently without significant penalty,This rate control method is effective
DESIGN AND PERFORMANCE
262
at maintaining good visual quality with a small encoder output buffer,keeping coding delay
to a minimum (important for low-delay applications such as scenario (c) described above).
Further information on some of the many alternative strategies for rate control can be
found in [41].
7.6 TRANSPORT AND STORAGE
A video CODEC is rarely used in isolation; instead,it is part of a communication system that
involves coding video,audio and related information,combining the coded data and storing
and/or transmitting the combined stream,There are many different options for combining
(multiplexing),transporting and storing coded multimedia data and it has become clear in
recent years that no single transport solution fits every application scenario.
7.6.1 Transport Mechanisms
Neither MPEG-4 nor H.264 define a mandatory transport mechanism for coded visual data.
However,there are a number of possible transport solutions depending on the method of
transmission,including the following.
MPEG-2 Systems,Part 1 of the MPEG-2 standard [42] defines two methods of multiplexing
audio,video and associated information into streams suitable for transmission (Program
Streams or Transport Streams),Each data source or elementary stream (e.g,a coded video
or audio sequence) is packetised into Packetised Elementary Stream (PES) packets and
PES packets from the different elementary streams are multiplexed together to form a
Program Stream (typically carrying a single set of audio/visual data such as a single TV
channel) or a Transport Stream (which may contain multiple channels) (Figure 7.40),The
Transport Stream adds both Reed–Solomon and convolutional error control coding and so
provides protection from transmission errors,Timing and synchronisation is supported by a
system of clock references and time stamps in the sequence of packets,An MPEG-4 Visual
stream may be carried as an elementary stream within an MPEG-2 Program or Transport
Stream,Carriage of an MPEG-4 Part 10/H.264 stream over MPEG-2 Systems is covered
by Amendment 3 to MPEG-2 Systems,currently undergoing standardisation.
...,..
elementary stream (e.g,video,audio)
packetise
Multiplex
PES
packets
from
multiple
streams
Transport Stream
Figure 7.40 MPEG-2 Transport Stream
TRANSPORT AND STORAGE
263
Payload
Type
Sequence
Number
Timestamp
Unique
Identifier
Payload (e.g,Video Packet)
Figure 7.41 RTP packet structure (simplified)
Real-Time Protocol,RTP [43] is a packetisation protocol that may be used in conjunction with
the User Datagram Protocol (UDP) to transport real-time multimedia data across networks
that use the Internet Protocol (IP),UDP is preferable to the Transmission Control Protocol
(TCP) for real-time applications because it offers low-latency transport across IP networks.
However,it has no mechanisms for packet loss recovery or synchronisation,RTP defines
a packet structure for real-time data (Figure 7.41) that includes a type identifier (to signal
the type of CODEC used to generate the data),a sequence number (essential for reordering
packets that are received out of order) and a time stamp (necessary to determine the correct
presentation time for the decoded data),Transporting a coded audio-visual stream via RTP
involves packetising each elementary stream into a series of RTP packets,interleaving these
and transmitting them across an IP network (using UDP as the basic transport protocol).
RTP payload formats are defined for various standard video and audio CODECs,including
MPEG-4 Visual and H.264,The NAL structure of H.264 (see Chapter 6) has been designed
with efficient packetisation in mind,since each NAL unit can be placed in its own RTP
packet.
MPEG-4 Part 6 defines an optional session protocol,the Delivery Multimedia Integration
Framework,that supports session management of MPEG-4 data streams (e.g,visual and
audio) across a variety of network transport protocols,The FlexMux tool (part of MPEG-4
Systems) provides a flexible,low-overhead mechanism for multiplexing together separate
Elementary Streams into a single,interleaved stream,This may be useful for multiplexing
separate audio-visual objects prior to packetising into MPEG-2 PES packets,for example.
7.6.2 File Formats
Earlier video coding standards such as MPEG-1,MPEG-2 and H.263 did not explicitly define
a format for storing compressed audiovisual data in a file,It is common for single compressed
video sequences to be stored in files,simply by mapping the encoded stream to a sequence of
bytes in a file,and in fact this is a commonly used mechanism for exchanging test bitstreams.
