DIGITAL TELEVISION DIGITAL TELEVISION Fernando Pereira Instituto - - PowerPoint PPT Presentation
DIGITAL TELEVISION DIGITAL TELEVISION Fernando Pereira Instituto Superior Tcnico Audiovisual Communication, Fernando Pereira, 2012/2013 The Analogue TV World The Analogue TV World The Analogue TV World The Analogue TV World NTSC PAL
Audiovisual Communication, Fernando Pereira, 2012/2013
Fernando Pereira Instituto Superior Técnico
Audiovisual Communication, Fernando Pereira, 2012/2013
The Analogue TV World The Analogue TV World The Analogue TV World The Analogue TV World
NTSC PAL SECAM PAL/SECAM Unknown
Audiovisual Communication, Fernando Pereira, 2012/2013
TV Digital: What is it Really ? TV Digital: What is it Really ? TV Digital: What is it Really ? TV Digital: What is it Really ?
All the information – video, audio, data - arrives to our houses as a discrete sequence of (pre-defined) symbols which together allow to resynthesize the original information with a target quality !
Audiovisual Communication, Fernando Pereira, 2012/2013
Why Digital TV ? Why Digital TV ? Why Digital TV ? Why Digital TV ?
In summary, easier management and processing of the information !
Audiovisual Communication, Fernando Pereira, 2012/2013
TV Everywhere ... TV Everywhere ... TV Everywhere ... TV Everywhere ...
Audiovisual Communication, Fernando Pereira, 2012/2013
The Digital Domestic Scenario The Digital Domestic Scenario The Digital Domestic Scenario The Digital Domestic Scenario
DVD VCR PC Television
Int.Rec.Dec.
Satellite Cable Terrestrial ADSL...
Audiovisual Communication, Fernando Pereira, 2012/2013
Digital TV: Content or Terminal ? Digital TV: Content or Terminal ? Digital TV: Content or Terminal ? Digital TV: Content or Terminal ?
Users
E-Mail Games Internet VOD EPG Super Teletext Electronic commerce More local content Digital audio and video More channels New services
Audiovisual Communication, Fernando Pereira, 2012/2013
Which Arguments Convince the Users ? Which Arguments Convince the Users ? Which Arguments Convince the Users ? Which Arguments Convince the Users ?
about the specific technical solution
Technology is important but content (and rights) may be even more important !
Audiovisual Communication, Fernando Pereira, 2012/2013
Interactivity Interactivity Interactivity Interactivity
The digital representation of information facilitates the explosion of interactive capabilities – user capability to select or change something, thus personalizing the TV experience - associated to television and the capability of the users to:
Audiovisual Communication, Fernando Pereira, 2012/2013
Early Interactions: Early Interactions: Winky Winky Dink and You Dink and You (1953 (1953-57, CBS, USA)… 57, CBS, USA)… Early Interactions: Early Interactions: Winky Winky Dink and You Dink and You (1953 (1953-57, CBS, USA)… 57, CBS, USA)…
Audiovisual Communication, Fernando Pereira, 2012/2013
Types of Interactivity Types of Interactivity Types of Interactivity Types of Interactivity
audio control
the program but does not change it, e.g.VOD, teletext
program, e.g. program personalization, definition of end, mix with Internet
Moreover, interactivity does not always require to use a feedback channel …
Audiovisual Communication, Fernando Pereira, 2012/2013
TV Viewing May Kill … TV Viewing May Kill … TV Viewing May Kill … TV Viewing May Kill …
Life expectancy at birth by average daily amount of TV viewing time. Men in continuous lines and women in dashed lines; means (bold) and 95% uncertainty
From “Television viewing time and reduced life expectancy: a life table analysis”, British Journal
Audiovisual Communication, Fernando Pereira, 2012/2013
Broadcast Broadcast Monocast Monocast Passivity Passivity Interactivity Interactivity Fixed schedules Fixed schedules Programs on Programs on demand, box storage demand, box storage Analogue Analogue Digital Digital Monthly Monthly subscription subscription Pay per view Pay per view Teletext Teletext World Wide Web World Wide Web Zappers Zappers EPGs, EPGs, personalization personalization
Television: How is it Changing ? Television: How is it Changing ? Television: How is it Changing ? Television: How is it Changing ?
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Main Digital TV Systems Main Digital TV Systems Main Digital TV Systems Main Digital TV Systems
The main digital TV systems are:
Europe
Driven by USA
Driven by Japan (large similarities with DVB)
Driven by China
by Brazil (large similarities with ISDB)
Audiovisual Communication, Fernando Pereira, 2012/2013
What is DVB ? What is DVB ? What is DVB ? What is DVB ?
beginning mainly European), formed in September 1993:
with the objective to define standards for digital television broadcasting over several transmission channels.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB: Initial Objectives DVB: Initial Objectives DVB: Initial Objectives DVB: Initial Objectives
bandwidth channels and increase the number of programs in current channels
antennas (portable reception)
and integration with the PC world
Audiovisual Communication, Fernando Pereira, 2012/2013
From SDTV to HDTV From SDTV to HDTV From SDTV to HDTV From SDTV to HDTV
Audiovisual Communication, Fernando Pereira, 2012/2013
The DVB Scenarios and Standards The DVB Scenarios and Standards The DVB Scenarios and Standards The DVB Scenarios and Standards
2000) – middleware tools allowing to use a single set-top box for all services and applications (hardware abstraction)
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C: Adoption … C: Adoption … DVB DVB-C: Adoption … C: Adoption …
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-S: Adoption … S: Adoption … DVB DVB-S: Adoption … S: Adoption …
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T: Adoption … T: Adoption … DVB DVB-T: Adoption … T: Adoption …
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
The DVB Specifications The DVB Specifications The DVB Specifications The DVB Specifications
The DVB specifications – also ETSI standards – define all the modules in the television delivery chain which need a normative specification; this is made both by using available standards defined by other standardization bodies and developing new (DVB) specifications.
The main modules specified are:
adopted; later also H.264/AVC has been adopted
Audiovisual Communication, Fernando Pereira, 2012/2013
Source Processing: Starting with MPEG Source Processing: Starting with MPEG-2 ... 2 ... Source Processing: Starting with MPEG Source Processing: Starting with MPEG-2 ... 2 ...
MPEG-2/4 Encoding MPEG-2/4 Encoding
Multiplexing & Synchronization
MPEG-2/4 Decoding Demultiplexing
Program 1 Program N Audio and Video .
Audiovisual Communication, Fernando Pereira, 2012/2013
The Channel .. After the Source ! The Channel .. After the Source ! The Channel .. After the Source ! The Channel .. After the Source !
Conversion + amplification
Cable Satellite Terrestrial
Conversion + amplification
Video Audio Program 1 Program n MPEG-2/4 encoding MPEG-2/4 encoding Multiplexing + synchroniz. MPEG-2/4 decoding Demultiplexing Modulation Demodulation Channel encoder (FEC) Channel decoder (FEC)
MPEG DVB
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2: Objectivos 2: Objectivos MPEG MPEG-2: Objectivos 2: Objectivos
Generic Coding of Moving Pictures and Associated Audio Audio and video coding for high quality transmission and storage, e.g. high and medium definition television.
ITU-T where it is designated as Recommendation H.262.
to 10 Mbit/s, leaving to MPEG-3 the higher rates and definitions. However, since the MPEG-2 standard addressed well the HDTV space, MPEG-3 was never defined and MPEG-2 lost its upper bitrate limit.
