1. Multimedia Basics (2) Hongli luo Fall 2010 CEIT, IPFW

2. Topics r Image data type r Color Model : m RGB, CMY, CMYK, YUV, YIQ, YCbCr r Analog Video – NTSC, PAL r Digital Video

3. 3.2 Color Model r Light is an electromagnetic wave. Its color is characterized by the wavelength content of the light. m Laser light consists of a single wavelength: e.g., a ruby laser produces a bright, scarlet-red beam. m Most light sources produce contributions over many wavelengths. m However, humans cannot detect all light, just contributions that fall in the “visible wavelengths". m Short wavelengths produce a blue sensation, long wavelengths produce a red one. m Visible light is an electromagnetic wave in the range 400 nm to 700 nm (where nm stands for nanometer, 10 −9 meters).

4. Human Vision r The eye works like a camera, with the lens focusing an image onto the retina (upside-down and left-right reversed). r The retina consists of an array of rods and three kinds of cones. m Rods respond to brightness, not sensitive to colors m Cones are sensitive to colors r The three kinds of cones are most sensitive to red (R), green (G), and blue (B) light. r The sensitivity of our receptors is also a function of wave-length (Fig. 4.3 below).

5. Spectral Sensitivity of the Eye r The eye is most sensitive to light in the middle of the visible spectrum. r The Blue receptor sensitivity is not shown to scale because it is much smaller than the curves for Red or Green – Blue is a late addition, in evolution. r Fig. 4.3 shows the overall sensitivity as a dashed line – this important curve is called the luminous-efficiency function. m It is usually denoted and is formed as the sum of the response curves for Red, Green, and Blue.

6. r The achromatic channel produced by the cones is approximately proportional to 2R+G+B/20.

7. RGB Color Model r Color model is made up of Red, Green and Blue intensity components. r RGB color model is used for CRT displays. r CRT displays have three phosphors (RGB) which produce a combination of wavelengths when excited with electrons. r The gamut of colors is all colors that can be reproduced using the three primaries.

8. Subtractive Color: CMY Color Model r Additive color – RBG color model m when two light beams impinge on a target, their colors add; m when two phosphors on a CRT screen are turned on, their colors add. r Subtractive color model – CMY color model m for ink deposited on paper, the opposite situation holds: m yellow ink subtracts blue from white illumination, but reflects red and green; it appears yellow. m Used in printing

9. r Instead of red, green, and blue primaries, we need primaries that amount to -red, -green, and -blue. I.e., we need to subtract R, or G, or B. r These subtractive color primaries are Cyan (C), Magenta (M) and Yellow (Y ) inks. r CMY model is mostly used in printing where the color on the paper absorb certain colors.

10. Transformation from RGB to CMY r Simplest model we can invent to specify what ink density to lay down on paper, to make a certain desired RGB color r Then the inverse transform is:

11. r Fig. 4.16: color combinations that result from combining primary colors available in the two situations, additive color and subtractive color.

12. Undercolor Removal: CMYK System r Undercolor removal m calculate that part of the CMY mix that would be black, remove it from the color proportions, and add it back as real black. r CMYK color model is made up of Cyan, Magenta, Yellow, Black

13. Color Models in Video r Video Color Transforms m Largely derive from older analog methods of coding color for TV. m Luminance is separated from color information. m YIQ YIQ is used to transmit TV signals in North America and Japan. This coding also makes its way into VHS video tape coding in these countries since video tape technologies also use YIQ. m YUV In Europe, video tape uses the PAL or SECAM codings, which are based on TV that uses a matrix transform called YUV. m YCbCr Finally, digital video mostly uses a matrix transform called YCbCr that is closely related to YUV

14. YUV Color Model r Established in 1982 to build digital video standard r Luminance is separated from color information r Y’ – luma, m Luminance signal m Y’ = 0.299 R’ + 0.587G’ + 0.114B’ r U, V – chrominance m The difference between a color and a reference white at the same luminance m U = B’ – Y’, V = R’ – Y’(4.27)

15. YUV Color Model r For gray, R’ = G’ = B’, the luminance Y’ equals to that gray, since 0.299+0.587+0.114 = 1.0. And for a gray (“black and white") image, the chrominance (U, V ) is zero. r Human visual system is more sensitive to luminance than chrominance r YUV represent color with luminance (Y) and chrominance (U,V) m Similarly YIQ, YCrCb r Advantages m We can subsample the chrominance