However,storing and playing back combined audio-visual data requires a more sophisticated
file structure,especially when,for example,the stored data is to be streamed across a network
or when the file is required to store multiple audio-visual objects,The MPEG-4 File Format
and AVC File Format (which will both be standardised as Parts of MPEG-4) are designed
to store MPEG-4 Audio-Visual and H.264 Video data respectively,Both formats are derived
from the ISO Base Media File Format,which in turn is based on Apple Computer’s QuickTime
format.
In the ISO Media File Format,a coded stream (for example an H.264 video sequence,an
MPEG-4 Visual video object or an audio stream) is stored as a track,representing a sequence of
coded data items (samples,e.g,a coded VOP or coded slice) with time stamps (Figure 7.42).
The file formats deal with issues such as synchronisation between tracks,random access
indices and carriage of the file on a network transport mechanism.
DESIGN AND PERFORMANCE
264
mdat 1 2 1 3 24 3 4 5 6 7
...
video track samples
audio track samples
media
data
Figure 7.42 ISO Media File
7.6.3 Coding and Transport Issues
Many of the features and tools of the MPEG-4 Visual and H.264 standards are primarily aimed
at improving compression efficiency,However,it has long been recognised that it is necessary
to take into account practical transport issues in a video communication system and a number
of tools in each standard are specifically designed to address these issues.
Scaling a delivered video stream to support decoders with different capabilities and/or
delivery bitrates is addressed by both standards in different ways,MPEG-4 Visual includes a
number of tools for scalable coding (see Chapter 5),in which a sequence or object is coded
to produce a number of layers,Typically,these include a base layer (which may be decoded
to obtain a ‘basic’ quality version of the sequence) and enhancement layer(s),each of which
requires an increased transmission bitrate but which adds quality (e.g,image quality,spatial
or temporal resolution) to the decoded sequence,H.264 takes a somewhat different approach.
It does not support scalable coding but provides SI and SP slices (see Chapter 6) that enable
a decoder to switch efficiently between multiple coded versions of a stream,This can be
particularly useful when decoding video streamed across a variable-throughput network such
as the Internet,since a decoder can dynamically select the highest-rate stream that can be
delivered at a particular time.
Latency is a particular issue for two-way real time appliations such as videoconferencing.
Tools such as B-pictures (coded frames that use motion-compensated prediction from earlier
and later frames in temporal order) can improve compression efficiency but introduce a delay
of several frame periods into the coding and decoding ‘chain’ which may be unacceptable
for low-latency two way applications,Latency requirements also have an influence on rate
control algorithms (see Section 7.5) since post-encoder and pre-decoder buffers (useful for
smoothing out rate variations) increase latency.
Each standard includes a number of features to aid the handling of transmission errors.
Bit errors are a characteristic of circuit-switched channels; packet-switched networks tend to
suffer from packet losses (since a bit error in a packet typically results in the packet being
dropped during transit),Errors can have a serious impact on decoded quality [44] because the
effect of an error may propagate spatially (distorting an area within the current decoded frame)
and temporally (propagating to successive decoded frames that are temporally predicted from
the errored frame),Chapters 5 and 6 describe tools that are specifically intended to reduce the
damage caused by errors,including data partitioning and independent slice decoding (designed
to limit error propagation by localising the effect of an error),redundant slices (sending extra
copies of coded data),variable-length codes that can be decoded in either direction (reducing
the likelihood of a bit error ‘knocking out’ the remainder of a coded unit) and flexible ordering
REFERENCES
265
of macroblocks and slices (to make it easier for a decoder to conceal the effect of an error by
interpolating from neighbouring error-free data).
7.7 CONCLUSIONS
Different choices during the design of a CODEC and different strategies for coding control
can lead to significant variations in compression and computational performance between
CODEC implementations,However,the best performance that may be achieved by a CODEC
is limited by the available coding tools,The performance examples presented here and many
other studies in the literature indicate that H.264 has the ability to out-perform MPEG-4 Visual
convincingly (which in turn performs significantly better than MPEG-2),Performance is only
one of many factors that influence whether a new technology is successful in the marketplace
and in the final chapter we examine some of the other issues that are currently shaping the
commercial market for video coding.
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267
41,Y-S Saw,Rate-Quality Optimized Video Coding,Kluwer Academic Publishers,November 1998.