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2: The Service Model 2: The Service Model MPEG MPEG-2: The Service Model 2: The Service Model
Source Delivery Video Audio Interaction
D e m u l t i p l e x e r VoD
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2: Applications 2: Applications MPEG MPEG-2: Applications 2: Applications
bandwidth (mainly determined by coding and modulation)
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2: Which Advantages ? 2: Which Advantages ? MPEG MPEG-2: Which Advantages ? 2: Which Advantages ?
music or sports
expansion of mobile networks
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Standard: Organization 2 Standard: Organization MPEG MPEG-2 Standard: Organization 2 Standard: Organization
Part 1 - SYSTEMS SYSTEMS – Specified the multiplexing, synchronization and protection of coded elementary bitstreams (audio, video and data).
Part 2 - VIDEO VIDEO – Specifies the coded representation of video signals.
Part 3 - AUDIO AUDIO - Specifies the coded representation of audio signals.
Part 4 – CONFORMANCE TESTING CONFORMANCE TESTING – Specifies compliance tests for decoders and streams.
Part 5 – REFERENCE SOFTWARE REFERENCE SOFTWARE – Includes software implementing the technical specification parts.
Part 6 - DSM DSM-CC (Digital Storage Media CC (Digital Storage Media – Command Control) Command Control) - Specifies user management and control protocols; they constitute and extension of the Systems parts.
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Systems: Objective 2 Systems: Objective MPEG MPEG-2 Systems: Objective 2 Systems: Objective
MPEG MPEG-2 Systems has the basic objective to combine and 2 Systems has the basic objective to combine and synchronize one or more coded audio and video synchronize one or more coded audio and video bitstreams bitstreams in a single multiplexed in a single multiplexed bitstream bitstream. .
The main objectives of this standards regard:
program or several programs together
program or several programs
Audiovisual Communication, Fernando Pereira, 2012/2013
Synchronization Synchronization Synchronization Synchronization
DTS - Decoding Time Stamp PTS - Presentation Time Stamp SCR - System Clock Reference (SCR) STC – System Time Clock
Decoder Control via PTS Decoder Control via PTS, DTS AUs STC MPEG-2 Systems stream DEMUX Video Buffer Audio Buffer Systems Time Clock Generator Video decoder Audio decoder SCR AUs Video data Audio data
IBBPBBP …
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Systems: Basic Architecture 2 Systems: Basic Architecture MPEG MPEG-2 Systems: Basic Architecture 2 Systems: Basic Architecture
Audiovisual Communication, Fernando Pereira, 2012/2013
Packetized Elementary Streams (PESs) & Packet Packetized Elementary Streams (PESs) & Packet Syntax Syntax Packetized Elementary Streams (PESs) & Packet Packetized Elementary Streams (PESs) & Packet Syntax Syntax
The audio and video coded elementary streams are divided into variable length packets - the packets – creating the so-called Packetized Elementary Streams (PESs), as for MPEG-1 Systems.
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Audiovisual Communication, Fernando Pereira, 2012/2013
Program Stream and Transport Stream Program Stream and Transport Stream Program Stream and Transport Stream Program Stream and Transport Stream
errors (BER < 10-10), e.g. CD-ROM, DVD, hard disks
different time bases; however, each PES has a single time base
broadcasting
Audiovisual Communication, Fernando Pereira, 2012/2013
Decoding Program Streams … Decoding Program Streams … Decoding Program Streams … Decoding Program Streams …
MPEG-2 2 Program Program Stream Stream
Audiovisual Communication, Fernando Pereira, 2012/2013
Program Stream Syntax Program Stream Syntax Program Stream Syntax Program Stream Syntax
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MPEG-2 Program Streams are similar to MPEG-1 Systems streams.
Audiovisual Communication, Fernando Pereira, 2012/2013
Decoding Transport Streams … Decoding Transport Streams … Decoding Transport Streams … Decoding Transport Streams …
MPEG-2 2 Transport Stream Transport Stream with 1 or more with 1 or more programs programs
Audiovisual Communication, Fernando Pereira, 2012/2013
Transport Stream Syntax Transport Stream Syntax Transport Stream Syntax Transport Stream Syntax
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Audiovisual Communication, Fernando Pereira, 2012/2013
‘Surviving in the Labyrinth’ … ‘Surviving in the Labyrinth’ … ‘Surviving in the Labyrinth’ … ‘Surviving in the Labyrinth’ …
For a user to find the elementary streams he/she needs in a MPEG-2 Transport Stream, e.g. audio and video for RTP 2
means some auxiliary data, is needed !
BBC TVI RAI
Audiovisual Communication, Fernando Pereira, 2012/2013
Program Specific Information (PSI) Program Specific Information (PSI) Program Specific Information (PSI) Program Specific Information (PSI)
Program Specific Information (PSI) is delivered in the transport stream ‘showing the path in the labyrinth’.
corresponds to a different PID
Packets (with 188 bytes)
extend the current standard with new tables, both standardized or privately (e.g. DVB) defined
Audiovisual Communication, Fernando Pereira, 2012/2013
Transport Stream PSI Tables Transport Stream PSI Tables Transport Stream PSI Tables Transport Stream PSI Tables
Program Association Table (PAT (PAT) – Corresponds to and it is mandatory; it contains the PIDs for the PMTs corresponding to each program in each transport stream; it also contains the PID for the NIT.
Program Map Table (PMT) (PMT) – Each PMT indicates the PIDs corresponding to the elementary streams for each program; it is always
Conditional Access Table (CAT) (CAT) – Corresponds to and it contains the PIDs for the packets with conditional access data, e.g. corresponding to the DVB tables with the access keys for the encrypted programs.
Network Information Table (NIT) (NIT) – Information about the network, e.g. the frequency for each RF channel (only the syntax is defined in MPEG-2).
Audiovisual Communication, Fernando Pereira, 2012/2013
Program Association Table (PAT): the Main Program Association Table (PAT): the Main Entrance Door Entrance Door Program Association Table (PAT): the Main Program Association Table (PAT): the Main Entrance Door Entrance Door
relation between the program number (0 - 65535) and the PID
the Program Map Table
in the transport stream are protected
Audiovisual Communication, Fernando Pereira, 2012/2013
Program Map Table Program Map Table (PMT) (PMT) Program Map Table Program Map Table (PMT) (PMT)
elementary streams associated to the program it refers
references associated to the relevant program clock (SCRs)
specified), e.g.
Audiovisual Communication, Fernando Pereira, 2012/2013
Relation between PAT and PMT Relation between PAT and PMT Relation between PAT and PMT Relation between PAT and PMT
Audiovisual Communication, Fernando Pereira, 2012/2013
Network Information Table (NIT Network Information Table (NIT) Network Information Table (NIT Network Information Table (NIT)
content is defined by the user and is not standardized by MPEG
program zero
Audiovisual Communication, Fernando Pereira, 2012/2013
Conditional Access Table (CAT) Conditional Access Table (CAT) Conditional Access Table (CAT) Conditional Access Table (CAT)
the transport stream which is protected
(scrambling)
access management and authorization information
depends on the used protection mechanism which is typically
Audiovisual Communication, Fernando Pereira, 2012/2013
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Relation between PSI Tables ... Relation between PSI Tables ... Relation between PSI Tables ...
