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chronization to be lost. Without reversible codes, the data from the error occurrence to the resynchronization point would ordinarily have been discarded as useless by the decoder, even though many valid symbols may have been received, simply because, while running out of synchronization, the decoder has no way of recognizing valid symbols. Error Concealment. Error concealment acts as a very important last line of defense in a robust, error-tolerant video codec. The effectiveness of error concealment strategies is highly dependent on the performance of the resynchronization scheme. If the resynchronization tools can effectively isolate and localize the fault in the bit stream, then the error concealment problem becomes much more tractable. In low bit rate, low delay applications, the simple expedient of copying blocks from the previous decoded VOP provides perfectly usable results. To further enhance concealment capabilities, MPEG-4 provides an additional error-resilient mode that improves the ability of the decoder to localize an error. This approach uses data partitioning, separating the motion and the texture. A second resynchronization marker is inserted between the motion and texture information, so that if texture information is lost due to error, motion information is used to conceal these errors by motion-compensating the previous decoded VOP.
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Concatenation
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When television production and post-production was young and analog video was the only available option, many of the stages in production involved playing video, in real time, from one machine to another, rerecording or processing it at the next stage in production. Each processing and re-recording stage added a generation loss. When television production became digital, this workflow was essentially preserved in aspic. Many production stages, even today, still involve playing back baseband video in real time, between processing stations. Even though the compressed data could be transferred over a high speed LAN much faster than real time playback, long-established production habits and backward-compatibility concerns constrain the data flow to take place the way grandma used to do it (assuming, of course, that grandma was a video producer). This is an important problem because if the analog production workflow is slavishly mimicked in a digital production plant, using lossy compression encoders and decoders at every production
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Appendix E
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stage interface, the video data goes through a number of compress/ decompress cycles, with each transfer potentially losing more of the information. The losses are especially acute if the pixel values in the video information change because of processing or if aspect ratio conversion takes place. Information loss is worse at low bit rates or high compression ratios; information, once lost, cannot be recovered. Compression and decompression in the same format is not usually called concatenation. However, when different compression schemes are used, concatenation artifacts are likely. The more generations in the production process, the more artifacts can potentially be introduced. Some of these artifacts are insignificant and barely noticeable, whereas others are considerable and objectionable. In a typical streaming media production chain, it is common for the cameras to capture material in DV format, for the post-production plant to be wired for MPEG-2, and for the final stream to be encoded into, say, MPEG-4. Concatenation artifacts can be mitigated in two ways: reducing the number of compress/decompress cycles in the production chain and working with higher quality or losslessly compressed images. Working with high quality, lightly compressed data upstream, unfortunately, costs more, since all of the equipment has to be capable of handling vast amounts of data. The electronics must work faster, storage has to be larger and higher bandwidth networks and interfaces are needed. For streaming media production, a balance must be struck between the cost of production and the amount of degradation due to concatenation artifacts that is tolerable. The saving grace is that typical compress/decompress cycle losses do not typically degrade image quality as badly as low-band analog tape generation loss, so it is possible to start with relatively modest image quality at the camera and still produce an acceptable presentation at the end user. On the other side of the equation, there is a point of diminishing returns where working with ever higher bit rate images provides only marginal improvements in image quality and end-user quality of experience. Transcoding from one streaming media delivery format to another, especially if the streams have high compression ratios or low bit rates, is probably never going to produce satisfactory results, simply because the popular formats treat their video signals and compression algorithms in different ways and concatenation effects will, in all likelihood, prevent the output from being usable. Transcoding one delivery stream format into another is, therefore, not recommended. Using a domestic DVD as source, with its MPEG-2 encoding, is probably going to produce marginal streaming media quality as well, because of concatenation effects.
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