42,ISO/IEC 13818,Information technology,generic coding of moving pictures and associated audio
information,1995 (MPEG-2).
43,IETF RFC 1889,RTP,A transport protocol for real-time applications,January 1996.
44,A,H,Sadka,Compressed Video Communications,John Wiley & Sons,2002.
8
Applications and Directions
8.1 INTRODUCTION
In addition to technical features and theoretical performance,there are many other important
considerations to take into account when choosing a CODEC for a practical application,These
include industry support for the CODEC (for example,whether there are multiple sources for
technology),availability of development tools and costs (including development,integration
and licensing costs),In this chapter we discuss the requirements of a selection of applications
and consider practical issues that may affect the choice of CODEC,We list some of the available
commercial MPEG-4 Visual and H.264 CODECs and report the claimed performance of these
CODECs (where available),We review important commercial considerations (including the
contentious topic of patent licensing) and end by making some predictions about the short-
and long-term developments in CODEC research and standardisation.
8.2 APPLICATIONS
Table 8.1 lists a selection of applications for video coding technology together with important
requirements for each application and suggested MPEG-4 Visual or H.264 Profiles.
None of the applications listed in Table 8.1 require object-based coding tools,As is clear
from the list of commercially-available CODECs in Section 8.4 object-based coding is not
widely supported in the marketplace and few,if any,‘real’ commercial applications of object-
based coding have emerged since the release of MPEG-4 Visual,The following anecdote is
perhaps typical of the situation with regard to object-based coding,which has been described
as ‘a technology looking for an application’.
Some promising work on ‘closed signing’ was presented at a recent workshop on visual
communications for deaf users (‘Silent Progress’,hosted by Bristol University,March 2003).
Closed signing involves transmitting a separate channel as part of a digital television multi-
plexing,incorporating a human sign language interpreter translating the content of the main
channel,MPEG-4’s object-based coding tools were used to code the signer as a video object,
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
APPLICATIONS AND DIRECTIONS
270
Table 8.1 Application requirements
Application Requirements MPEG-4 Profiles* H.264 Profiles
Broadcast television Coding efficiency,reliability (over a
‘controlled’ distribution channel),
interlace,low-complexity
decoder
ASP Main
Streaming video Coding efficiency,reliability (over
an ‘uncontrolled’ packet-based
network),scalability
ARTS or FGS Extended
Video storage and
playback (e.g,DVD)
Coding efficiency,interlace,
low-complexity decoder
ASP Main
Videoconferencing Coding efficiency,reliability,low
latency,low-complexity encoder
and decoder
SP Baseline
Mobile video Coding efficiency,reliability,low
latency,low-complexity encoder
and decoder,low power
consumption
SP Baseline
Studio distribution Lossless or near-lossless,interlace,
efficient transcoding
Studio Main
*SP,ASP,ARTS,FGS,Studio,Simple,Advanced Simple,Advanced Real Time Simple,Fine Granular Scalability and Studio
Profiles.
making it possible to superimpose the figure of the signer on the main TV programme dis-
play,However,the feedback from deaf users at the workshop indicated that the superimposed
figure was distracting and hard to follow and the users much preferred to see the signer in a
separate (rectangular!) window on the screen,It was concluded that the demonstration was an
interesting technical achievement but not particularly useful to the target user group.
8.3 PLATFORMS
The choice of implementation platform for a video CODEC depends on a number of factors
including the type of application,development support,power consumption restrictions,the
need for future product upgrades and the availability and cost of commercial CODECs for the
platform,Table 8.2 compares some popular implementation platforms (dedicated hardware,
Digital Signal Processor or ‘media processor’,embedded processor or PC) and makes some
general comments about their relative advantages and disadvantages Further discussion of
platform capabilities can be found in reference [2].
At the present time,PC software and dedicated hardware are probably the most widely-
used implementation platforms for MPEG-4 Visual,DSP and embedded platforms are be-
coming popular for mobile video applications because of their good balance between power
efficiency,performance and flexibility.
