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The H.264 Advanced Video Compression Standard, Second Edition

Name: The H.264 Advanced Video Compression Standard, Second Edition
Author: Iain E. Richardson
ISBN: 9780470516928

by Iain E. Richardson

August 2010

Intermediate to advanced

346 pages

8h 36m

English

Wiley

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Copyright
About the Author
Preface
Glossary
1. Introduction
1.1. A change of scene1.2. Driving the change1.3. The role of standards1.4. Why H.264 Advanced Video Coding is important1.5. About this bookReference
2. Video formats and quality
2.1. Introduction2.2. Natural video scenes2.3. Capture2.3.1. Spatial sampling2.3.2. Temporal sampling2.3.3. Frames and fields2.4. Colour spaces2.4.1. RGB2.4.2. YCrCb2.4.3. YCrCb sampling formats2.5. Video formats2.5.1. Intermediate formats2.5.2. Standard Definition2.5.3. High Definition2.6. Quality2.6.1. Subjective quality measurement2.6.1.1. Factors influencing subjective quality2.6.1.2. ITU-R 5002.6.2. Objective quality measurement2.6.2.1. PSNR2.6.2.2. Other objective quality metrics2.7. SummaryReferences
3. Video coding concepts
3.1. Introduction3.2. Video CODEC3.3. Prediction model3.3.1. Temporal prediction3.3.1.1. Prediction from the previous video frame3.3.1.2. Changes due to motion3.3.1.3. Block-based motion estimation and compensation3.3.1.4. Motion compensated prediction of a macroblock3.3.1.4.1. Motion estimation:3.3.1.4.2. Motion compensation:3.3.1.5. Motion compensation block size3.3.1.6. Sub-pixel motion compensation3.3.2. Spatial model: intra prediction3.4. Image model3.4.1. Predictive image coding3.4.2. Transform coding3.4.2.1. Overview3.4.2.2. DCT3.4.2.3. Wavelet3.4.3. Quantization3.4.3.1. Scalar quantization3.4.3.2. Vector quantization3.4.4. Reordering and zero encoding3.4.4.1. DCT3.4.4.1.1. Coefficient distribution3.4.4.1.2. Scan3.4.4.1.3. Run-Level Encoding3.4.4.2. Wavelet3.4.4.2.1. Coefficient distribution3.4.4.2.2. Zerotree encoding3.5. Entropy coder3.5.1. Predictive coding3.5.2. Variable-length coding3.5.2.1. Huffman coding3.5.2.1.1. Example 1: Huffman coding, Sequence 1 motion vectors3.5.2.1.2. Example 2: Huffman coding, sequence 2 motion vectors3.5.2.2. Pre-calculated Huffman-based coding3.5.2.2.1. Transform Coefficients (TCOEF)3.5.2.2.2. Motion Vector Difference (MVD)3.5.2.3. Other variable-length codes3.5.3. Arithmetic coding3.5.3.1.3.5.3.1.1. Decoding procedure3.5.3.2. Context-based Arithmetic Coding3.6. The hybrid DPCM/DCT video CODEC model3.6.1.3.6.1.1.3.6.1.1.1. Encoder data flow3.6.1.1.2. Decoder data flow3.7. SummaryReferences