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Audiovisual Communication, Fernando Pereira, 2012/2013
DVB Service Information (SI) Tables DVB Service Information (SI) Tables DVB Service Information (SI) Tables DVB Service Information (SI) Tables
DVB specifies additional tables which, among other things, allow the receiver to automatically configure itself and the user to navigate using an electronic program guide (EPG).
Service Description Table (SDT) – Includes the names and parameters for the services in the multiplexed stream.
Event Information Table (EIT) – Includes information related to events (current and future) in the same stream or in other multiplexed streams.
Time and Date Table (TDT) – Allows to update the internal clock of the set- top box.
Bouquet Association Table (BAT) – Allows to group services in bouquets; one program may be part of one or more bouquets.
Running Status Table (RST) – Serves to update the situation of some events.
Stuffing Table (ST) - Serves to substitute tables that became invalid.
Audiovisual Communication, Fernando Pereira, 2012/2013
Zappping Zappping or Filtering ? Metadata at Work …
Zappping Zappping or Filtering ? Metadata at Work …
Audiovisual Communication, Fernando Pereira, 2012/2013
EPG: EPG: Program Program Timelining Timelining EPG: EPG: Program Program Timelining Timelining
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB-SI Content Descriptor excerpt
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video (also H.262): Quality Objectives 2 Video (also H.262): Quality Objectives MPEG MPEG-2 Video (also H.262): Quality Objectives 2 Video (also H.262): Quality Objectives
The following quality objectives (for standard resolution) have been initially defined:
Secondary distribution – For broadcasting to the users, the signal quality at 3-5 Mbit/s must be better, or at least similar, to the quality of available analogue systems, i.e. PAL, SECAM and NTSC.
Primary distribution – For contribution, e.g. transmission between studios, the signal quality at 8-10 Mbit/s must be similar to the quality of Recommendation ITU-R 601 (using PCM).
Audiovisual Communication, Fernando Pereira, 2012/2013
Better Encoders for the Same Decoders ... Better Encoders for the Same Decoders ... Better Encoders for the Same Decoders ... Better Encoders for the Same Decoders ...
MPEG-2 Video
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: the Quality 2 Video: the Quality MPEG MPEG-2 Video: the Quality 2 Video: the Quality
The quality requirements depend on the application (thus type of content) and are strongly related to
Other important requirements related to quality:
signal statistics, e.g. scene changes
decoding processes
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: Requirements 2 Video: Requirements MPEG MPEG-2 Video: Requirements 2 Video: Requirements
in progressive and interlaced formats
e.g. 4:4:4, 4:2:2 and 4:2:0
variable
modes, conditional access, and easy transcoding to MPEG-1 Video, H.261 and JPEG
storage channels, e.g. in terms of synchronization and error resilience
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: the Compatibility 2 Video: the Compatibility MPEG MPEG-2 Video: the Compatibility 2 Video: the Compatibility
The compatibility among standards allows to offer some continuity regarding the already available standards – JPEG, H.261, MPEG-1 Video – providing some interoperability between the various applications. Two main types of compatibility are relevant:
Backward (also downward) compatibility – A MPEG-2 Video decoder is able to decode a coded bitstream compliant with a previously available standard, e.g. MPEG-1.
Forward (also upward) compatibility (also upward) compatibility – A decoder compliant with a previously available solution, e.g. MPEG-1 Video, is able to, totally or partially, decode in a useful way a bitstream compliant a future solution, e.g. MPEG-2 Video. MPEG-2 Video foresees some compatibility mechanisms with MPEG-1 Video (intrinsic to the MPEG-2 Video syntax) and H.261 (using spatial scalability).
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 2 Video Video: : the the Complexity Complexity MPEG MPEG-2 2 Video Video: : the the Complexity Complexity
The complexity assessment of the encoders and decoders is essential for the adaptation to the technological constraints and adoption by the market.
Assymmetric Applications Applications – For the one encoder, many decoders type of applications, it is possible to develop high quality encoders even if at the cost
decoders which should have a reduced complexity (and cost).
Symmetric Applications Applications – For the one to one type of applications, both the encoders and decoder should have a reasonable (low) complexity. The complexity of a codec is assessed based on parameters such as memory size to contain the reference images, required access to memory speed, number of
accesses per second.
Audiovisual Communication, Fernando Pereira, 2012/2013
Video Structure Video Structure Video Structure Video Structure
The video data is organized in a structure with 5 hierarchical layers (as for MPEG-1 Video):
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: the Coding Tools 2 Video: the Coding Tools MPEG MPEG-2 Video: the Coding Tools 2 Video: the Coding Tools
Predictive coding: temporal differences and motion compensation (uni and bidirectional; ½ pixel accuracy)
Transform coding (DCT)
Huffman entropy coding
DCT coefficients quantization
Audiovisual Communication, Fernando Pereira, 2012/2013
Starting Starting with with the the same same Architecture Architecture … …
Buying Buying Quality Quality with with Computation Computation, , Memory Memory and and Delay Delay … …
Starting Starting with with the the same same Architecture Architecture … …
Buying Buying Quality Quality with with Computation Computation, , Memory Memory and and Delay Delay … …
DECODER ENCODER
Motion vectors Motion vectors
Quantized DCT coefficients Quantized DCT coefficients Decoded MB prediction error
Decoded MB prediction Original MB prediction
Original MB prediction error
Bitstream Original frames Prediction frames
Audiovisual Communication, Fernando Pereira, 2012/2013
The “conflict” between compression efficiency and random access led to the definition of 3 frame types depending on the coding tools used:
Random access:
Intra frames (I) – – Don’t use temporal predictions
Compression efficiency (and delay):
Predicted frames (P) – May only use forward prediction from previous I/P frames
Bidirectionally predicted frames (B) predicted frames (B) – May use both forward and backward prediction from first previous and first future I/P frames
Temporal Prediction Structure Temporal Prediction Structure Temporal Prediction Structure Temporal Prediction Structure
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video versus MPEG 2 Video versus MPEG-1 Video 1 Video MPEG MPEG-2 Video versus MPEG 2 Video versus MPEG-1 Video 1 Video
The main differences between the MPEG-1 Video and MPEG-2 Video standards are related to:
INTERLACING - Coding of interlaced video content with MPEG-2 Video (not possible with MPEG-1 Video)
SCALABILITY - Availability of scalable coding in MPEG-2 Video (rarely used)
Improved coding efficiency - Different quantization, VLC tables, and additional coefficient scan patterns
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
TV TV World World: : Interlaced Interlaced versus versus Progressive Progressive TV TV World World: : Interlaced Interlaced versus versus Progressive Progressive
Progressive frame Odd field Even field
Audiovisual Communication, Fernando Pereira, 2012/2013
Progressive and Interlaced Progressive and Interlaced-Scan Video Signal Scan Video Signal Progressive and Interlaced Progressive and Interlaced-Scan Video Signal Scan Video Signal
interlaced frames can be coded as one single unit
frame is signaled but has no impact on the decoding tools
each field can be coded separately
between frame and field coding on a picture-by- pictures basis
Audiovisual Communication, Fernando Pereira, 2012/2013
Interlaced Content Coding Interlaced Content Coding Interlaced Content Coding Interlaced Content Coding
To more efficiently code interlaced content, MPEG-2 Video classifies each coded picture as:
Frame-Picture Picture - The MBs to code are defined in the frame resulting from the combination of the 2 fields (top and bottom)
Field-Pictures Pictures - The MBs to code are defined within each of the fields (top or bottom) which are independently processed
Frame DCT Field DCT
Audiovisual Communication, Fernando Pereira, 2012/2013
Adaptive Frame/Field Transform Adaptive Frame/Field Transform Adaptive Frame/Field Transform Adaptive Frame/Field Transform
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Main Prediction Modes Main Prediction Modes Main Prediction Modes Main Prediction Modes
Frame Mode for Frame-Pictures Pictures – Similar to MPEG-1 Video, frames are coded as I, P or B frames with current and prediction MBs defined in the frames; gives good results for content with low or moderate motion or pannings over detailed backgrounds.