8.4 CHOOSING A CODEC
Choosing a CODEC can be difficult,not least because each vendor presents the performance
and capabilities of their CODEC in a different way,Issues to consider include availability and
CHOOSING A CODEC
271
Table 8.2 Platform comparisons
Platform Advantages Disadvantages
Dedicated hardware Performance and power efficiency
(best)
Inflexible,high development cost
DSP or media
processor
Performance and power efficiency
(good); flexibility
Limited choice of CODECs;
medium development cost; single
vendor
Embedded processor Power efficiency (good); flexibility Poor performance; single vendor
General purpose
processor (e.g.
PC)
Performance (medium/good);
flexibility (best); wide choice of
CODECs
Poor power efficiency
licensing terms,the support for required Profiles and Levels,subjective quality,compression
performance,computational performance (e.g,instructions per second or coded frames per
second),the suitability for the chosen target platform (e.g,whether it has been optimised for
this specific platform) and the interface (API) to the CODEC,Ideally,the CODEC performance
should be evaluated using source video material that is representative of the target application
(rather than,or as well as,using ‘standard’ test video sequences).
Table 8.3 lists a selection of commercially-available MPEG-4 Visual CODECs,based on
information available from the MPEG-4 Industry Forum web site (www.m4if.org) in March
2003,This is by no means a complete list of MPEG-4 CODECs but gives a flavour of the
range of software and hardware implementations currently available,It is worth noting that
most of the information in this table is based on manufacturers’ claims and is not guaranteed
to be correct.
The majority of the CODECs listed here appear to be targeted at streaming or storage
applications,There are many software implementations of MPEG-4 Visual available,ranging
from the official reference software (full-featured but far from real-time) to highly optimised
real-time players,Hardware implementations tend to be targeted at high-performance (e.g.
broadcast-quality encoding) or low-power (e.g,mobile streaming) applications,Several man-
ufacturers supply code for a particular Digital Signal Processor (DSP) or Embedded Processor
or System on Chip (SoC) modules suitable for integration into a larger hardware design or
implementation on a Field Programmable Gate Array (FPGA).
The most common profile supported is Simple Profile,followed by Advanced Simple
Profile (offering its more efficient coding performance),Two companies in this list (Dicas
and Prodys) offer Core Profile solutions but of these two,only Dicas’ CODEC supports the
binary shape tool of the Core Profile,Significantly,no other profiles of MPEG-4 Visual are
supported by any of these CODECs.
The list of commercial H.264 CODECs (Table 8.4) is shorter and details on some of
these CODECs are very limited,This is not surprising since at the time of publication H.264
has only just been released as a full Recommendation/International Standard,Early adopters
(such as those listed here) run the risk of having to change their designs to accommodate late
modifications to the standard but have the potential to capture early market share.
Where information is available,Main Profile seems to be the most popular amongst these
early implementations,possibly because of its support for interlaced video and more efficient
high-latency video (through the use of B-slices),This implies that initial target applications
APPLICATIONS AND DIRECTIONS
272
Table 8.3 MPEG-4 Visual CODECs (information not guaranteed to be correct)
Company HW/SW Profiles Performance Comments
Amphion
www.amphion.com
HW SP L0-L3 SoC modules,plus
HW accelerators
Dicas
www.dicas.de
SW SP,ASP,
Core
Up to 2048 ×
2048/60 fps?
Implements binary
shape
functionalities
DivX
www.divx.com
SW SP,ASP All levels Now compatible with
MPEG-4 File
Format
Emblaze
www.emblaze.com
HW SP QCIF/up to 15 fps
encode,30 fps
decode
Based on ARM920T
core,suitable for
mobile applications
EnQuad
www.enquad.com
SW? Core? 30 fps? No product details
available
Envivio
www.envivio.com
HW/SW SP and ASP L0-L5 SW and HW versions
Equator
www.equator.com
SW SP? Decoder (running on
Equator’s BSP-15
processor)
Hantro www.hantro.com HW/SW SP L0-L3 SW and HW versions
iVast www.ivast.com SW SP/ASP L0-L3
Prodys www.prodys.com SW SP/ASP/Core L0-L4 (ASP) Implemented on
Texas Instruments
TMS320c64×
processor,Does not
implement binary
shape coding.
