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analog (Betacam, VHS, S-VHS) or digital tape (D1, D2, Digital Betacam). Digital tape is a quite expensive medium, but it eliminates generational loss and, therefore, is popular in commercial video. To create a digital representation of analog video, the analog signal is typically sampled at three to four times the bandwidth of the video channel (unlike audio, which typically relies on a two times sample). As a result, the output bandwidth for digital-tape machines is quite high 411 Mbps for D1, and 74 Mbps for D2. A single CD-ROM drive will hold approximately 650 MB of data. The best numbers available today, including optimal sampling and compression rates (discussed a bit later) indicate that VHS-quality recording requires roughly 5 MB of storage per second of recorded movie. That s 7,200 seconds for a two-hour movie, or roughly 30 CD-ROM disks. Finally, the maximum transfer rate across a typical bus in a PC is 420 kilobytes per second, somewhat less than that required for a fullmotion movie.
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Growth in desktop video applications for videoconferencing, on-demand training, and gaming is fueling the growth in digital video technology, but the problems mentioned earlier still loom large. Recent advances have had an impact; for example, storage and transport limitations can often be overcome with compression. The most widely used compression standard for video is MPEG, created by the Moving Pictures Expert Group, the joint ISO/IEC/ITU-T organization that oversees standards development for video. MPEG is relatively straightforward. In its initial compression step, MPEG creates what is called a reference frame, an actual copy of the original frame of video. It intersperses these so-called I-Frames every 15 frames in the transmission. Because they are used as a reference point they are only minimally compressed. MPEG assumes (correctly) that a relatively small amount of the information in a series of video frames changes from frame to frame. The background, for example, stays relatively constant in most movies, for long periods of time. Therefore, only a small amount of the information in each frame needs to be recaptured, recompressed, and re-stored. Two additional frame types are created in the MPEG process. Predicted frames use information contained in past frames to predict the
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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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content of the next frame in the series, thus reducing the amount of information required. These predicted frames experience medium to significant compression. Finally, MPEG may create bidirectional 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 Gigabyte movie can be reduced to a somewhat more manageable 90 MB. There are other compression schemes for video. Motion JPEG, for example, is an intraframe compression technique (unlike MPEG, which is interframe) that compresses and stores each and every image 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, DV, DVCAM, 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, or NTSC (sometimes said to stand for Never Twice the Same Color based on the sloppy color management that characterizes the standard); the other, 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. While technically different, both address the same concerns and rely on the same characteristics to guarantee image quality.
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