Field Mode for Field-Pictures Pictures – Conceptually similar to the previous mode but now with the MBs defined within each field and the predictions also coming from a single field, top or bottom (not necessarily with the same parity).
Field Mode for Frame-Pictures Pictures – Each MB in the frame-picture is divided in the pixels corresponding to the top and bottom fields; than, predictions are made for 16× × × ×8 matrices from one of the fields of the reference pictures.
16× × × × × × × ×8 Blocks for Field 8 Blocks for Field-Pictures Pictures – A motion vector is allocated to each half of each MB for each field.
Audiovisual Communication, Fernando Pereira, 2012/2013
Adaptive Frame/Field Motion Prediction Adaptive Frame/Field Motion Prediction Adaptive Frame/Field Motion Prediction Adaptive Frame/Field Motion Prediction
Frame Mode for Frame-Pictures Field Mode for Frame-Pictures
Audiovisual Communication, Fernando Pereira, 2012/2013
Alternate Scanning Order for Frame Pictures … Alternate Scanning Order for Frame Pictures … Alternate Scanning Order for Frame Pictures … Alternate Scanning Order for Frame Pictures …
For frame-pictures, the correlation between lines may be reduced for the pictures with more motion. Thus, it is possible to use another scanning order – ALTERNATE order – where the DCT coefficients corresponding to the vertical transitions (meaning horizontal edges) are privileged in terms of scanning order.
Audiovisual Communication, Fernando Pereira, 2012/2013
Zig Zig-zag zag versus Alternate Scanning Orders versus Alternate Scanning Orders Zig Zig-zag zag versus Alternate Scanning Orders versus Alternate Scanning Orders
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Scalability or the Swiss Army Knife Approach Scalability or the Swiss Army Knife Approach Scalability or the Swiss Army Knife Approach Scalability or the Swiss Army Knife Approach
Audiovisual Communication, Fernando Pereira, 2012/2013
Scalable Coding: the Definition Scalable Coding: the Definition Scalable Coding: the Definition Scalable Coding: the Definition
Scalability is a functionality regarding the useful decoding of parts of a coded bitstream, ideally
i)
while achieving an RD performance at any supported spatial, temporal, or SNR resolution that is comparable to single-layer (non- scalable) coding at that particular resolution, and
ii)
without significantly increasing the decoding complexity.
Audiovisual Communication, Fernando Pereira, 2012/2013
Scalable Scalable Hierarchical Hierarchical Coding Coding Scalable Scalable Hierarchical Hierarchical Coding Coding
Base layer 1st enhancement layer
2nd enhancement layer 3rd enhancement layer
Audiovisual Communication, Fernando Pereira, 2012/2013
Scalability Types Scalability Types Scalability Types Scalability Types
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 2 Video Video Scalability Scalability: : Weaknesses Weaknesses MPEG MPEG-2 2 Video Video Scalability Scalability: : Weaknesses Weaknesses
MPEG-2 Video scalability was not successful due to:
bandwidth was guaranteed and thus no dynamic variations or heterogeneous consumptions had to be accommodated
standard definition was still the single solution
coding solutions, meaning much larger bitrate for the same maximum quality/resolution
solutions as all layers up to the target layer have to be decoded and accumulated
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
The MPEG The MPEG-2 Video Symbolic Model 2 Video Symbolic Model The MPEG The MPEG-2 Video Symbolic Model 2 Video Symbolic Model
A video sequence (interlaced or progressive) is represented, in a scalable way or not, as a succession of GOPs including pictures coded as frames
them represented using motion vectors and/or DCT quantized coefficients, following the constraints imposed by the picture coding type.
Symbol Generator (Model) Entropy Encoder
Original video Symbols Bits
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: Encoder 2 Video: Encoder MPEG MPEG-2 Video: Encoder 2 Video: Encoder
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: Decoder 2 Video: Decoder MPEG MPEG-2 Video: Decoder 2 Video: Decoder
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video Syntax 2 Video Syntax MPEG MPEG-2 Video Syntax 2 Video Syntax
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 2 Video Video: : Very Very Big Big or
Just Enough ? MPEG MPEG-2 2 Video Video: : Very Very Big Big or
Just Enough ?
standard !
many requirements from several application domains.
in certain application domains.
It is essential to define adequate subsets of tools in terms of functionalities and complexity !
Audiovisual Communication, Fernando Pereira, 2012/2013
Profiles and Levels: Why ? Profiles and Levels: Why ? Profiles and Levels: Why ? Profiles and Levels: Why ?
The profile and level concepts were first adopted by the MPEG-2 Video standard and they provide a trade-off between:
Implementation complexity for a certain class of applications
Interoperability between applications while guaranteeing the necessary compression efficiency capability required by the class of applications in question and limiting the codec complexity and associated costs.
PROFILE – Subset of coding tools corresponding to the requirements
LEVEL – Establishes for each profile constraints on relevant coding parameters, e.g. bitrate and memory
Audiovisual Communication, Fernando Pereira, 2012/2013
Some MPEG Some MPEG-2 Video Profiles and Levels 2 Video Profiles and Levels Some MPEG Some MPEG-2 Video Profiles and Levels 2 Video Profiles and Levels
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video: the Profile and Level 2 Video: the Profile and Level Hierarchies Hierarchies MPEG MPEG-2 Video: the Profile and Level 2 Video: the Profile and Level Hierarchies Hierarchies
Low M ain High-1440 H igh Nível Perfil Simple M ain SNR Scalable Spatially Scalable H igh 4:2:2 M ultiview Hierárquicos Hierárquicos emrelaçãoaoM ain
Some profiles are syntactically hierarchical this means one profile is syntactically a superset
For a profile, the syntactic elements do not vary with the level, just the parametric constraints. Also the levels may be hierarchical meaning that the constraints become less strict for higher levels, e.g. bitrate increases. Compliance points for decoder and bitstreams correspond to a profile@level combination.
Level Profile Hierarchical Hierarchical to Main
Audiovisual Communication, Fernando Pereira, 2012/2013
Profiles and Profiles and Levels Levels Classification Classification Profiles and Profiles and Levels Levels Classification Classification
for a certain profile and/or level, than it is classified with the profile or/and level immediately above (to guarantee decoding).
predefined for a certain profile and/or level, than it is classified with the profile and/or level immediately below (to guarantee decoding). This type of classification is important for the deployment and compliance of MPEG-2 Video content and decoders !
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Video in DVB 2 Video in DVB MPEG MPEG-2 Video in DVB 2 Video in DVB
640, 544, 480, 352) × 480 or 352 × 540
samples per row at most
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Audio Audio in in MPEG MPEG-2: Objective 2: Objective Audio Audio in in MPEG MPEG-2: Objective 2: Objective
Efficient high quality audio coding targeting the broadcasting and Efficient high quality audio coding targeting the broadcasting and storage of TV or TV like signals. storage of TV or TV like signals.