Sciworx
www.sci-worx.com
HW/SW SP QCIF/15 fps
(encoder)
Embedded processor
solution (partitioned
between hardware
and software)
Toshiba
www.toshiba.com/taec/
HW SP QCIF/15 fps en-
code + decode
Single chip including
audio and multiplex
IndigoVision
www,indigovision.com
HW SP L1-L3 SoC modules
3ivx
www.3ivx.com
SW SP/ASP? Embedded version of
decoder available
UBVideo
www.ubvideo.com
SW SP Up to L3 PC and DSP
implementations
for H.264 will be broadcast-quality streamed or stored video,replacing existing technology
in ‘higher-end’ applications such as broadcast television or video storage.
8.5 COMMERCIAL ISSUES
For a developer of a video communication product,there are a number of important commercial
issues that must be taken into account in addition to the technical features and performance
issues discussed in Chapters 5,6 and 7.
COMMERCIAL ISSUES
273
Table 8.4 H.264 CODECs (information not guaranteed to be correct)
Company HW/SW Supports Performance Comments
VideoLocus
www.videolocus.com
SW/HW Main profile 30 fps/4CIF,up
to level 3
HW/SW encoder; SW
decoder; sub-8 × 8
motion
compensation not yet
supported
UBVideo
www.ubvideo.com
SW Main profile 30fps/4CIF DSP implementation
(Texas Instruments
TMS320C64×)
Vanguard Software Solu-
tions www.vsofts.com
SW Downloadable
Windows CODEC
Sand Video
www.sandvideo.com
HW Main profile Supports high
definition
(1920 × 1080)
Decoder
HHI www.hhi.de SW Main profile? Not real-time yet?
Envivio
www.envivio.com
SW/HW Main profile D1 resolution
encoding and
decoding in
real time (HW)
Due to be released later
in 2003
Equator
www.equator.com
SW Implementation for
BSP-15 processor;
no details available
DemoGraFX
www.demografx.com/
SW/HW Advance information:
encoder and decoder
will include optional
proprietary
‘extensions’ to H.264
Polycom
www.polycom.com
HW
Details not yet available
STMicroelectronics
us.st.com
HW Advance information:
encoder and decoder
running on Nomadik
media processor
platform
MainConcept
www.mainconcept.com
SW Advance information,
few details available
Impact Labs Inc.,
www.impactlabs.com
SW Advance information,
few details available
8.5.1 Open Standards?
MPEG-4 and H.264 are ‘open’ international standards,i.e,any individual or organisation can
purchase the standards documents from the ISO/IEC or ITU-T,This means that the standards
have the potential to stimulate the development of innovative,competitive solutions conform-
ing to open specifications,The documents specify exactly what is required for conformance,
making it possible for anyone to develop a conforming encoder or decoder,At the same time,
there is scope for a developer to optimise the encoder and/or the decoder,for example to provide
enhanced visual quality or to take best advantage of a particular implementation platform.
APPLICATIONS AND DIRECTIONS
274
There are however some factors that work against this apparent openness,Companies
or organisations within the Experts Groups have the potential to influence the standardisation
process and (in the case of MPEG) have privileged access to documents (such as draft versions
of new standards) that may give them a significant market lead,The standards are not easily
approachable by non-experts and this makes for a steep learning curve for newcomers to the
field,Finally,there are tens of thousands of patents related to image and video coding and it
is not considered possible to implement one of the more recent standards without potentially
infringing patent rights,In the case of MPEG-4 Visual (and probably the Main and Extended
Profiles of H.264),this means that any commercial implementation of the standard is subject
to license fee payments (see below).
8.5.2 Licensing MPEG-4 Visual and H.264
Any implementation of MPEG-4 Visual will fall into the scope of a number of ‘essential’
patents,Licensing the rights to the main patents is coordinated by MPEG LA [1],a body
that represents the interests of the major patent holders and is not part of MPEG or the
ISO/IEC,Commercial implementation or usage of MPEG-4 Visual is subject to royalty pay-
ments (through MPEG LA) to 20 organisations that hold these patents,Royalty payments are
charged depending on the nature of use and according to the number of encoders,decoders,
subscribers and/or playbacks of coded video,Critics of the licensing scheme claim that the
cost may inhibit the take-up of MPEG-4 by industry but supporters claim that it helpfully clar-
ifies the complex intellectual property situation and ensures that there are no ‘hidden costs’ to
implementers.