17. YIQ Color Model r YIQ is used in NTSC color TV broadcasting. Again, gray pixels generate zero (I,Q) chrominance signal. m I and Q are a rotated version of U and V. m Y ‘ in YIQ is the same as in YUV; U and V are rotated by 33 0 m This leads to the following matrix transform:

19. 3.3 Analog Video r An analog signal f(t) samples a time-varying image. So-called “progressive” scanning traces through a complete picture (a frame) row-wise for each time interval. r In TV, and in some monitors and multimedia standards as well, another system, called “interlaced” scanning is used: m The odd-numbered lines are traced first, and then the even- numbered lines are traced. This results in “odd” and “even” fields - two fields make up one frame. m In fact, the odd lines (starting from 1) end up at the middle of a line at the end of the odd field, and the even scan starts at a half-way point.

20. r Figure 5.1 shows the scheme used. First the solid (odd) lines are traced, P to Q, then R to S, etc., ending at T; then the even field starts at U and ends at V. r It was difficult to transmit the amount of information in a full frame quickly enough to avoid flicker.

21. Analog Video r NTSC (National Television System Committee) m Analog television system in the United States, Canada, Japan, etc m 4:3 aspect ration (ratio of picture width to its height) m 525 scan lines per frame, 30 frames per second, m Interlaced, each frame is divided into two fields m NTSC uses YIQ color model 6 MHz channel Assign a bandwidth of 4.2 MHz to Y, and only 1.6 MHz to I and 0.6 MHz to Q due to humans‘ insensitivity to color details.

23. Analog Video r PAL (Phase Alternating Line) m TV standard widely used in Western Europe, China, India, and many other parts of the world m 4:3 aspect ratio m 625 scan lines per frame, 25 frames per second (40msec/frame) m Interlaced, each frame is divided into 2 fields m PAL uses YUV color model 8 MHz channel Allocates a bandwidth of 5.5 MHz to Y, and 1.8 MHz each to U and V

24. r Table 5.2 gives a comparison of the three major analog broadcast TV systems. r SECAM is similar to PAL

25. 3.4 Digital Video r The advantages of digital representation for video are many. For example: m Video can be stored on digital devices or in memory, ready to be processed (noise removal, cut and paste, etc.), and integrated to various multimedia applications; m Direct access is possible, which makes nonlinear video editing achievable as a simple, rather than a complex task; m Repeated recording does not degrade image quality; m Ease of encryption and better tolerance to channel noise. r The usual color space is YCbCr.

26. Chroma Subsampling r Stores color information at lower resolution than intensity information r The purpose is compression – reduce the bit rates m Human visual system is more sensitive to variations in brightness than color. m Assign more bandwidth to Y than the color difference components Human visual system is less sensitive to the position and motion of color than luminance Bandwidth can be optimized by storing more luminance detail than color detail m Reduction results in almost no perceivable visual difference

27. Chroma Subsampling r Numbers are given stating how many pixel values, per four original pixels, are actually sent: m The chroma subsampling scheme 4:4:4 indicates that no chroma subsampling is used: each pixel's Y, Cb and Cr values are sampled, 4 for each of Y, Cb, Cr. m The scheme 4:2:2 indicates horizontal subsampling of the Cb, Cr signals by a factor of 2. That is, of four pixels horizontally labelled as 0 to 3, all four Ys are sampled, and every two Cb's and two Cr's are sampled, as (Cb0, Y0)(Cr0, Y1)(Cb2, Y2)(Cr2, Y3)(Cb4, Y4), and so on (or averaging is used). m The scheme 4:1:1 subsamples horizontally by a factor of 4. m The scheme 4:2:0 subsamples in both the horizontal and vertical dimensions by a factor of 2. Theoretically, an average chroma pixel is positioned between the rows and columns as shown Fig.5.6. r Scheme 4:2:0 along with other schemes is commonly used in JPEG and MPEG

29. CCIR Standards for Digital Video r CCIR is the Consultative Committee for International Radio, and one of the most important standards it has produced is CCIR-601, for component digital video. m This standard has since become standard ITU-R-601, an international standard for professional video applications adopted by certain digital video formats including the popular DV video. r Table 5.3 shows some of the digital video specifications, all with an aspect ratio of 4:3.

30. CIF and QCIF r CIF stands for Common Intermediate Format specified by the CCITT. m The idea of CIF is to specify a format for lower bitrate. m CIF is about the same as VHS quality. It uses a progressive (non-interlaced) scan. r QCIF stands for “Quarter-CIF”. All the CIF/QCIF resolutions are evenly divisible by 8, and all except 88 are divisible by 16; this provides convenience for block-based video coding in H.261 and H.263, H.264