15. MP3 is a form of compression. It's an acronym which stands for Mpeg 1 Audio Layer 3.The Stages of MP3 Compression<br />First, let's look at the stages that take place in compressing an audio file. For this example, the mp3 codec is described:<br />The waveform is separated into small sections called frames (think of them as similar to video frames) and it is within each frame that the audio will be analyzed.<br /> The section is analyzed to see what frequencies are present (aka spectral analysis).<br /> These figures are then compared to tables of data in the codec that contains information of the psychoacoustic models.<br /> In the mp3 codec, these models are very advanced and a great deal of the modeling is based on the principle known as masking .Any information that matches the psychoacoustic model is retained and the rest is discarded. This is the majority of the audio compression. <br /> Depending on the bitrate, the codec uses the allotted amount of bits to store this data.<br /> Once this has taken place, the result is then passed through the lossless Huffman zip-type compression which reduces the size by another 10%. [this is why there is no point in zipping an mp3… it's already been 'zipped']<br />Audio Editing<br />Audio Editors designed for use with music typically allow the user to do the following:<br />Record audio from one or more inputs and store recordings in the computer's memory as digital audio<br />Edit the start time, stop time, and duration of any sound on the audio timeline<br />Fade into or out of a clip (e.g. an S-fade out during applause after a performance), or between clips (e.g. crossfading between takes)<br />Mix multiple sound sources/tracks, combine them at various volume levels and pan from channel to channel to one or more output tracks<br />Apply simple or advanced effects or filters, including compression, expansion, flanging, reverb, audio noise reduction and equalization to change the audio<br />Playback sound (often after being mixed) that can be sent to one or more outputs, such as speakers, additional processors, or a recording medium<br />Conversion between different audio file formats, or between different sound quality levels<br />Typically these tasks can be performed in a manner that is both non-linear and non-destructive.<br />Examples of popular Audio Editing Software:<br />Fruity Loops (now FL Studio)<br />Cool Edit Pro<br />Sony Vegas<br />Cubase<br />Audacity<br />MP3 Cutter<br />Video compression refers to reducing the quantity of data used to represent digital video images, and is a combination of spatial image compression and temporal motion compensation. <br />Another way to explain video compression is as follows:<br />Compression is a reversible conversion (encoding) of data that contains fewer bits. This allows a more<br />efficient storage and transmission of the data. The inverse process is called decompression (decoding).<br />Software and hardware that can encode and decode are called decoders. Both combined form a codec<br />and should not be confused with the terms data container or compression algorithms.<br />Figure: Relation between codec, data containers and compression algorithms.<br />Why is video compression used?<br />A simple calculation shows that an uncompressed video produces an enormous amount of data: a<br />resolution of 720x576 pixels (PAL), with a refresh rate of 25 fps and 8-bit colour depth, would require the<br />following bandwidth:<br />720 x 576 x 25 x 8 + 2 x (360 x 576 x 25 x 8) = 1.66 Mb/s (luminance + chrominance)<br />For High Definition Television (HDTV):<br />1920 x 1080 x 60 x 8 + 2 x (960 x 1080 x 60 x 8) = 1.99 Gb/s<br />Even with powerful computer systems (storage, processor power, network bandwidth), such data amount cause extreme high computational demands for managing the data. Fortunately, digital video contains a great deal of redundancy. Thus it is suitable for compression, which can reduce these problems significantly. Especially lossy compression techniques<br />deliver high compression ratios for video data. However, one must keep in mind that there is always a trade-off between data size (therefore computational time) and quality. The higher the compression ratio, the lower the size and the lower the quality. The encoding and decoding process itself also needs computational resources, which have to be taken into consideration. It makes no sense, for example for a real-time<br />application with low bandwidth requirements, to compress the video with a computational expensive<br />algorithm which takes too long to encode and decode the data.<br />Compression Principles<br />Compression is like making orange juice concentrate. Fresh oranges go in one end and concentrate comes out the other. The concentrated orange juice takes up less space, is easier to distribute, and so forth. There are different brands and types of concentrate to meet the consumers' needs or desires.<br />Likewise, video compression takes a large file and makes it smaller. The smaller files require less hard disk space, less memory to run, and less<br />bandwidth to play over networks or the Internet. Many compression schemes<br />exist and have their specific strengths and weaknesses.<br />Lossless vs. Lossy Compression<br />There are two types of compression:<br />•Lossless—Lossless compression preserves all the data, but makes it more<br />compact. The movie that comes out is exactly the same quality as what went<br />in. Lossless compression produces very high quality digital audio or video,<br />but requires a lot of data. The drawback with Lossless compression is that it<br />is inefficient when trying to maximize storage space or network and Internet<br />delivery capacity (bandwidth).