H.264/MPEG-4 Part 10 is also subject to a number of essential patents,However,in order
to make the new standard as accessible as possible,the JVT has attempted to make the Baseline
Profile (see Chapter 6) ‘royalty free’,During the standardisation process,holders of key patents
were encouraged to notify JVT of their patent claims and to state whether they would permit
a royalty free license to the patent(s),These patent statements have been taken into account
during the development of the Profiles with the aim of keeping the Baseline free of royalty
payments,As this process is voluntary and relies on the correct identification of all relevant
patents prior to standardisation,it is not yet clear whether the goal of a royalty-free Profile
will be realised but initial indications are positive
1
,Implementation or use of the Main and
Extended Profiles (see Chapter 6) is likely to be subject to royalty payments to patent holders.
8.5.3 Capturing the Market
Defining a technology in an International Standard does not guarantee that it will be a com-
mercial success in the marketplace,The original target application of MPEG-1,the video
CD,was not a success,although the standard is still widely used for storage of coded video
in PC-based applications and on web sites,MPEG-2 is clearly a worldwide success in its
applications to digital television broadcasting and DVD-Video storage,The first version of
MPEG-4 Visual was published in 1999 but it is still not clear whether it will become a mar-
ket leading technology for video coding,The slow process of agreeing licensing terms (not
1
In March 2003,31 companies involved in the H.264 development process and/or holding essential patents confirmed
their support for a royalty-free Baseline Profile.
FUTURE DIRECTIONS
275
finalised until three years after the publication of the standard) and the nature of these terms
has led some commentators to predict that MPEG-4 Visual will not ‘capture’ the market for
its target applications,At the same time,it is widely agreed that there is a requirement to find
a successor to the popular (but rather old) technology of MPEG-2,Some developers may opt
for H.264 and bypass MPEG-4 Visual completely but despite its clear performance advan-
tages (see Chapter 7),H.264 is the less mature of the two standards,There is a continuing
debate about whether proprietary CODECs (for example,Microsoft’s Windows Media Player
9 [3]) may offer a better solution than the standards,Developers of proprietary CODECs are
not constrained by the tightly-regulated standardisation process and can (arguably) upgrade
their technology and respond to industry requirements faster than standards-based vendors.
However,reliance on a single supplier (or at least a single primary licensor) is seen by some
as a significant disadvantage of proprietary solutions.
8.6 FUTURE DIRECTIONS
Guessing the future commercial and technical evolution of multimedia applications is a noto-
riously inexact science,For example,videoconferencing (now a mature technology by most
standards) is yet to be as widely-adopted as has been predicted; many of the innovative tools
that were introduced with the MPEG-4 Visual standard five years ago have yet to make any
commercial impact,However,some predictions about the short,medium and long-term de-
velopment of the technologies described in this book are presented here (many of which may
be proved incorrect by the time this book is published!).
In the short term,publication of Recommendation H.264/MPEG-4 Part 10 is likely to
be followed by amendment(s) to correct omissions and inaccuracies,A number of ongoing
initiatives aim to standardise further transport and storage of MPEG-4 and H.264 coded video
data (for example,file and optical disk storage and transport over IP networks),Following
the extended (and arguably damaging) delay in agreeing licensing terms for MPEG-4 Visual,
it is hoped that terms for H.264 will be finalised shortly after publication of the Standard
(hopefully with confirmation of the royalty-free status of the Baseline profile),The ongoing
debate about which of the current standard and proprietary coding technologies is the ‘best’
is likely to be resolved in the near future,The main contenders appear to be MPEG-4 Visual,
H.264 and Microsoft’s proprietary Windows Media 9 (‘Corona’) format [3].
In the medium term,expect to see new Profiles for H.264 adding support for further
applications (for example,Studio and/or Digital Cinema coding) and improved coding per-
formance (probably at the cost of increased processing requirements),For example,there is
currently a call for proposals to extend the sample depth supported by the standard to more
than eight bits per pixel and to include support for higher chrominance quality (4:2:2 and
4:4:4) [4],It is difficult to see how MPEG-4 Visual can develop much further,now that the
more efficient H.264 is available,The ‘winner’ of the coding technology debate will begin
to replace MPEG-2 and H.263 in existing applications such as television broadcasting,home
video,videoconferencing and video streaming,Some early mobile video services are based on
MPEG-4 Visual but as these services become ubiquitous,H.264 may become a more favoured
technology because of its better performance at low bitrates,Widespread adoption of mobile
video is likely to lead to new,innovative applications and services as users begin to engage
with the technology and adapt it to suit their lifestyles.