There are two parts in the MPEG-2 standard specifying audio codecs:
Audio (Part 3), 1993 – Codes up to 5 (full) channels + 1 low frequency channel with high quality, at 384 kbit/s or less per channel, using the following additional sampling rates: 16, 22.05 and 24 kHz; MPEG-2 Audio Part 3 offers backward compatibility with MPEG-1 Audio, thus the name of MPEG MPEG-2 Audio Backward Compatible 2 Audio Backward Compatible (BC).
Advanced Audio Audio Coding Coding (Part Part 7), 1997 7), 1997 – Gives up on any compatibility with MPEG-1 Audio, improving its rate-distortion performance, thus reaching higher quality for the same rate; codes 1 to 48 canais, with sampling rates from 8 to 96 kHz; it was initially designated as MPEG MPEG-2 2 Audio Audio Non Non-Backward Backward Compatible Compatible (NBC), now Advanced Advanced Audio Audio Coding Coding (AAC).
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Audio (Part 3): What’s New ? 2 Audio (Part 3): What’s New ? MPEG MPEG-2 Audio (Part 3): What’s New ? 2 Audio (Part 3): What’s New ?
There are two main technical innovations in MPEG-2 Audio (BC or Part 3) regarding MPEG-1 Audio:
22.05 and 24 kHz to 32, 44.1 and 48 kHz
has the main goal to achieve MPEG-1 Audio or better audio quality at lower data rates using a lower bandwidth
notably with HDTV.
The three MPEG-1 Audio layers with different complexity-RD performance tradeoffs are again defined in MPEG-2 Audio Part 3.
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 2 Audio Audio: : Multichannel Multichannel Configuration Configuration MPEG MPEG-2 2 Audio Audio: : Multichannel Multichannel Configuration Configuration
Painel de representação das imagens Altifalante frontal - esquerdo Altifalante frontal - direito Altifalante frontal - central Altifalante de ambiente - esquerdo Altifalante de ambiente - direito
The 5.1 multichannel configuration includes 5 full bandwidth channels and a low frequency enhancement (LFE) channel covering frequencies below 200 Hz (less than 10% of the full bandwidth).
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 Audio: the Secret ! 2 Audio: the Secret ! MPEG MPEG-2 Audio: the Secret ! 2 Audio: the Secret !
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-2 and MPEG 2 and MPEG-1 Audio Compatibility 1 Audio Compatibility MPEG MPEG-2 and MPEG 2 and MPEG-1 Audio Compatibility 1 Audio Compatibility
MPEG-2 Audio backward compatibility is provided by designing MPEG-2 Audio as a MPEG-1 Audio compliant stereo pair and additional MPEG-2 Audio compliant data for the other channels. This also implies MPEG-1 forward compatibility as a MPEG-1 Audio decoder may decode the MPEG-2 stereo pair.
Audiovisual Communication, Fernando Pereira, 2012/2013
MPEG MPEG-1/2 Audio in DVB 1/2 Audio in DVB MPEG MPEG-1/2 Audio in DVB 1/2 Audio in DVB
MPEG-2 Audio Part 3 (BC), Layers 1 and 2.
pair from a multichannel MPEG-2 Audio BC coded bitstream (through downmixing).
Audiovisual Communication, Fernando Pereira, 2012/2013
New Systems and … Business Models … New Systems and … Business Models … New Systems and … Business Models … New Systems and … Business Models …
iPod is able to play the following audio formats: MP3, WAV, AAC, Protected AAC Protected AAC, AIFF and Apple Lossless.
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
1994 1997 1997
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
The Channel .. After the Source ! The Channel .. After the Source ! The Channel .. After the Source ! The Channel .. After the Source !
Conversion + amplification
Cable Satellite Terrestrial
Conversion + amplification
Video Audio Program 1 Program n MPEG-2 encoding MPEG-2 encoding Multiplexing + synchroniz. MPEG-2 decoding Demultiplexing Modulation Demodulation Channel encoder (FEC) Channel decoder (FEC)
MPEG DVB
bits
Modulated symbols
Audiovisual Communication, Fernando Pereira, 2012/2013
Channel Coding Channel Coding Channel Coding Channel Coding
the channel decoder the detection and correction of channel errors.
coding selection must consider the channel characteristics and the modulation.
errors, e.g. BER of 10-10- 10-12 which means 0.1-1 erred bits per hour for a rate of 30 Mbit/s.
Corrupted bit Correct bit Bit error Error burst 3 bits) Error burst (5 bits)
Audiovisual Communication, Fernando Pereira, 2012/2013
DVC Channel Coding Tools DVC Channel Coding Tools DVC Channel Coding Tools DVC Channel Coding Tools
Symbols with source data FEC Symbols m k n R = m/n = 1 – k/n R = m/n – Coding rate, e.g. ½, 2/3, 9/10 … Input Data (m) Coded data (n)
Block codes
FEC – Forward Error Correction
Convolutional codes
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C, S and T Channel Coding Solutions C, S and T Channel Coding Solutions DVB DVB-C, S and T Channel Coding Solutions C, S and T Channel Coding Solutions
Reed Solomon Interleaver Convolution encoder Puncturing Outer code Inner code Source encoder
DVB DVB-S and DVB S and DVB-T Channel Coding T Channel Coding DVB DVB-C Channel Coding C Channel Coding
Reed Solomon
Interleaver Source encoder Modulator Modulator
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C/S/T: Reed C/S/T: Reed-Solomon Coding Solomon Coding DVB DVB-C/S/T: Reed C/S/T: Reed-Solomon Coding Solomon Coding
the interleaver.
in each full block of 204 bytes; this implies a 16/188 = 8 % overhead.
block; if there are more than 8 bytes corrupted in a RS block, the channel decoder signals the lack of capability to correct the errors in the block.
Audiovisual Communication, Fernando Pereira, 2012/2013
Interleaving Interleaving Interleaving Interleaving
The interleaver does not provide error correction capabilities by itself; it rather reorganizes the symbols to have burst and bit errors more efficiently corrected when also using a channel code, e.g. a RS code, at the cost of delay, memory and complexity.
= 1 symbol = 1 erred symbol Block channel encoder Convolutional encoder Interleaver Source encoder Modulator Reading Writing Writing Reading
Sender Receiver
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-S/T: S/T: Convolutional Convolutional Coding Coding DVB DVB-S/T: S/T: Convolutional Convolutional Coding Coding
introduced as a complement to Reed Solomon coding.
coding rate which means that the source rate is half the total rate.
ratio of the source rate to the total rate (1 when there is no channel coding)
it higher than 1/2), puncturing is used which means that some bits at the convolutional encoder output are not transmitted, reducing the overall rate.
1 2 3 S K = (S+1) • m Input data (m bits) Output data (n bits)
Audiovisual Communication, Fernando Pereira, 2012/2013
Puncturing for Coding Rate Flexibility Puncturing for Coding Rate Flexibility Puncturing for Coding Rate Flexibility Puncturing for Coding Rate Flexibility
with an error-correction code. This has the same effect as encoding with an error-correction code with a higher channel coding rate, or less redundancy.
many bits have been punctured; thus, puncturing considerably increases the flexibility of the system without significantly increasing its complexity.
