24 Mar 2015

Video processing and frame rate conversion Part 3: Motion compensation

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Video Processing, Part 3 Video Processing, Part 3 Blackmagic Design / RedShark News


In the third part of our four part series on video processing and standards conversion, Phil Rhodes explains why frame rate conversions and temporal remapping is such arduous tasks.

In the previous instalment of our series on video image processing and standards conversion, we discussed scaling, which is such a common requirement that examples seem redundant. What's less well known is that good scaling is surprisingly hard work, especially if it must be done in real-time to video data that may contain a dozen megapixels per frame, and several dozen frames per second.

Scaling in two dimensions, however, pales in comparison to the problems we face when trying to re-time video, to scale it in the temporal dimension. Even in the trivial case of reducing the frame rate by (for instance) half, to do a technically correct job we must apply additional motion blur, to normalise the apparent motion rendering of a fifty-percent exposure duty cycle - the equivalent of a 180-degree shutter in film, or 1/60th of a second exposure in 30fps video. While the motion blur issue can often be ignored in simple cases like this, more common requirements, such as conversion of 25fps PAL-region video to look good when distributed at 29.97fps, aren't so easy.

The 3:2 Pull-down

Perhaps the earliest solution to this sort of problem is the 3:2 pull-down applied to film footage, which used the alternating lines of interlaced video to blend frames without needing any advanced electronics (which didn't really exist when the technique was developed) and continues to make life easy for DVD players to this day. However, the appearance of 24fps film, when transferred to nearly-30fps video in this way, is so identifiable that it's used to this day in order that people in NTSC regions get films that look as expected; most modern standards conversion needs to be a lot more invisible than that.

rsn_teranex_doc3_fig1.png[Fig. 1: 3:2 pulldown]

The solution to both frame rate conversion and motion blur actually comes from the same ability: the generation of new frames based on pre-existing ones. Motion blur is often simulated by averaging a number of newly-generated frames, so the problems we need to solve are more or less the same either way. It hasn't been possible to do this very convincingly for very long, at least compared to scaling; the key techniques for making up new frames, called motion estimation or optical flow, rely on computers to do an enormous amount of heavy lifting.

Motion estimation and compensation explained

The genesis of motion estimation, which at its core is a task of tracking where an object from one frame has moved to in the next, comes from things like military target tracking via video compression. Our ability to place computer-generated objects in scenes where the camera is in motion relies on the same ability of a computer to take an area of an image and match it to a similar area in another image, with unerring accuracy. Needless to say, given the fact that a video frame is a two-dimensional representation of (usually) a three-dimensional scene, and because cameras produce noisy images, it isn't something that can ever be a perfect solution. At its most fundamental level, then, most of the development that's happened in the field is dedicated to finding more efficient ways for a computer to take a chunk of one image and find where that chunk has moved to in another.

rsn_teranex_doc3_fig2.png[Fig. 2: Motion compensation]

It's worth a brief digression at this point to discuss the relevance of this to video compression, where related techniques are called motion compensation. Estimating and recording the position and movement of small areas of the image (called macroblocks and often eight pixels square) can provide either new image data or a rough idea, leaving the codec to compress only the difference between that and the ideal image. This has been a key part of video compression since the earliest days of codecs designed to allow video conferencing via the telephone network. At that time, the limitations were not only of bandwidth but also of computing power and, as such, the mathematics are well developed for efficiency.

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Phil Rhodes

Phil Rhodes is a Cinematographer, Technologist, Writer and above all Communicator. Never afraid to speak his mind, and always worth listening to, he's a frequent contributor to RedShark.

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