APPLICATIONS AND DIRECTIONS
276
In the longer term,expect to see the emergence of new video coding standards as proces-
sor performance continues to improve and previously impractical algorithms become feasible
in commercial applications,Video coding research continues to be extremely active and there
are a number of promising approaches that may finally replace the long-standing DPCM/DCT
coding paradigm,These include (among others) model-based,mesh-based and wavelet-based
video compression,It has been argued that the DPCM/DCT model has had 15 years of con-
tinuous development and is near its performance limit,whereas other techniques offer the
possibility of greater potential performance (however,this argument has been circulating for
a number of years now and DPCM/DCT is not yet dead!) It is possible that some of the more
esoteric features of MPEG-4 Visual (e.g,object-based and mesh-based coding) may re-emerge
in future standards alongside improved coding technology,It could be said that these tools are
ahead of their time at present and may have more chance of commercial success if and when
real application needs become apparent.
8.7 CONCLUSIONS
Years of effort by many hundreds of researchers and developers have led to the standardi-
sation of MPEG-4 Visual and H.264/MPEG-4 Part 10/AVC,The standards are impressive
achievements,each in a different way,MPEG-4 Visual adopts an imaginative and far-sighted
approach to video compression and many of its features and tools are perhaps still ahead of
their time,H.264 has taken a more pragmatic,focused approach to addressing the problems
and needs of current and emerging multimedia applications,This book has attempted to ex-
plain the fundamentals of both standards and to put them in the context of the goals of the
standardisation groups and the ever-changing market,The answer to the much-asked question,
‘which standard is best for my application’,is not yet clear,although there are indications that
H.264 may become the technical leader that will drive the next generation of digital video
applications,However,before staking a reputation or a product development strategy on the
likely outcome of the ‘MPEG-4 vs,H.264’ debate,it is worth remembering a similar debate
from the distant past,VHS vs,Betamax.
8.8 REFERENCES
1,MPEG LA,http://www.mpegla.com.
2,Iain E G Richardson,‘Video Codec Design’,John Wiley & Sons,2002
3,Microsoft Windows Media 9 Series,http://www.microsoft.com/windows/windowsmedia/.
4,ISO/IEC JTC1/SC29/WG11 N5523,Call for Proposals for Extended Sample Bit Depth and Chroma
Format Support in the Advanced Video Coding Standard,March 2003.
Bibliography
1,A,Puri and T,Chen (eds),Multimedia Systems,Standards and Networks,Marcel Dekker,2000.
2,A,Sadka,Compressed Video Communications,John Wiley & Sons,2002.
3,A,Walsh and M,Bourges-S′evenier (eds),MPEG-4 Jump Start,Prentice-Hall,2002.
4,B,Haskell,A,Puri,A,Netravali,Digital Video,An Introduction to MPEG-2,Chapman & Hall,
1996.
5,F,Pereira and T,Ebrahimi (eds),The MPEG-4 Book,IMSC Press,2002.
6,I,E,G,Richardson,Video Codec Design,John Wiley & Sons,2002.
7,K,K,Parhi and T,Nishitani (eds),DigitalSignalProcessingforMultimediaSystems,Marcel Dekker,
1999.
8,K,R,Rao and J,J,Hwang,Techniques and Standards for Image,Video and Audio Coding,Prentice
Hall,1997.
9,M,Ghanbari,Video Coding,An Introduction to Standard Codecs,IEE Press,1999.
10,M,J,Riley and I,E,G,Richardson,Digital Video Communications,Artech House,1997.
11,V,Bhaskaran and K,Konstantinides,Image and Video Compression Standards,Algorithms and
Architectures,Kluwer,1997.
12,W,B,Pennebaker,J,L,Mitchell,C,Fogg and D,LeGall,MPEG Digital Video Compression
Standard,Chapman & Hall,1997.
13,IEEE Transactions on Circuits and Systems for Video Technology,special issue on H.264/AVC,to
appear in 2003.
