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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
 
 
 The Lecture Contains:
 
  Sampling of Video Signals
 
  Choice of sampling rates
 
Sampling a Video in Two Dimensions: Progressive vs. Interlaced Scans
 
 
 
 
 
 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
  Sampling of Video Signals
 
Introduction
 
  We consider specifically the sampling of 3-D video signals. The two spatial dimensions and the
  temporal dimension are “asymmetric”. This implies that they have different characteristics and that
  the visual sensitivities to spatial and temporal frequencies are different. This “asymmetry” has led to
  the development of many interesting techniques for video sampling.
 
  As video signals vary continuously in space and time, no cameras of recent times can capture the
  entire signal continuously in all 3-dimensions. For example,
  1. Most motion picture cameras sample a scene in temporal direction and store the sequence of
  analog frames on film.
2. Most TV cameras capture a video sequence by sampling it in temporal and vertical directions
respectively.

The resulting signal is stored as a 1-D raster scan, which is a joined segments of color variations
along successive horizontal scan lines.
To obtain a full digital video, one can
1. Sample in 2-D the analog frames resulting from motion picture camera; or
2. Sample in 1-D along the raster scan resulting from TV camera; or
  3. Acquire digital video frames directly from a digital camera by sampling a scene in 3-D;

The different sampling schemes correspond to different sampling lattices.

For designing video sampling system, two important requirements are:

1. Choice of necessary sampling rates for video
2. Choice of a suitable efficient sampling lattice under a given total data or sampling rate.

 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
  Choice of sampling rates
 
For designing a video sampling system in either 1-D, 2-D or 3-D, the fundamental question is what
 
  the spatial and temporal sampling resolutions should be.
  This is governed by several factors:
  1. The frequency content of the underlying signal,
  2. The visual thresholds in terms of the spatial and temporal cut off frequencies;
  3. The capture and device characteristics;
  4. The affordable processing, storage and transmission cost.
 
  If one uses a cubic lattice for sampling, then based on sampling theorem, the sampling rate in each
  dimension should be at least twice the highest frequency along that direction.

Given that the maximum frequency in the signal can vary significantly, the visual cut-off frequencies
which are the highest spatial & temporal frequencies that can be observed by the human visual
system (HVS), should be the deciding factor in determining the sampling rates for video. There is no
need to accommodate frequency components beyond these values.
Now we also know that visual sensitivity depends on the mean brightness of the display.

For TV signals, which are very bright, the visual thresholds lead to a frame rate , and a
  spatial frequency of 30cpd. For a normal viewing distance of 3 times the screen height, a spatial
frequency of 25 cpd translates to 500 lines/frame .

To sample each line, the horizontal sampling interval should match the vertical interval, so that the
resulting pixels are square Hence for a display of 500 lines and ,

number of pixels/line is .

 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
  These sampling rates, required by visual cut-off frequencies were beyond what practical
  technologies could offer at the time when analog TV systems were developed.
 
  To reduce the data rate and consequently the cost for video capture, transmission & display,
  interlaced scan was developed. This process trades off vertical resolution for increased temporal
  resolution for a given total data rate .
 
  As an example, in NTSC TV system, 60 fields are captured per sec, but each field contains only half
  the desired number of lines . The total data rate is the same as that with
  a progressive scan with 30fps & 480lpf. By interlacing the lines scanned in each field, it can produce
  the same quality as a progressive scan using 60fps and 480 lpf, if the underlying scene is stationary.
  For high motion scene with vertical line patterns, it can lead to the infamous “interlacing artefact”.
The interlaced format is retained mainly for compatibility with analog TV system. The HDTV system
enhances the visual impact with an IAR of 16:9 and sampling resolution of 60fps & 720lpf. Again for
compatibility purpose, an interlaced format with 60 fields/s & 540 lines/field can also be used.
For motion pictures, because of reduced visual sensitivity in a movie theatre, where ambient
brightness is low, a frame rate of 24fps (progressive) is used. Actually the originals image captured
at 24fps, when played back, a blade that rotates 3 times per frame is placed before the projection
  lens, so that effective frame rate is 72fps.

This suppresses flicker artifacts that might be experienced.

For computer display, e.g. SVGA display has a frame rate of 72fps & spatial resolution of
pixels. This is to accommodate the very close viewing distance & high frequency
content of displayed material (text & graphics).
 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
  Sampling a Video in Two Dimensions: Progressive vs. Interlaced Scans
 
A video raster scan (progressive and interlaced scans) is actually a version of a 3-D video signal
 
  sampled in the temporal and vertical directions. In this section we attempt to gain some insight into
  the artifacts associated with these two sampling schemes, by analysing their aliasing patterns in the
  spectral domain.
 
 
Ignoring the horizontal direction, we consider the video signal as a 2-D signal in the space spanned
 
  by the temporal and vertical directions.
  Let represent the field interval, and the line interval. The sampling lattices imployed by
  progressive and interlaced scans are shown in Fig.( ) and ( ). The basis vectors for generating each
lattice are also shown. Using these basis vectors, we derive the generating matrices for the original
and reciprocal lattices.

Progressive Scan:

Interlaced Scan:

 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
 
 
 
 
 
 
 
 
 
 
 
 

(Figure 4)
Comparison of progressive and interlaced scans (a) sampling lattice for PS (b) sampling lattice for IS
(c) reciprocal lattice for PS (d) reciprocal lattice for IS.
 
 

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  Module 3: Video Sampling

  Lecture 16: Sampling of video in two dimensions: Progressive vs Interlaced scans
  
  Referring to Fig (4), we compare the original and reciprocal lattices of the two scans and observe the
  following characteristics:
 
  a. The sampling densities are the same for the two scans
 
  b. Along the vertical axis , the nearest alias occurs at for both the scans. This
  implies that in the absence of motion, the two sampling lattices have the same vertical
  resolving power. This is because although there are only half the number of lines in each
  field, when the image is stationary, the lines sampled at two different fields appear as if they
  are sampled at the same time. When there is motion in the scene, the vertical resolution of
  interlaced scan is less than that of progressive scan.
  c. The two scans have different nearest aliases along the temporal frequency axis. In PS the
first alias is at and for IS it is at . As a temporal frequency component larger
than half the nearest temporal alias is likely to cause flicker rtifact, we observe that IS is less
prone to flickering when the object has a flat or slowly varying pattern.
d. The two scans have different nearest off-axis aliases. They are also referred to as mixed
aliases. A frequency component close to mixed alias gives rise to interline flicker or line crawl
for the progressive scan, the mixed alias occurs at , whereas for the
interlaced scan, the mixed alias is at . As the mixed alias in case of
interlaced scan is closest to origin, the interline flicker is more visible in interlaced scan.
These are referred to as notorious interlacing artifacts.
e. For a signal with symmetric support, interlaced scan is more efficient. The maximum radius of
 
the signal spectrum that can be represented without aliasing is equal to with progressive

scan and this is increased to for interlaced scan. Of course, it is important to note that

this result is based on our way of equating the spatial and temporal frequencies.
The above comparisons between the two scanning schemes are based on the assumption
that total sampling rate is the same in both cases. The interlaced scan has advantages over
the progressive scan. The quality can be improved further by deinterlacing the interlaced
scan. This yields a progressive scan that has twice the total sampling rate.

 
 

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