Then, the inverse operation, known as depuncturing, is implemented by the decoder.
rate; to reduce this high redundancy, at least in part, the output data is punctured, i.e. defined bits of the output data are deleted to reduce the
Audiovisual Communication, Fernando Pereira, 2012/2013
Puncturing Example Puncturing Example Puncturing Example Puncturing Example
1 1 1
11 10 00 01 01 11 00
encoder: ¾ = ½ × × × × 3/2 ); when puncturing, 4 bits in each 6 are transmitted with a YYNYYN pattern: 11 (1)0 0(0) 01 (0)1 1(1) 00
11 00 01 11 00
11 X0 0X 01 X1 1X 00
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
About Modulation … About Modulation … About Modulation … About Modulation …
Audiovisual Communication, Fernando Pereira, 2012/2013
Amplitude Modulation: ASK Amplitude Modulation: ASK Amplitude Modulation: ASK Amplitude Modulation: ASK
The information is transmitted in the signal amplitude !
I Q
Audiovisual Communication, Fernando Pereira, 2012/2013
Phase Modulation: PSK Phase Modulation: PSK Phase Modulation: PSK Phase Modulation: PSK
The information is transmitted in the signal phase !
I Q
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-S Modulation S Modulation DVB DVB-S Modulation S Modulation
resulting from the long distances (may come to tens of thousands of km)
QPSK
Audiovisual Communication, Fernando Pereira, 2012/2013
QAM Modulation QAM Modulation QAM Modulation QAM Modulation
The digital signal is decomposed into 2 multilevel components corresponding to two carriers I and Q (in quadrature); the information is transmitted in the signal amplitude and phase, simultaneously.
Audiovisual Communication, Fernando Pereira, 2012/2013
64 64-QAM Modulation Constellation … QAM Modulation Constellation … 64 64-QAM Modulation Constellation … QAM Modulation Constellation …
2 26 10 50 26 50 34 74 50 74 58 98 10 34 18 58 45º 67º 54º 82º 23º 45º 31º 72º 8º 18º 11º 45º 36º 59º 45º 79º Average Power: 42
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C Modulation C Modulation DVB DVB-C Modulation C Modulation
power spectral density ratio) is an important parameter in digital communication or data transmission.
noise ratio (SNR) measure, also known as the "SNR per bit".
comparing the bit error rate (BER) performance of different digital modulation schemes without taking bandwidth into account.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB Systems Systems Architecture Architecture DVB DVB Systems Systems Architecture Architecture
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Current Situation: Current Situation: Terrestrial TV Terrestrial TV Transmission Transmission Current Situation: Current Situation: Terrestrial TV Terrestrial TV Transmission Transmission
Until 2008, there were two terrestrial broadcasting networks in Portugal:
map) network which includes the network that was initially from RTP and TDP
Independente, (blue in the map) network which developed from the radio network from Rádio Renascença (bought by PT in 2008)
Audiovisual Communication, Fernando Pereira, 2012/2013
Digital Terrestrial TV: Requirements Digital Terrestrial TV: Requirements Digital Terrestrial TV: Requirements Digital Terrestrial TV: Requirements
configuration hierarchies
with those services
satellite, cable, optical fiber
Audiovisual Communication, Fernando Pereira, 2012/2013
TDT Network: Generic Architecture TDT Network: Generic Architecture TDT Network: Generic Architecture TDT Network: Generic Architecture
Audiovisual Communication, Fernando Pereira, 2012/2013
Terrestrial Transmission Interferences: Terrestrial Transmission Interferences: the Multipath Effect the Multipath Effect Terrestrial Transmission Interferences: Terrestrial Transmission Interferences: the Multipath Effect the Multipath Effect
Main Signal Echo 1 Echo 2 Secondary Signal Replicas with different delay !
Audiovisual Communication, Fernando Pereira, 2012/2013
Multiple versus Single Frequency Networks Multiple versus Single Frequency Networks Multiple versus Single Frequency Networks Multiple versus Single Frequency Networks
TV channel (from different emitters), notably by pointing the antenna in the right direction.
cells as this would degrade the reception quality.
channel on the same frequency.
Audiovisual Communication, Fernando Pereira, 2012/2013
Multiple and Single Frequency Networks Multiple and Single Frequency Networks Multiple and Single Frequency Networks Multiple and Single Frequency Networks
an antenna with an adequate radiation diagram but also to deal with the associated multipath delays.
the efficient use of the radio frequency spectrum.
Audiovisual Communication, Fernando Pereira, 2012/2013
Single Frequency Networks Synchronization Single Frequency Networks Synchronization Single Frequency Networks Synchronization Single Frequency Networks Synchronization
network must also be synchronized. Usually, this is done with a GPS frequency and time reference. This allows the network to reach the accuracy and stability needed for SFN synchronization - better than 1 Hz in the frequency domain and 1 microsecond in the time domain.
Single Frequency Network, transmitters must transmit the same data and must be synchronized to transmit the same symbol at any time. The later is achieved by inserting synchronization packets into the Transport Stream. This allows each transmitter to wait until the indicated time to start broadcasting the particular packet.
Audiovisual Communication, Fernando Pereira, 2012/2013
Symbol Interference ... Symbol Interference ... Symbol Interference ... Symbol Interference ...
n-1 Symbol n n+1 n-1 n Interference Integration period Signal to demodulate Delayed signal Sum n-1 Symbol n n+1 n-5 n-4 Interference Integration period Signal to demodulate Delayed signal
Interference between ‘distant’ symbols Interference between ‘close’ symbols
Audiovisual Communication, Fernando Pereira, 2012/2013
Multi Multi-Carrier Modulation (MCM) Carrier Modulation (MCM) Multi Multi-Carrier Modulation (MCM) Carrier Modulation (MCM)
The main tool to solve the symbol interference problem is a multi-carrier modulation scheme.
Multi-carrier modulation (MCM) is a method
several components, and sending each of these components over separate carrier signals. The individual carriers have narrow bandwidth, but the composite signal can have broad bandwidth.
Audiovisual Communication, Fernando Pereira, 2012/2013
Multi Multi-Carrier Modulation Carrier Modulation Multi Multi-Carrier Modulation Carrier Modulation
Each sub-symbol sk may be modulated in amplitude or phase.
∑
− =
=
1
). ( . ) (
n k t jw t k MT
k
e t h s t S
x h(t) x h(t)
D E M U X
Mapper
SNRZ(t) SMT(t)
k
s
t jwn
e
1 −
Audiovisual Communication, Fernando Pereira, 2012/2013
Orthogonal Sub Orthogonal Sub-Carriers Carriers Orthogonal Sub Orthogonal Sub-Carriers Carriers
The sub-carriers are said orthogonal if they are uniformly spaced in frequency in a way that all other sub-carriers are zero at the central position of any specific sub-carrier which means wk = 2 π π π π k f0 with k=0, 1, …, n-1 where f0 is the base frequency.
The orthogonality of the subcarriers eliminates the inter-carrier interference and provides a high spectral efficiency by allowing spectral overlapping. Each of the many thousand sub-carriers may carry from 2 bits of data per symbol in QPSK to 8 bits in 256-QAM.
Audiovisual Communication, Fernando Pereira, 2012/2013
Orthogonal Frequency Division Multiplex Orthogonal Frequency Division Multiplex Orthogonal Frequency Division Multiplex Orthogonal Frequency Division Multiplex
For orthogonal sub-carriers, multi-carrier modulation corresponds to applying the Inverse Discrete Fourier Transform (IDFT) to the sub- carriers in parallel, creating the so-called Orthogonal Frequency Division Multiplex (OFDM) modulation.
