Design of a digital compression technique for shuttle television

The determination of the performance and hardware complexity of data compression algorithms applicable to color television signals, were studied to assess the feasibility of digital compression techniques for shuttle communications applications. For return link communications, it is shown that a nonadaptive two dimensional DPCM technique compresses the bandwidth of field-sequential color TV to about 13 MBPS and requires less than 60 watts of secondary power. For forward link communications, a facsimile coding technique is recommended which provides high resolution slow scan television on a 144 KBPS channel. The onboard decoder requires about 19 watts of secondary power

Video streaming

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Data compression techniques applied to high resolution high frame rate video technology

An investigation is presented of video data compression applied to microgravity space experiments using High Resolution High Frame Rate Video Technology (HHVT). An extensive survey of methods of video data compression, described in the open literature, was conducted. The survey examines compression methods employing digital computing. The results of the survey are presented. They include a description of each method and assessment of image degradation and video data parameters. An assessment is made of present and near term future technology for implementation of video data compression in high speed imaging system. Results of the assessment are discussed and summarized. The results of a study of a baseline HHVT video system, and approaches for implementation of video data compression, are presented. Case studies of three microgravity experiments are presented and specific compression techniques and implementations are recommended

Generative Compression

Traditional image and video compression algorithms rely on hand-crafted encoder/decoder pairs (codecs) that lack adaptability and are agnostic to the data being compressed. Here we describe the concept of generative compression, the compression of data using generative models, and suggest that it is a direction worth pursuing to produce more accurate and visually pleasing reconstructions at much deeper compression levels for both image and video data. We also demonstrate that generative compression is orders-of-magnitude more resilient to bit error rates (e.g. from noisy wireless channels) than traditional variable-length coding schemes

Low complexity video compression using moving edge detection based on DCT coefficients

In this paper, we propose a new low complexity video compression method based on detecting blocks containing moving edges us- ing only DCT coe±cients. The detection, whilst being very e±cient, also allows e±cient motion estimation by constraining the search process to moving macro-blocks only. The encoders PSNR is degraded by 2dB com- pared to H.264/AVC inter for such scenarios, whilst requiring only 5% of the execution time. The computational complexity of our approach is comparable to that of the DISCOVER codec which is the state of the art low complexity distributed video coding. The proposed method ¯nds blocks with moving edge blocks and processes only selected blocks. The approach is particularly suited to surveillance type scenarios with a static camera

On the Information Rates of the Plenoptic Function

The {\it plenoptic function} (Adelson and Bergen, 91) describes the visual information available to an observer at any point in space and time. Samples of the plenoptic function (POF) are seen in video and in general visual content, and represent large amounts of information. In this paper we propose a stochastic model to study the compression limits of the plenoptic function. In the proposed framework, we isolate the two fundamental sources of information in the POF: the one representing the camera motion and the other representing the information complexity of the "reality" being acquired and transmitted. The sources of information are combined, generating a stochastic process that we study in detail. We first propose a model for ensembles of realities that do not change over time. The proposed model is simple in that it enables us to derive precise coding bounds in the information-theoretic sense that are sharp in a number of cases of practical interest. For this simple case of static realities and camera motion, our results indicate that coding practice is in accordance with optimal coding from an information-theoretic standpoint. The model is further extended to account for visual realities that change over time. We derive bounds on the lossless and lossy information rates for this dynamic reality model, stating conditions under which the bounds are tight. Examples with synthetic sources suggest that in the presence of scene dynamics, simple hybrid coding using motion/displacement estimation with DPCM performs considerably suboptimally relative to the true rate-distortion bound.Comment: submitted to IEEE Transactions in Information Theor

Improved quality block-based low bit rate video coding.

The aim of this research is to develop algorithms for enhancing the subjective quality and coding efficiency of standard block-based video coders. In the past few years, numerous video coding standards based on motion-compensated block-transform structure have been established where block-based motion estimation is used for reducing the correlation between consecutive images and block transform is used for coding the resulting motion-compensated residual images. Due to the use of predictive differential coding and variable length coding techniques, the output data rate exhibits extreme fluctuations. A rate control algorithm is devised for achieving a stable output data rate. This rate control algorithm, which is essentially a bit-rate estimation algorithm, is then employed in a bit-allocation algorithm for improving the visual quality of the coded images, based on some prior knowledge of the images. Block-based hybrid coders achieve high compression ratio mainly due to the employment of a motion estimation and compensation stage in the coding process. The conventional bit-allocation strategy for these coders simply assigns the bits required by the motion vectors and the rest to the residual image. However, at very low bit-rates, this bit-allocation strategy is inadequate as the motion vector bits takes up a considerable portion of the total bit-rate. A rate-constrained selection algorithm is presented where an analysis-by-synthesis approach is used for choosing the best motion vectors in term of resulting bit rate and image quality. This selection algorithm is then implemented for mode selection. A simple algorithm based on the above-mentioned bit-rate estimation algorithm is developed for the latter to reduce the computational complexity. For very low bit-rate applications, it is well-known that block-based coders suffer from blocking artifacts. A coding mode is presented for reducing these annoying artifacts by coding a down-sampled version of the residual image with a smaller quantisation step size. Its applications for adaptive source/channel coding and for coding fast changing sequences are examined

A study of data coding technology developments in the 1980-1985 time frame, volume 2

The source parameters of digitized analog data are discussed. Different data compression schemes are outlined and analysis of their implementation are presented. Finally, bandwidth compression techniques are given for video signals

A novel method for subjective picture quality assessment and further studies of HDTV formats

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ IEEE 2008.This paper proposes a novel method for the assessment of picture quality, called triple stimulus continuous evaluation scale (TSCES), to allow the direct comparison of different HDTV formats. The method uses an upper picture quality anchor and a lower picture quality anchor with defined impairments. The HDTV format under test is evaluated in a subjective comparison with the upper and lower anchors. The method utilizes three displays in a particular vertical arrangement. In an initial series of tests with the novel method, the HDTV formats 1080p/50,1080i/25, and 720p/50 were compared at various bit-rates and with seven different content types on three identical 1920 times 1080 pixel displays. It was found that the new method provided stable and consistent results. The method was tested with 1080p/50,1080i/25, and 720p/50 HDTV images that had been coded with H.264/AVC High profile. The result of the assessment was that the progressive HDTV formats found higher appreciation by the assessors than the interlaced HDTV format. A system chain proposal is given for future media production and delivery to take advantage of this outcome. Recommendations for future research conclude the paper