Richardson的《Video Codec Design》：图像与视频压缩系统开发指南

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《Video Codec Design》是一本由Iain E. Richardson编著的专业书籍，专为视频编码领域提供深入的理论与实践指导。该书于2002年由John Wiley & Sons Ltd出版，英文版ISBN分别为0-471-48553-5（硬封面）和0-470-84783-2（电子版）。本书面向的是对视频编码系统开发感兴趣的读者，特别是那些希望了解图像和视频压缩技术的工程师、研究人员以及专业技术人员。书中详细探讨了视频编码的核心概念，涵盖了从基本原理到高级设计的所有层面。作者Iain E. Richardson在罗伯特·戈登大学，阿伯丁，英国，以其深厚的学术背景和丰富的实践经验，引领读者进入这个复杂而关键的技术领域。视频编码是现代通信、多媒体存储和传输的关键组成部分，它决定了视频质量、数据流量和系统的效率。《Video Codec Design》不仅阐述了视频编码的基本算法和技术，如H.264/AVC、MPEG-4 Part 2、MJPEG等，还深入解析了编码器和解码器的设计策略，包括熵编码、变换编码、预测编码、量化和熵变等核心模块。此外，书中还会涉及编码效率优化、适应不同应用场景（如高清、超高清和网络流媒体）的方法，以及编码器和解码器的硬件实现和软件编程技巧。版权方面，本书受到严格的版权保护，未经John Wiley & Sons Ltd或Copyright Licensing Agency Ltd的书面许可，任何复制、存储、检索、传输或任何形式的非授权复制行为都是违法的。购买者和读者可以通过访问http://www.wileyeurope.com获取更多信息和支持，以及联系出版社进行进一步咨询或客户服务。《Video Codec Design》是一本极具价值的参考资料，对于想要在视频编码技术上提升专业知识和技能的专业人士来说，无论是理论学习还是实际项目开发，都能从中收获宝贵的洞察和实用技巧。

INTRODUCTION

DVD players or on PCs. The heart of all of these applications is the video compressor and

decompressor; or enCOder/DECoder; or

video

CODEC.

1.2

VIDEO CODEC DESIGN

Video CODEC technology has in the past been something

‘black art’ known only to a

small community of academics and technical experts, partly because of the lack of appro-

achable, practical literature on the subject. One view of image and video coding is

mathematical process. The video coding field poses

number of interesting mathematical

problems and this means that much of the literature on the subject is, of necessity, highly

mathematical. Such

treatment is important for developing the fundamental concepts of

compression but can be bewildering for an engineer

developer who wants to put

compression into practice. The increasing prevalence of digital video applications has led

to the publication of more approachable texts on the subject: unfortunately, some of these

offer at best

superficial treatment

the issues, which can be equally unhelpful.

This

book

aims to fill a gap in the market between theoretical and over-simplified texts on

video coding. It is written primarily from a design and implementation perspective. Much

work has been done over the last two decades

developing a portfolio

practical

techniques and approaches to video compression coding as well

large body of theoretical

research.

grasp of these design techniques, trade-offs and performance issues is important

to anyone who needs

design, specify or interface to video CODECs. This book emphasises

these practical considerations rather than rigorous mathematical theory and concentrates on

the current generation of video coding systems, embodied by the MPEG-2, MPEG-4 and

H.263 standards. By presenting the practicalities of video CODEC design

an approachable

way

is hoped that this

book

will help to demystify this important technology.

1.3

STRUCTURE

THIS

BOOK

The book is organised in three main sections (Figure

1.1).

We deal first with the fundamental

concepts of digital video, image and video compression and the main international standards

for video coding (Chapters

2-5).

The second section (Chapters 6-9) covers the key compo-

nents of video CODECs in some detail. Finally, Chapters 10-14 discuss system design issues

and present some design case studies.

Chapter 2, ‘Digital Video’, explains the concepts

video capture, representation and

display; discusses the way

which we perceive visual information; compares methods for

measuring and evaluate visual ‘quality’; and lists some applications of digital video.

Chapter 3, ‘Image and Video Compression Fundamentals’, examines the requirements for

video and image compression and describes the components

‘generic’ image CODEC

and video CODEC. (Note: this chapter deliberately avoids discussing technical or standard-

specific details of image and video compression.)

Chapter

‘JPEG and MPEG’, describes the operation of the international standards

bodies and introduces the IS0 image and video compression standards: JPEG, Motion JPEG

and JPEG-2000 for images and MPEG-I, MPEG-2 and MPEG-4 for moving video.

