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THREE
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Processing and Producing Content
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Installing Custom Controls
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CHAPTER
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Preprocessing Audio and Video
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hey may be hard to find, but there are solutions that provide links between different worlds: the analog and the digital, the baseband and the compressed As increasing amounts of time and money are spent to add value to the entire range of streaming video and the services it offers, so preservation (or improvement) of the technical quality of the video becomes even more important The fundamental technology that defines digital compression that is, MPEG (the standard of the Motion Picture Experts Group) is now well established Over the last few years, vast expertise has been applied to the continual improvement of this core technology As a result, a number of key techniques are now available that address two vital areas: channel bandwidth and viewer picture quality Since both the size of the data pipe and the ability of servers to deliver bandwidth are limited, there is a need to compress video channels down to ever fewer bits, while retaining highquality images Achieving high quality with fewer bits enables the delivery of more channels, data, and any other services to more customers The most popular technique for achieving this is preprocessing In this chapter, we will explore the impact that preprocessing has on both video quality and the number of bits required for a given sequence Then, an examination of the proven technologies specifically applicable to the broadband industry is addressed in the following chapters
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7
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Exploring MPEG Technology
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It is the nature of MPEG compression itself that produces the need for effective preprocessing of the video signal This involves modifying certain of the signal s characteristics to ensure optimal results from the encoder (a subject fully covered in 8)
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The Battle for Bit-Rate Reduction
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One of the principal techniques by which MPEG achieves bit-rate reduction is to eliminate from the signal any information repeated from previous pictures Eliminating this redundant information generally areas of the picture that are unchanged from frame to frame means that only the active, changing information needs to be transmitted In deciding which parts of the picture to send and which to discard, MPEG compressors look for changes between successive pictures Changes in pixel values between pictures are usually a sign of movement usually, but by no means always Noise and other picture imperfections also cause changes in successive pixel values Not knowing any better, an MPEG encoder will interpret these as indications of movement and, therefore, will encode them The result spells double trouble It is a lose-lose situation Any imperfections in the source video not only can be encoded into the video stream, with a resulting loss of visual quality, but can also result in a significantly higher bit rate than necessary Here is where the case for high-quality preprocessing is made the problem of noise, which can be summed up as follows:
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Noise can have consequences for static pictures Highly compressed MPEG-2 video typically codes a whole static reference frame (I-frame) independent of other frames every half-second The frames between are sent as the difference (that is, data between the I-frames) The I-frames are encoded using very JPEG-like algorithms Here, the compressor has to make a decision between allotted bandwidth and the amount of picture detail it can include (controlled by the quantizer) High-frequency noise looks like added picture detail and will rapidly cause the quantizer to ramp up the compression in the noisy areas This can result in detailed areas, such as the textures of skin and grass, becoming flat like poster paint
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Preprocessing Audio and Video
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The most common enemy of efficient compression is the highfrequency (HF) noise that creeps in at every production stage from cameras, recorders, compressors/encoders, decompressors/decoders, and transmission/delivery systems The common practice of image enhancement or sharpening tends to multiply the HF noise, which looks like rapid movement and more picture detail information the encoder thinks is important There are other causes of extra movement, such as film grain, film weave, and unsteady cameras Again, all these sources of movement represent more information for the encoder Not all preprocessing functions, however, are designed to minimize losses due to picture impairments
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What is needed here is a preprocessor that reduces noise while keeping the detail, and, clearly, feeding impaired signals into an MPEG compressor is simply bad news It produces poor-quality results, and wastes bandwidth, and money
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