M U X D E M U X
Mapper SNRZ(t) SMT (t)
IDFT
x
t jwT
e
Audiovisual Communication, Fernando Pereira, 2012/2013
OFDM: an Example OFDM: an Example OFDM: an Example OFDM: an Example
5 bits in sequence are parallelized Each one of the 5 bits modulates one sub-carrier during the time of 5 bits (1 symbol) OFDM signal in time OFDM sub-carriers in frequency The longer is TU, the smaller is the number of adjacent interfering symbols !
Audiovisual Communication, Fernando Pereira, 2012/2013
OFDM Symbol: Union is Strength … OFDM Symbol: Union is Strength … OFDM Symbol: Union is Strength … OFDM Symbol: Union is Strength …
Audiovisual Communication, Fernando Pereira, 2012/2013
Longer Symbols for Less Interference Longer Symbols for Less Interference Longer Symbols for Less Interference Longer Symbols for Less Interference
delay from various paths/transmitters is different (different distances). Therefore, without some mechanism there would be interference receiving digital data from more than one path/transmitter operating on the same frequency.
elementary period of several hundred microseconds which is much longer than the multipath propagation delay.
n-1 Symbol n n+1 n-1 n Interference Integration period Signal to demodulate Delayed signal Sum
Audiovisual Communication, Fernando Pereira, 2012/2013
Guard Interval for an Interference Free Guard Interval for an Interference Free Zone Zone Guard Interval for an Interference Free Guard Interval for an Interference Free Zone Zone
interferences between different modulated symbols received through multiple paths.
corresponding to the interfering signals (and this depends on the diffusion cells, notably their size).
Guard Guard interval nterval
TG
Time for demodulation Time for demodulation
TS TU
Audiovisual Communication, Fernando Pereira, 2012/2013
Example: Absorbing Delay with a Guard Interval Example: Absorbing Delay with a Guard Interval Example: Absorbing Delay with a Guard Interval Example: Absorbing Delay with a Guard Interval
multipath interference.
symbol can be longer by a factor of 1000 (i.e., 1 ms) with approximately the same bandwidth.
inserted between each symbol (with 1 ms), intersymbol interference can be avoided if the multipath time-spreading (the time between the reception of the first and the last echo) is shorter than the guard interval, i.e. 125 s).
between the lengths of the paths.
Audiovisual Communication, Fernando Pereira, 2012/2013
The COFDM (Coded OFDM or OFDM) Modes The COFDM (Coded OFDM or OFDM) Modes The COFDM (Coded OFDM or OFDM) Modes The COFDM (Coded OFDM or OFDM) Modes
DVB-T defines two variants/modes for data transmission (e.g. in a 8 MHz channel):
2k Mode (1512 signal sub-carriers and 193 synchronization sub-carriers) – Solution adequate for small areas coverage; less robust to interferences, less complex; 224 µ µ µ µs/symbol; 4464 Hz between sub-carriers.
8k Mode (6048 signal sub-carriers and 769 synchronization sub-carries – Solution adequate for large areas coverage; more robust to interferences, more complex; 896 µ µ µ µs/symbol; 1116 Hz between sub-carriers. The modulation of each sub-carrier may be made with QPSK (2 bit/symbol), 16- QAM (4 bit/symbol) or 64-QAM (6 bit/symbol), with guard intervals of TS/4, TS/8
The label “Coded” means that the transmitted data contains actual data and additional FEC (Forward Error Correction) information for protection.
Audiovisual Communication, Fernando Pereira, 2012/2013
Bitrate Bitrate (Mbit/s) (Mbit/s) versus Modulation versus Modulation for each 8 MHz Channel … for each 8 MHz Channel … Bitrate Bitrate (Mbit/s) (Mbit/s) versus Modulation versus Modulation for each 8 MHz Channel … for each 8 MHz Channel …
Relative length of the guard interval Modulation Coding rate 1/4 1/8 1/16 1/32 QPSK 1/2 4.98 5.53 5.85 6.03 2/3 6.64 7.37 7.81 8.04 3/4 7.46 8.29 8.78 9.05 5/6 8.29 9.22 9.76 10.05 7/8 8.71 9.68 10.25 10.56 16-QAM 1/2 9.95 11.06 11.71 12.06 2/3 13.27 14.75 15.61 16.09 3/4 14.93 16.59 17.56 18.10 5/6 16.59 18.43 19.52 20.11 7/8 17.42 19.35 20.49 21.11 64-QAM 1/2 14.93 16.59 17.56 18.10 2/3 19.91 22.12 23.42 24.13 3/4 22.39 24.88 26.35 27.14 5/6 24.88 27.65 29.27 30.16 7/8 26.13 29.03 30.74 31.67
Continental solution Madeira and Açores
Audiovisual Communication, Fernando Pereira, 2012/2013
Hierarchical Modulation Hierarchical Modulation Hierarchical Modulation Hierarchical Modulation
64-QAM hierarchical modulation allows the simultaneous diffusion of a priority stream (2 MSB bits) in QPSK and another stream (remaining 4 bits), e.g. for different programs
When the transmission conditions degrade, 16 positions in the 64- QAM constellation may be taken as a single position in a QPSK constellation, allowing to receive, in good conditions, at least the 2 MSB bits.
64 64-QAM (4+2 bit/symbol) QAM (4+2 bit/symbol)
100000 101000 101010 100010 100001 101001 101011 100011 100101 101101 101111 100111 100100 101100 101110 100110 001000 000000 000010 001010 001001 000001 000011 001011 001101 000101 000111 001111 001100 000100 000110 001110 011100 010100 010110 011110 011101 010101 010111 011111 011001 010001 010011 011001 011000 010000 010010 011010 110100 111100 111110 110110 110101 111101 111111 110111 110001 111001 111011 110011 110000 111000 111010 110010
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T: Excellent Mobile Reception T: Excellent Mobile Reception DVB DVB-T: Excellent Mobile Reception T: Excellent Mobile Reception
Reception with spatial, temporal and frequency diversity …
Audiovisual Communication, Fernando Pereira, 2012/2013
Main DVB Main DVB-T Technical Characteristics T Technical Characteristics Main DVB Main DVB-T Technical Characteristics T Technical Characteristics
multipath effects) with 2k and 8k OFDM modes
Frequency Networks (SFN) and Multiple Frequency Networks (MFN))
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T T System System Main Main Relevant Relevant Parameters Parameters DVB DVB-T T System System Main Main Relevant Relevant Parameters Parameters
The project designer has to ‘play’ with all these parameters to provide the target service with the desired quality for the lowest initial and regular cost.
Audiovisual Communication, Fernando Pereira, 2012/2013
2005 2008 2008
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-x2: Channel Coding x2: Channel Coding DVB DVB-x2: Channel Coding x2: Channel Coding
maximization of the re-usage of building blocks between the different transmission systems.
coding solution still combining two layers of channel coding.
12 bytes in the block to substitute the previous Reed- Solomon outer code
code
applications without critical delay requirements, and 16200 bits otherwise.
coding rates may be used: 1/4, 1/3, 2/5, 1/2, 3/5, 2/3, 3/4, 4/5, 5/6, 8/9 and 9/10.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-S/S2 Modulations S/S2 Modulations DVB DVB-S/S2 Modulations S/S2 Modulations
DVB-S S – Single carrier QPSK; due to the very low SNR, amplitude modulation is difficult due to the high attenuation.
DVB-S2 S2 – Single carrier QPSK, 8-PSK, 16APSK, 32APSK (Asymmetric Phase Shift Keying, also called Amplitude and Phase Shift Keying).
amplitude levels, resulting in less problems with non-linear amplifiers.