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
Index
adaptive memory control 166
alpha block
binary 123,125
grey scale 133
animation
face,FBA 156
Arbitrary Slice Order (ASO) 168
AVC 159
BAB See alpha block 123
CABAC See entropy coding 212
CAE See entropy coding 126
CAVLC See entropy coding 201
chrominance 15
coding
mesh 155
run-level 58
scalable 142
FGS 145
spatial 142
temporal 144
synthetic 155
texture 132,149
tools (MPEG-4 Visual) 100
zero-tree 60,150
colour space
RGB 14
YCrCb 15
commercial CODECs 274
data partitioning 115,220
deblocking filter 184
Digital Versatile Disk 3
digital video 2
Discrete Cosine Transform 46,187,234
basis patterns 47
shape-adaptive 138,237
DPCM 44
DWT See wavelet transform 149
entropy coding 61,198,238
arithmetic coding 5,69,241
context-based 72,126,212
CAVLC 201
Exp-Golomb 199
Huffman 62
reversible VLCs 115
error propagation 113,265
FBA 156
fields 13,120,162,212
file formats 263
filter
deblocking 184
post-processing 243
pre-processing 242
Fine Granular Scalability See coding,scalable 145
Flexible Macroblock Order (FMO) 168
formats 19
4CIF 19
CIF 19
ITU-R 601,20
QCIF 19
SQCIF 19
H.261 96
H.263 96
H.264 and MPEG-4 Video Compression,Video Coding for Next-generation Multimedia.
Iain E,G,Richardson.
C?
2003 John Wiley & Sons,Ltd,ISBN,0-470-84837-5
INDEX
280
Human Visual System 3,21,25
hypothetical reference decoder 90
IDR 167
IEC 86
interfacing 241
interlace 13,106,120,162,212
Internet Streaming Media Alliance 92
ISO 6,86
ITU 6,87
Joint Video Team (JVT) 87
JPEG 5,27,83,85,95
JPEG2000 95
levels 91
luminance 15
macroblock 33,164
partition 170
motion compensation 32,33
Global 118
OBMC 100
region based 41
sub-pixel 37,172
tree structured 170
motion estimation 32,33,226
Fast Search 231
Full Search 230
MAE 228
MSE 228
region based 234
SA(T)D 228
SAE 40,228
sub-pixel 233
motion vector
prediction 175
MPEG 2,6,85,86
MPEG-1 95
MPEG-2 2,96
MPEG-4 Industry Forum 92
Network Abstraction Layer 161,220
optical flow 30
patents 274
performance 246
computational 254
optimisation 255
rate-distortion 246,251
platforms 270
prediction
bidirectional 209
direct 210
intra 110,177
16 × 16,180
4 × 4,177
weighted 211
profiles 91,101,162
Advanced Coding Efficiency 138
Advanced Real Time Simple 121
Advanced Simple 115
baseline 165
Core 124
Core Scalable 148
Core Studio 155
FGS 149
main 133
Main 207
N-bit 141
Scalable Texture 152
Simple 106
Simple Scalable 148
Simple Studio 153
quality
DSCQS 22
ITU-R 500-10,22
objective 22
PSNR 23
subjective 21,247
quantization 51,191,238
scalar 52
vector 55
Rate control 256
rate-distortion See performance 246
RBSP 163,220
redundancy
statistical 27
subjective 27
reference
buffer management 166
long term 166
short term 166
SA-DCT See Discrete Cosine Transform 138
sampling
4-2-0,17
4-2-2,17,154
4-4-4,17,154
spatial 11
temporal 11
scalable coding See coding,scalable 142
segmentation 226
short header 109
slice 114,164
B-slice 207
groups 167
INDEX
281
I-slice 167
P-slice 167
redundant 167
SI-slice 216
SP-slice 216
SNHC See coding:synthetic 156
SP slice See slice 216
sprite 136
transport 262
MPEG-2 262
RTP 263
VCEG 6,7,85,87,98,223
video capture 10
video codec 28,72
Video Coding Layer 163
video object 101,103
video object plane 103
B-VOP 116
I-VOP 107
P-VOP 109
video packet 114
Video Quality Experts Group 24
video sequence 13
interlaced 13
progressive 13
wavelet transform 50,149,238