4. What is H.264?
4.1. Introduction4.2. What is H.264?4.2.1. A video compression format4.2.2. An industry standard4.2.3. A toolkit for video compression4.2.4. Better video compression4.3. How does an H.264 codec work?4.3.1. Encoder processes4.3.1.1. Prediction4.3.1.2. Transform and quantization4.3.1.3. Bitstream encoding4.3.2. Decoder processes4.3.2.1. Bitstream decoding4.3.2.2. Rescaling and inverse transform4.3.2.3. Reconstruction4.4. The H.264/AVC Standard4.5. H.264 Profiles and Levels4.6. The H.264 Syntax4.7. H.264 in practice4.7.1. Performance4.7.2. Applications4.8. SummaryReferences
5. H.264 syntax
5.1. Introduction5.1.1. A note about syntax examples5.2. H.264 syntax5.3. Frames, fields and pictures5.3.1. Decoding order5.3.2. Display order5.3.3. Reference picture lists5.3.3.1. Default reference picture list order5.3.3.2. Changing the reference picture list order5.3.4. Frame and field coding5.3.4.1. Coding pictures in frame or field mode5.3.4.2. Coding macroblocks in frame or field mode (MBAFF)5.4. NAL unit5.5. Parameter Sets5.6. Slice layer5.6.1. Slice types5.6.2. Slice header5.6.3. Slice data5.7. Macroblock layer5.7.1. Overview5.7.2. The Intra PCM mode5.7.3. Macroblock prediction5.7.4. Residual data5.7.5. Macroblock syntax examples5.8. SummaryReferences
6. H.264 Prediction
6.1. Introduction6.2. Macroblock prediction6.3. Intra prediction6.3.1. 4 × 4 luma prediction modes6.3.2. 16 × 16 luma prediction modes6.3.3. Chroma prediction modes6.3.4. 8 × 8 luma prediction, High profiles6.3.5. Signalling intra prediction modes6.3.5.1. 4 × 4 or 8 × 8 luma prediction6.3.5.1.1. 16 × 16 luma prediction or chroma prediction6.4. Inter prediction6.4.1. Reference pictures6.4.2. Interpolating reference pictures6.4.2.1. Generating interpolated sub-pixel samples6.4.2.1.1. Luma component6.4.2.1.2. Chroma components6.4.3. Macroblock partitions6.4.4. Motion vector prediction6.4.4.1. Bipredicted macroblock motion vector prediction6.4.4.2. Direct mode motion vector prediction6.4.5. Motion compensated prediction6.4.5.1. One reference6.4.5.2. Two references : biprediction6.4.5.3. Weighted prediction6.4.5.4. Frame / field prediction6.4.6. Inter prediction examples6.4.7. Prediction structures6.4.7.1. Low delay, minimal storage6.4.7.2. 'Classic' Group of Pictures structure6.4.7.3. Multiple reference frames6.4.7.4. Hierarchical prediction structures6.5. Loop filter6.5.1. Boundary strength6.5.2. Filter decision6.5.3. Filter implementation6.5.4. Loop filter example6.6. SummaryReferences