<br />•Lossy—Lossy compression eliminates some of the data. Most images and<br />sounds have more details than the eye and ear can discern. By eliminating<br />some of these details, Lossy compression can achieve smaller files than<br />Lossless compression. However, as the files get smaller, the reduction in<br />quality can become noticeable. The smaller file sizes make Lossy<br />compression ideal for placing video on a CD-ROM or delivering video over a<br />network or the Internet.<br />Most codecs in use today are Lossy codecs.<br />Spatial and Temporal Compression<br />There are two different ways to compress digital media:<br />Spatial compression—Spatial refers to compression applied to a single frame<br />of data. The frame is compressed independently of any surrounding frames.<br />Compression can be Lossless or Lossy. A spatially compressed frame is<br />often referred to as an “intraframe.”, I frame or Keyframe<br />Temporal compression—Temporal compression identifies the differences<br />between frames and stores only those differences. Unchanged areas are<br />simply repeated from the previous frame(s). A temporally compressed frame<br />is often referred to as an “interframe.” or P frame<br />Interframe vs. Intraframe<br />Compressed video frames are defined as interframes or intraframes.<br />Interframes—There are codecs that are categorized as “interframe” codecs.<br />Interframe means many frames are described based on their difference from<br />the preceding frame. Mpeg1, Mpeg2 etc. (P frames)<br />Intraframes—“Intraframe” codecs compress each frame separately and<br />independent of surrounding frames (JPEG is an intraframe codec). However,<br />interframe codecs also use intraframes. The intraframes are used as the<br />reference frames (keyframes) for the interframes. (I frames)<br />Generally codecs always begin with a keyframe. Each keyframe becomes the<br />main reference frame for the following interframes. Whenever the next frame is<br />significantly different from the previous frame, the codec compresses a new<br />keyframe.<br />Some video compression algorithms use both interframe and intraframe compression. For example, Motion Picture Experts Group (MPEG) uses Joint Photographic Experts Group (JPEG), which is an intrafame technique, and a separate interframe algorithm. Motion-JPEG (M-JPEG) uses only intraframe compression. <br />Interframe Compression <br />Interframe compression uses a system of key and delta frames to eliminate redundant information between frames. Key frames store an entire frame, and delta frames record only changes. Some implementations compress the key frames, and others don't. Either way, the key frames serve as a reference source for delta frames. Delta frames contain only pixels that are different from the key frame or from the immediately preceding delta frame. During decompression, delta frames look back to their respective reference frames to fill in missing information. <br />Different compression techniques use different sequences of key and delta frames. For example, most video for Windows CODECs calculate interframe differences between sequential delta frames during compression. In this case, only the first delta frame relates to the key frame. Each subsequent delta frame relates to the immediately preceding delta frame. In other compression schemes, such as MPEG, all delta frames relate to the preceding key frame. <br />All interframe compression techniques derive their effectiveness from interframe redundancy. Low-motion video sequences, such as the head and shoulders of a person, have a high degree of redundancy, which limits the amount of compression required to reduce the video to the target bandwidth. <br />Until recently, interframe compression has addressed only pixel blocks that remained static between the delta and the key frame. Some new CODECs increase compression by tracking moving blocks of pixels from frame to frame. This technique is called motion compensation (also known as dynamic carry forwards) because the data that is carried forward from key frames is dynamic. Consider a video clip in which a person is waving an arm. If only static pixels are tracked between frames, no interframe compression occurs with respect to the moving parts of the person because those parts are not located in the same pixel blocks in both frames. If the CODEC can track the motion of the arm, the delta frame description tells the decompressor to look for particular moving parts in other pixel blocks, essentially tracking the moving part as it moves from one pixel block to another. <br />Although dynamic carry forwards are helpful, they cannot always be implemented. In many cases, the capture board cannot scale resolution and frame rate, digitize, and hunt for dynamic carry forwards at the same time. <br />Dynamic carry forwards typically mark the dividing line between hardware and software CODECs. Hardware CODECs, as the name implies, are usually add-on boards that provide additional hardware compression and decompression operations. The benefit of hardware CODECs is that they do not place any additional burden on the host CPU in order to execute video compression and decompression. <br />Software CODECs rely on the host CPU and require no additional hardware. The benefit of software CODECs is that they are typically cheaper and easier to install. Because they rely on the host's CPU to perform compression and decompression, software CODECs are often limited in their capability to use techniques such as advanced tracking schemes. <br />Intraframe Compression <br />Intraframe compression is performed solely with reference to information within a particular frame. It is performed on pixels in delta frames that remain after interframe compression and on key frames. Although intraframe techniques are often given the most attention, overall CODEC performance relates more to interframe efficiency than intraframe efficiency. The following are the principal intraframe compression techniques: <br />•Run Length Encoding (RLE)—A simple lossless technique originally designed for data compression and later modified for facsimile. RLE compresses an image based on quot;
