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information required. These predicted frames experience medium to significant compression. MPEG can also create bi-directional interpolated frames that are interspersed between the original I-frames and the predicted frames. They require input from both and, because they constitute the bulk of the transmitted frame stream, are subject to the most compression. In fact, compression ratios of 200:1 are not uncommon in MPEG. An 18-GB movie can be reduced to a somewhat more manageable 90 MB. Several different versions of MPEG compression are available. MPEG I was created to solve the transmission and storage challenges associated with relatively low-bandwidth situations, such as PC-to-CD-ROM or low-bit-rate data circuits. MPEG II, on the other hand, is designed to address much more sophisticated transmission schemes in the 6 to 40 Mb-per-second range. This positions it to handle such applications as broadcast television and HDTV, as well as variable bit rate video delivered over packet, Ethernet, and Token Ring networks. MPEG II has the attention of both the telephone and the cable television industries as the near-term facilitator of video-on-demand services. MPEG III, also known as MP3, has become both famous and infamous of late and has made the terms Napster and Metallica household names. MPEG layer 3 is a type of audio compressor/decompressor (CODEC) that delivers significant compression of as much as 12:1 of an audio signal with very little degradation of sound quality. Higher compression levels can be achieved, but sound quality suffers. The standard bit rates used in MP3 CODECs are 128 and 112 Kbps. One advantage of MP3 is that a sound file can be broken into pieces and each piece remains independently playable. The feature that makes this possible means that MP3 files can be streamed across the net in real-time, although network latency can limit the quality of the received signal. The only real disadvantage of MP3 compression is that significant processor power is required to encode and play files. Dedicated MP3 players have recently emerged on the market and are proving to be quite popular. I have an MP3 player with 6 GB of storage that I have encoded and loaded more than 170 CDs at CD quality into and still have over a gigabyte of space left. MPEG IV is a specially designed standard for lower bit rate transmissions such as dial-up video. Other compression schemes are available for video. Motion JPEG, for example, is an intra-frame compression technique (unlike MPEG, which is inter-frame) that compresses and stores each and every image
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Downloaded from Digital Engineering Library @ McGraw-Hill (www.digitalengineeringlibrary.com) Copyright 2004 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use as given at the website.
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as a separate entity. This is different from MPEG. Compression ratios with Motion JPEG are considerably lower than MPEG s 200:1 numbers. Ratios of 20:1 are about the limit, assuming equivalent image quality. Other techniques exist, but they are largely proprietary. These include PLV, Indeo, RTV, Compact Video, AVC, and a few others.
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It s interesting to note that in the drive toward digitization the ultimate goal is to create a video storage and transport technology that will yield as good a representation of the original image as analog transmission does. Two primary governing organizations dictate television standards. One is the National Television System Committee (NTSC), sometimes said to stand for never twice the same color, based on the sloppy color management that characterizes the standard). The other organization, used primarily in Europe, is the Phased Alternate Line (PAL) system. NTSC is built around a 525-line-per-frame, 30-frame-per-second standard, while PAL uses 625 lines-per-frame and 25 frames-per-second. Although technically different, both address the same concerns and rely on the same characteristics to guarantee image quality.
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