7. H.264 transform and coding
7.1. Introduction7.2. Transform and quantization7.2.1. The H.264 transforms7.2.2. Transform processes7.2.2.1. Overview of transform processes7.2.2.2. Luma transform processes7.2.2.3. Chroma transform processes7.2.3. Integer transform and quantization : 4 × 4 blocks7.2.3.1. Developing the forward transform and quantization process7.2.3.2. Developing the rescaling and inverse transform process7.2.3.3. Developing Cf4 and Sf4 : 4 × 4 blocks7.2.3.4. Developing Ci4 and Si4 : 4 × 4 blocks7.2.3.5. Developing Vi47.2.3.6. The complete 4 × 4 inverse transform and scaling process7.2.3.7. Deriving Mf47.2.3.8. The complete 4 × 4 forward transform and scaling process7.2.3.9. 4 × 4 Transform and quantization: Examples7.2.3.9.1. Core transform7.2.3.9.2. Scaling and quantization, QP = 67.2.3.9.3. Scaling and quantization, QP = 127.2.3.9.4. Scaling and quantization, QP = 187.2.3.9.5. Scaling and quantization, QP = 307.2.3.9.6. Comparison with 4 × 4 DCT using floating-point arithmetic7.2.4. Integer transform and quantization : 8 × 8 blocks7.2.4.1. Forward transform Cf8 : 8 × 8 blocks7.2.4.2. Inverse transform Ci8: 8 × 8 blocks7.2.4.3. Inverse quantization and scaling: 8 × 8 blocks7.2.4.4. Forward quantization and scaling : 8 × 8 blocks7.2.5. DC transforms7.2.6. Transform and quantization extensions in the High profiles7.2.6.1.7.2.6.1.1. Frequency dependent quantization, High profiles7.2.6.1.2. Lossless predictive coding, High 4:4:4 profiles7.2.6.1.3. Colour plane coding, High 4:4:4 profiles7.3. Block scan orders7.4. Coding7.4.1. Exp-Golomb Coding7.4.2. Context Adaptive Variable Length Coding, CAVLC7.4.3. Context Adaptive Binary Arithmetic Coding, CABAC7.4.3.1. The coding process7.4.3.2. The context models7.4.3.3. The arithmetic coding engine7.5. SummaryReferences
8. H.264 conformance, transport and licensing
8.1. Introduction8.2. Conforming to the Standard8.2.1. Profiles8.2.1.1. Baseline, Constrained Baseline, Extended and Main Profiles8.2.1.2. High Profiles8.2.1.3. Intra Profiles8.2.2. Levels8.2.3. Hypothetical Reference Decoder8.2.4. Conformance testing8.2.4.1. Testing a bitstream8.2.4.2. Testing a decoder8.2.4.3. Testing an encoder8.3. H.264 coding tools for transport support8.3.1. Redundant slices8.3.2. Arbitrary Slice Order (ASO)8.3.3. Slice Groups / Flexible Macroblock Order (FMO)8.3.4. SP and SI slices8.3.5. Data partitioned slices8.4. Transport of H.264 data8.4.1. Encapsulation in RBSPs, NALUs and packets8.4.2. Transport protocols8.4.3. File formats8.4.4. Coding and transport issues8.5. Supplemental Information8.5.1. Supplemental Enhancement Information (SEI)8.5.2. Video Usability Information (VUI)8.6. Licensing H.264/AVC8.6.1. Video coding patents8.6.2. Video coding standards and patents8.6.3. Licensing H.264/AVC patents8.7. SummaryReferences
9. H.264 performance
9.1. Introduction9.2. Experimenting with H.2649.2.1. The JM Reference Software9.2.1.1. Overview9.2.1.2. File formats9.2.1.3. Basic operation9.2.1.4. Advanced operation9.2.1.5. Trace file9.2.2. Other software encoders/decoders9.2.3. H.264 stream analysis9.3. Performance comparisons9.3.1. Performance criteria9.3.2. Performance examples: Foreman sequence, QCIF resolution9.3.2.1. 'Low complexity' and 'Basic'9.3.2.2. 'Basic' configuration plus options9.3.2.3. Baseline and Main Profile9.3.3. Performance examples: Foreman and Container sequences9.3.4. Performance examples: Inter prediction structures9.3.5. Performance example: H.264 vs. MPEG-4 Visual9.4. Rate control9.4.1. Rate control in the JM reference encoder9.4.1.1. GOP level rate control9.4.1.2. Frame and/or basic unit rate control9.5. Mode selection9.5.1. Rate Distortion Optimized mode selection9.6. Low complexity coding9.6.1. Approximating the cost function9.6.2. Reducing the set of tested modes9.6.3. Early termination9.7. SummaryReferences
10. Extensions and directions
10.1. Introduction10.2. Scalable Video Coding10.2.1. Simulcast transmission10.2.2. Scalable transmission10.2.3. Applications of Scalable Video Coding10.2.4. Scalable video coding in H.26410.2.5. Temporal scalability10.2.6. Quality scalability: overview10.2.7. Spatial scalability: overview10.2.8. Spatial scalability in detail10.2.9. Quality scalability in detail10.2.10. Combined scalability10.2.11. SVC performance10.3. Multiview Video Coding10.3.1. H.264 Multiview Video Coding10.4. Configurable Video Coding10.4.1. MPEG Reconfigurable Video Coding10.4.2. Fully Configurable Video Coding10.5. Beyond H.264/AVC10.6. SummaryReferences

Content preview from The H.264 Advanced Video Compression Standard, Second Edition

Chapter 2. Video formats and quality

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. Digital video is a representation of a natural or real-world visual scene, sampled spatially and temporally. A scene is typically sampled at a point in time to produce a frame, which represents the complete visual scene at that point in time, or a field, which typically consists 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 components or sets of samples are typically required to represent a scene in colour. Popular formats for representing video in digital form include the ITU-R 601 standard, High Definition formats and a 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 or automatic measurements are easier to implement but as yet do not accurately match the behaviour of a human observer.

Natural video scenes

A 'real world' or natural video scene is typically composed of multiple objects each with their own characteristic ...

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Video Compression Handbook, Second Edition

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