QPSK 8-PSK
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-S2 versus DVB S2 versus DVB-S DVB DVB-S2 versus DVB S2 versus DVB-S
constellation and coding rate; it may vary between 0.5 and 4-5 bit/symbol.
16-QAM and 32-QAM performances.
constant amplitude (and higher reliability).
30%.
Audiovisual Communication, Fernando Pereira, 2012/2013
Example Comparison between DVB Example Comparison between DVB-S and S and DVB DVB-S2 for TV Broadcasting S2 for TV Broadcasting Example Comparison between DVB Example Comparison between DVB-S and S and DVB DVB-S2 for TV Broadcasting S2 for TV Broadcasting
Equivalent isotropically radiated power (EIRP) or, alternatively, effective isotropically radiated power is the amount of power that a theoretical isotropic antenna (which evenly distributes power in all directions) would emit to produce the peak power density observed in the direction of maximum antenna gain.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C/C2 Modulations C/C2 Modulations DVB DVB-C/C2 Modulations C/C2 Modulations
DVB-C – Single carrier, 16 to 256-QAM, typically 64-QAM.
DVB-C2 C2 - Orthogonal Frequency Division Multiplex (OFDM) based on QAM modulation (up to 4096-QAM for each carrier); this allows for the cost effective implementation of common DVB-T2/C2 receiver chipsets.
addition with higher QAM mappings and OFDM.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C/C2 Spectral Efficiency C/C2 Spectral Efficiency DVB DVB-C/C2 Spectral Efficiency C/C2 Spectral Efficiency
Overall spectral efficiency of DVB-C and DVB-C2 for different code rates and modulation schemes
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-C2 versus DVB C2 versus DVB-C C DVB DVB-C2 versus DVB C2 versus DVB-C C
By using state of the art coding and modulation techniques, DVB-C2
DVB-C.
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T/T2 Modulation T/T2 Modulation DVB DVB-T/T2 Modulation T/T2 Modulation
QAM and 256-QAM (this means 256-QAM beyond DVB-T)
8k in DVB-T)
(only 1/32, 1/16, 1/8 and ¼ in DVB-T)
bandwidth (only 5, 6, 7, 8 MHz in DVB-T)
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T versus DVB T versus DVB-T2 T2 DVB DVB-T versus DVB T versus DVB-T2 T2
DVB-T2 can offer a much higher rate than DVB-T or a much more robust signal.
For comparison, the last two rows show the maximum rate at a fixed C/N and the required C/N for a fixed (useful) rate.
Audiovisual Communication, Fernando Pereira, 2012/2013
2008 1997
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB DVB-T: Adoption … T: Adoption … DVB DVB-T: Adoption … T: Adoption …
publication in 1997, over 70 countries have deployed DVB-T service and 45 more have adopted (but not yet deployed) DVB-T.
DVB-T service.
Audiovisual Communication, Fernando Pereira, 2012/2013
TDT in Portugal TDT in Portugal TDT in Portugal TDT in Portugal
Frequency Networks (SFN).
RTP 2, SIC and TVI); the fifth channel was intended for this multiplexer but plans for it were withdrawn.
deploy).
partial coverage with a save zone of 80 km from the border with Spain (meaning that part of the population will not see these channels).
Audiovisual Communication, Fernando Pereira, 2012/2013
SDH Transport Network SDH Transport Network SDH Transport Network SDH Transport Network
Synchronous Digital Hierarchy (SDH) are standardized protocols that transfer multiple digital bit streams over
from light-emitting diodes (LEDs).
Audiovisual Communication, Fernando Pereira, 2012/2013
Transport Network: Cable Connections to Transport Network: Cable Connections to Madeira and Açores Madeira and Açores Transport Network: Cable Connections to Transport Network: Cable Connections to Madeira and Açores Madeira and Açores
Audiovisual Communication, Fernando Pereira, 2012/2013
TDT in Portugal: Evolution in Time TDT in Portugal: Evolution in Time TDT in Portugal: Evolution in Time TDT in Portugal: Evolution in Time
enlarged until 2011.
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
Audiovisual Communication, Fernando Pereira, 2012/2013
What Does a Set What Does a Set-top Box ? top Box ? What Does a Set What Does a Set-top Box ? top Box ?
Audiovisual Communication, Fernando Pereira, 2012/2013
DVB Integrated Receiver DVB Integrated Receiver-Decoders (IRDs) Decoders (IRDs) DVB Integrated Receiver DVB Integrated Receiver-Decoders (IRDs) Decoders (IRDs)
The DVB IRDs are classified according to 5 dimensions:
“25 Hz” or “30 Hz” depending if they use 25 Hz or 30000/1001 Hz (approximately 29,97 Hz) picture rates; some IRDs may be dual-standard which means they may accept both 25 Hz and 30 Hz video content.
“SDTV” or “HDTV” depending if they are limited or nor to decode conventional resolution images (ITU-R 601); a SDTV IRD has capabilities which are a sub-set of an HDTV IRD capabilities.
“With digital interface” or “Baseline” depending if they can be used for storage as with a VCR (Video Cassete Recorder) or not; a Baseline IRD has capabilities which are a sub-set of the digital interface IRD capabilities.
“MPEG-2 Video” or “H.264/AVC” 2 Video” or “H.264/AVC” depending if they use one or the other video coding format.
Audio Coding Format, , several, e.g. MPEG-1/2 Audio (Layers 1 e 2), Dolby AC- 3, and recently MPEG-4 Audio HE AAC.
Audiovisual Communication, Fernando Pereira, 2012/2013
Video in DVB Video in DVB Video in DVB Video in DVB
MPEG-2 Main Profile @ Main Level 2 Main Profile @ Main Level is used to code SDTV with MPEG-2 Video
MPEG-2 Main Profile @ High Level 2 Main Profile @ High Level is used to code HDTV with MPEG-2 Video
H.264/AVC Main Profile @ Level 3 is used to code SDTV with H.264/AVC
H.264/AVC High Profile @ Level 4 is used to code HDTV with H.264/AVC
IRDs use 25 Hz
IRDs use both 25 and 50 Hz
Audiovisual Communication, Fernando Pereira, 2012/2013
Audio in DVB Audio in DVB Audio in DVB Audio in DVB
MPEG-1 Audio Layer I, MPEG 1 Audio Layer I, MPEG-1 1 Audio Layer II or MPEG Audio Layer II or MPEG-2 Audio Layer II backward 2 Audio Layer II backward compatible. compatible.
is used.
Layer II backwards compatible audio (Part 2).
is optional, and thus the IRDs may, optionally, decode or not these streams.
Audiovisual Communication, Fernando Pereira, 2012/2013
Final Remarks Final Remarks Final Remarks Final Remarks
mobile and portable reception.
H.264/AVC) set-top boxes sold, especially in USA and Europe.
Systems and MPEG-2 Video standards (unfortunately with small differences). While DVB also uses MPEG-2 Audio, ATSC uses Dolby AC-3, another audio coding format.
Much deployed digital TV is still MPEG Much deployed digital TV is still MPEG-2 based … however, another 2 based … however, another more efficient video coding solution is quickly taking over: more efficient video coding solution is quickly taking over: H.264/AVC (see next episode)! H.264/AVC (see next episode)!
Audiovisual Communication, Fernando Pereira, 2012/2013
Bibliography Bibliography Bibliography Bibliography
to MPEG-2, Chapman & Hall, 1997
House, 1998