INTRODUCTION

Chapter

‘H.261, H.263 and H.26L‘, explains the concepts of the ITU-T video coding

standards H.261 and H.263 and the emerging H.26L. The chapter ends with a comparison of

the performance of the main image and video coding standards.

Chapter

‘Motion Estimation and Compensation’, deals with the ‘front end’ of a video

CODEC. The requirements and goals of motion-compensated prediction are explained and

the chapter discusses a number

practical approaches to motion estimation in software or

hardware designs.

Chapter

‘Transform Coding’, concentrates mainly on the popular discrete cosine

transform. The theory behind the DCT is introduced and practical algorithms for calculating

the forward and inverse DCT are described. The discrete wavelet transform (an increasingly

popular alternative to the DCT) and the process of quantisation (closely linked to transform

coding) are discussed.

Chapter

‘Entropy Coding’, explains the statistical compression process that forms the

final step in a video encoder; shows how Huffman code tables are designed and used;

introduces arithmetic coding; and describes practical entropy encoder and decoder designs.

Chapter

‘Pre- and Post-processing’, addresses the important issue of input and output

processing; shows how pre-filtering can improve compression performance; and examines a

number of post-filtering techniques, from simple de-blocking filters to computationally

complex, high-performance algorithms.

Chapter

10,

‘Rate, Distortion and Complexity’, discusses the relationships between com-

pressed bit rate, visual distortion and computational complexity in a ‘lossy’ video CODEC;

describes rate control algorithms for different transmission environments; and introduces the

emerging techniques of variable-complexity coding that allow the designer to trade

computational complexity against visual quality.

Chapter

11,

‘Transmission

Coded Video’, addresses the influence

the transmission

environment on video CODEC design; discusses the quality of service required by a video

CODEC and provided by typical transport scenarios; and examines ways in which quality of

service can be ‘matched’ between the CODEC and the network to maximise visual quality.

Chapter 12, ‘Platforms’, describes a number of alternative platforms for implementing

practical video CODECs, ranging from general-purpose PC processors to custom-designed

hardware platforms.

Chapter 13, ‘Video CODEC Design’, brings together a number of the themes discussed in

previous chapters and discusses how they influence the design of video CODECs; examines

the interfaces between a video CODEC and other system components; and presents two

design studies,

software CODEC and a hardware CODEC.

Chapter

14,

‘Future Developments’, summarises some of the recent work in research and

development that will influence the next generation of video CODECs.

Each chapter includes references

papers and websites that are relevant to the topic. The

bibliography lists a number

books that may be useful for further reading and a companion

web site to the

book

may be found at:

http://www.vcodex.conl/videocodecdesign/

Digital

Video

2.1

INTRODUCTION

Digital video is now an integral part

many aspects

business, education and entertain-

ment, from digital TV to web-based video news. Before examining methods for compressing

and transporting digital video, it is necessary to establish the concepts and terminology

relating to video in the digital domain.

Digital video

is visual information represented in

a discrete form, suitable for digital electronic storage and/or transmission. In this chapter

we describe and define the concept of digital video: essentially a sampled two-dimensional

(2-D) version

a continuous three-dimensional (3-D) scene. Dealing with colour video

requires us to choose a colour space (a system for representing colour) and we discuss two

widely used colour spaces, RGB and YCrCb. The goal of a video coding system is to support

video communications with an ‘acceptable’ visual quality: this depends on the viewer’s

perception

visual information, which in turn is governed by the behaviour of the human

visual system. Measuring and quantifying visual quality is a difficult problem and we

describe some alternative approaches, from time-consuming subjective tests to automatic

objective tests (with varying degrees

accuracy).

2.2

CONCEPTS, CAPTURE AND DISPLAY

2.2.1 The Video Image

video image is a projection of a 3-D scene onto a 2-D plane (Figure 2.1).

3-D scene

consisting of a number of objects each with depth, texture and illumination is projected onto

a plane to form a 2-D representation

the scene. The 2-D representation contains varying

texture and illumination but no depth information.

still image

is a ‘snapshot’ of the 2-D

representation at a particular instant in time whereas a

video

sequence

represents the scene

over a period of time.

2.2.2 Digital Video

‘real’ visual scene is continuous both spatially and temporally. In order to represent and

process a visual scene digitally it is necessary to sample the real scene spatially (typically on

a rectangular grid in the video image plane) and temporally (typically as a series of ‘still’

Video Codec Design

Iain E. G. Richardson

ISBNs: 0-471-48553-5 (Hardback); 0-470-84783-2 (Electronic)

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