Video compression in transition

Sep 1, 2009 12:00 PM, By Ian Trow

MPEG-2 and AVC can coexist in modern facilities.

             
Figure 1

Figure 1
Select figure to enlarge.

Broadcasters and service providers have a wide variety of options to consider when choosing the correct compression strategy for the contribution and distribution of broadcast content.

With significant investment in MPEG-2, broadcasters are keen to see vendors addressing the need for greater SD compression efficiency for distribution applications. Higher channel densities and the trend for larger flat screens have resulted in renewed interest in re-evaluating MPEG-2 for further compression gains in an environment where bandwidth is both scarce and expensive. HD distribution started with MPEG-2 over cable and satellite, but many HD services are now possible as a result of the compression efficiencies attainable with MPEG-4 AVC.

Current compression systems now demand multistreaming and file-based capability alongside real-time delivery. This article will investigate the issues surrounding the selection of a compression standard, optimum operational bit rate and ideal system configuration.

MPEG-4 compression

Figure 2
<br>Select figure to enlarge.

Figure 2
Select figure to enlarge.

When first introduced, the MPEG-4 compression standard was heralded by many as an MPEG-2 replacement. Since then, a series of profiles and levels has been developed within the MPEG-4 standard that successfully addresses many of the shortcomings of MPEG-2. These include greater compression ratios to facilitate HD carriage, resilience to errors introduced by packet-based IP distribution, and the application of MPEG techniques for mobile, handheld and PC streaming applications.

MPEG-4 has been refined to focus on commercial areas with requirements that eclipse the capabilities of MPEG-2. The result is MPEG-4 Part 10, more commonly known as H.264 or Advanced Video Coding (AVC). In terms of compression, H.264 is now viewed as a possible successor to MPEG-2 in broadcast distribution applications. However, it should not be assumed that applications will switch from MPEG-2 just to track the latest in compression technology. Many compression applications will remain MPEG-2 for the foreseeable future because of the large installed base of set-top boxes. Additionally, for some broadcasters, the gain associated with upgrading the compression scheme does not yield the benefit to offset the downside of upgrading in terms of capital outlay and retraining.

MPEG-4 AVC was initially developed for low-bit rate multimedia applications. This made the standard more robust and appropriate for IP-based networks when compared with predecessor legacy standards like MPEG-2. This advantage carries through to the application of AVC in contribution applications, and consequently makes bandwidth more plentiful and workflow shorter.

Beyond MPEG-2 compression

Figure 3
<br>Select figure to enlarge.

Figure 3
Select figure to enlarge.

MPEG-2 compression is a tough act to follow, so it should not be assumed that broadcast applications will no longer use this standard. Much of the research effort in video compression has been directed toward improving MPEG-2 to exploit the advantages brought about by more capable processing technology.

Where MPEG-2 has met significant challenge is in bandwidth-hungry HD contribution applications, where the savings offered by a move to a more efficient scheme are seen as commercially essential.

In terms of compression, the following are major factors:

  • A significant move toward HD programming;

  • Demand for greater compression efficiency;

  • Greater use of file-based production techniques;

  • Availability of more transmission bandwidth;

  • A desire for reduced workflow; and

  • Support for multiple playout platforms.

These factors make the selection of a suitable compression scheme for contribution far more complex than when MPEG-2 was introduced into this environment.

The bit rates used in a typical production chain are shown in Figure 1 on page 42. The rates shown are typical of those used in HD 1080i/720p environments with distribution over MPEG-2. The main development in terms of bit rate has come about because of a desire to greatly reduce the emission bandwidth using H.264 to rates of approximately 4Mb/s-12Mb/s.

In terms of mastering quality, 1080p acquisition introduces the prospect of 3Gb/s for full frame-rate carriage. So even though there is more capability to carry higher payloads, for the vast majority of applications, there is still a requirement for efficient video compression to bring the bit rate down to manageable levels. So, what constitutes a manageable bit rate in a contribution environment, and what compression standard can be used?

Both MPEG-4 AVC and MPEG-2 have been applied to multiple markets in the typical production chain. (See Figure 2.) This usage in multiple markets has significant workflow benefits in reducing the complexity of each production stage.

In most areas, direct-to-home (DTH) deployments have been based on MPEG-2, creating an established infrastructure and a significant legacy for which replacement of MPEG-2 by AVC equipment is not a practical solution. Broadcasters and service providers need to work further within the constraints of MPEG-2 on infrastructure that needs replacement or upgrade to a more efficient implementation.




Want to use this article?
Click here for options!
Get Copyright Clearance

Share this article

blog comments powered by Disqus

 


Current Issue

A view from the top

January 2012

Some of broadcast's brightest reveal where the industry is headed.

Read More articles...

Related Newsletter

Transition to Digital
A twice per month tutorial on digital technology.

Related Posts


Confused about the terminology in an article? Find definitions of common terms and abbreviations in Broadcast Engineering's Glossary.

 


Submit your product for our NAB coverage.

Resources

Broadcast Engineering Newsletters Broadcast Engineering Essential Guides Broadcast Engineering White Papers Broadcast Engineering Videos Broadcast Engineering Podcasts Broadcast Engineering Industry Calendar

Industry Calendar

Broadcast Engineering Glossary of Terms

Glossary

Broadcast Engineering RSS feed

RSS

Interactive Media

Broadcast Engineering Webinars Broadcast Engineering Training Broadcast Engineering Blogs Broadcast Engineering Mobile Apps Broadcast Engineering on Facebook

Facebook

Broadcast Engineering JobZone

JobZone

Broadcast Engineering BE Roll

Blog

Featured Products

A Broadcaster's Guide To Camera & Lens Technology

A Broadcaster's Guide To Camera & Lens TechnologyThis eBook provides both new and veteran shooters an in-depth understanding of the technology that lies between the camera lens and the recording medium and how to maximize a camera's performance.

File Based Technology and Workflow

File Based Technology and WorkflowFile-based technologies have replaced video tape methods for a majority of production and broadcast operations. The worlds of AV and IT are coalescing to create new methods and workflows for media

Digital Television Fundamentals

Digital Television FundamentalsThis course, written by broadcast engineer Phil Cianci, provides a basic tutorial platform on the hows and whys of ATSC digital operation.

Video Compression, Editing and Displays

Video Compression, Editing and DisplaysVideo compression, editing and displays is an in-depth tutorial on MPEG compression technology, editing MPEG content and evaluating color video monitors written by long-time video expert, trainer and writer Steve Mullen, Ph. D.

 

 

Sound Off Podcasts

Erik Moreno, co-general manager of the Mobile Content Venture

MCV racks up successes on way to bright mobile DTV future

2012 will be the year of mobile DTV. That’s the view of Erik Moreno, who along with Salil Dalvi, senior VP for Mobile Platform Development at NBC Universal, is co-general manager of the Mobile Content Venture.

Danny Wilson

OTT year in review

Hear snippets of podcast interviews done throughout 2011 with Pat McDonough of The Nielsen Company, Glen Friedman of Ideas & Solutions!, Danny Wilson of Pixelmetrix and Greg Herman of Watch TV. Pictured is Danny Wilson, Pixelmetrix.

 

Broadcast Engineering Digital Reference Guide

Browse Back Issues

Back to Top