- Cover
- Halftitle
- Dedication
- Title
- Copyright
- Contents
- Preface
- Acknowledgements
- Chapter 1 Introduction to compression
- 1.1 What is MPEG?
- 1.2 Why compression is necessary
- 1.3 MPEG-1, 2, 4 and H.264 contrasted
- 1.4 Some applications of compression
- 1.5 Lossless and perceptive coding
- 1.6 Compression principles
- 1.7 Video compression
- 1.8 Introduction to MPEG-1
- 1.9 MPEG-2: Profiles and Levels
- 1.10 Introduction to MPEG-4
- 1.11 Introduction to H.264 (AVC)
- 1.12 Audio compression
- 1.13 MPEG bitstreams
- 1.14 Drawbacks of compression
- 1.15 Compression pre-processing
- 1.16 Some guidelines
- References
- Chapter 2 Fundamentals
- 2.1 What is an audio signal?
- 2.2 What is a video signal?
- 2.3 Types of video
- 2.4 What is a digital signal?
- 2.5 Sampling
- 2.6 Reconstruction
- 2.7 Aperture effect
- 2.8 Choice of audio sampling rate
- 2.9 Video sampling structures
- 2.10 The phase-locked loop
- 2.11 Quantizing
- 2.12 Quantizing error
- 2.13 Dither
- 2.14 Introduction to digital processing
- 2.15 Logic elements
- 2.16 Storage elements
- 2.17 Binary coding
- 2.18 Gain control
- 2.19 Floating-point coding
- 2.20 Multiplexing principles
- 2.21 Packets
- 2.22 Statistical multiplexing
- 2.23 Timebase correction
- References
- Chapter 3 Processing for compression
- 3.1 Introduction
- 3.2 Transforms
- 3.3 Convolution
- 3.4 FIR and IIR filters
- 3.5 FIR filters
- 3.6 Interpolation
- 3.7 Downsampling filters
- 3.8 The quadrature mirror filter
- 3.9 Filtering for video noise reduction
- 3.10 Warping
- 3.11 Transforms and duality
- 3.12 The Fourier transform
- 3.13 The discrete cosine transform (DCT)
- 3.14 The wavelet transform
- 3.15 The importance of motion compensation
- 3.16 Motion-estimation techniques
- 3.17 Motion-compensated displays
- 3.18 Camera-shake compensation
- 3.19 Motion-compensated de-interlacing
- 3.20 Compression and requantizing
- References
- Chapter 4 Audio compression
- 4.1 Introduction
- 4.2 The deciBel
- 4.3 Audio level metering
- 4.4 The ear
- 4.5 The cochlea
- 4.6 Level and loudness
- 4.7 Frequency discrimination
- 4.8 Critical bands
- 4.9 Beats
- 4.10 Codec level calibration
- 4.11 Quality measurement
- 4.12 The limits
- 4.13 Compression applications
- 4.14 Audio compression tools
- 4.15 Sub-band coding
- 4.16 Audio compression formats
- 4.17 MPEG audio compression
- 4.18 MPEG Layer I audio coding
- 4.19 MPEG Layer II audio coding
- 4.20 MPEG Layer III audio coding
- 4.21 MPEG-2 AAC – advanced audio coding
- 4.22 Dolby AC-3
- 4.23 MPEG-4 audio
- 4.24 MPEG-4 AAC
- 4.25 Compression in stereo and surround sound
- References
- Chapter 5 MPEG video compression
- 5.1 The eye
- 5.2 Dynamic resolution
- 5.3 Contrast
- 5.4 Colour vision
- 5.5 Colour difference signals
- 5.6 Progressive or interlaced scan?
- 5.7 Spatial and temporal redundancy in MPEG
- 5.8 I and P coding
- 5.9 Bidirectional coding
- 5.10 Coding applications
- 5.11 Intra-coding
- 5.12 Intra-coding in MPEG-1 and MPEG-2
- 5.13 A bidirectional coder
- 5.14 Slices
- 5.15 Handling interlaced pictures
- 5.16 MPEG-1 and MPEG-2 coders
- 5.17 The elementary stream
- 5.18 An MPEG-2 decoder
- 5.19 MPEG-4 and AVC
- 5.20 Video objects
- 5.21 Texture coding
- 5.22 Shape coding
- 5.23 Padding
- 5.24 Video object coding
- 5.25 Two-dimensional mesh coding
- 5.26 Sprites
- 5.27 Wavelet-based compression
- 5.28 Three-dimensional mesh coding
- 5.29 Animation
- 5.30 Scaleability
- 5.31 Advanced Video Coding (AVC)
- 5.32 Motion compensation in AVC
- 5.33 An AVC codec
- 5.34 AVC profiles and levels
- 5.35 Coding artifacts
- 5.36 MPEG and concatenation
- References
- Chapter 6 MPEG bitstreams
- Chapter 7 MPEG applications
- Index
The MPEG Handbook
MPEG-1, MPEG-2, MPEG-4
Second edition
John Watkinson
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