runsquot;
of pixels. Although it works well on black-and-white facsimiles, RLE is not very efficient for color video, which have few long runs of identically colored pixels. <br />•JPEG—A standard that has been adopted by two international standards organizations: the ITU (formerly CCITT) and the ISO. JPEG is most often used to compress still images using discrete cosine transform (DCT) analysis. First, DCT divides the image into 88 blocks and then converts the colors and pixels into frequency space by describing each block in terms of the number of color shifts (frequency) and the extent of the change (amplitude). Because most natural images are relatively smooth, the changes that occur most often have low amplitude values, so the change is minor. In other words, images have many subtle shifts among similar colors but few dramatic shifts between very different colors. <br />Next, quantization and amplitude values are categorized by frequency and averaged. This is the lossy stage because the original values are permanently discarded. However, because most of the picture is categorized in the high-frequency/low-amplitude range, most of the loss occurs among subtle shifts that are largely indistinguishable to the human eye. <br />After quantization, the values are further compressed through RLE using a special zigzag pattern designed to optimize compression of like regions within the image. At extremely high compression ratios, more high-frequency/low-amplitude changes are averaged, which can cause an entire pixel block to adopt the same color. This causes a blockiness artifact that is characteristic of JPEG-compressed images. JPEG is used as the intraframe technique for MPEG. <br />•Vector quantization (VQ)—A standard that is similar to JPEG in that it divides the image into 88 blocks. The difference between VQ and JPEG has to do with the quantization process. VQ is a recursive, or multistep algorithm with inherently self-correcting features. With VQ, similar blocks are categorized and a reference block is constructed for each category. The original blocks are then discarded. During decompression, the single reference block replaces all of the original blocks in the category. <br />After the first set of reference blocks is selected, the image is decompressed. Comparing the decompressed image to the original reveals many differences. To address the differences, an additional set of reference blocks is created that fills in the gaps created during the first estimation. This is the self-correcting part of the algorithm. The process is repeated to find a third set of reference blocks to fill in the remaining gaps. These reference blocks are posted in a lookup table to be used during decompression. The final step is to use lossless techniques, such as RLE, to further compress the remaining information. <br />VQ compression is by its nature computationally intensive. However, decompression, which simply involves pulling values from the lookup table, is simple and fast. VQ is a public-domain algorithm used as the intraframe technique for both Cinepak and Indeo. <br />NTSC<br />NTSC is a color TV standard developed in the U.S. in 1953 by the National Television System Committee. <br />NTSC uses a Frame consisting of 486 horizontal lines in the Active Area and a Frame rate of 29.97fps.<br /> The frame is interlaced, meaning it's composed of two individual fields (pictures) with a Field rate of 59.94fps. The term NTSC may also be used to describe any video, including digital video, formatted for playback on a NTSC TV. This generally includes any Standard Definition (SD) video with a vertical Resolution of up to 480 Pixels and a horizontal Resolution no greater than 720, which also has a Frame rate of 29.97fps. <br />NTSC is sometimes referred to as 525/60, in reference to the total number of lines (including lines not in the Active Area) and approximate Field rate. <br />Digital formats include only 480 of NTSC's 486 visible Scan lines due to the need to guarantee mod16 Resolution, meaning its divisible evenly by 16.<br />PAL<br />The PAL (Phase Alternating Line) TV standard was introduced in the early 1960's in Europe. <br />It has better Resolution than NTSC, having 576 lines in the Active Area of the Frame. <br />The Frame rate, however, is slightly lower at 25fps. The term PAL may also be used to describe any video, including digital video, formatted for playback on a PAL TV. <br />This generally includes any Standard Definition (SD) video with a vertical Resolution of up to 576 Pixels and a horizontal resolution no greater than 720, which also has a Frame rate of 25fps. <br />PAL may also be called 625/50, in reference to the total number of lines (including lines not in the Active Area) and field rate.<br />SECAM<br />SECAM (Sequential Couleur Avec Memoire or Sequential Colour with Memory color TV standard was introduced in the early 1960's and implemented in France.<br /> Except for the color encoding scheme, it's nearly identical to the PAL standard. <br />SECAM uses the same 576 line Active Area as PAL, as well as nearly all other.<br />SECAM is used in France, former French colonies and in several eastern European countries.<br /> Because of its great similarities with PAL, including the same frame rate and Active Area, all of the modern video systems, such as DVD, VCD and Super VHS use PAL internally (for storing the data in the storage media, etc) and just change the color encoding to SECAM when outputting the signal back to SECAM TV.<br />Television color encoding systems.<br />Countries using NTSC are shown in green.<br />Countries using PAL are shown in blue.<br />Countries using SECAM are shown in orange.<br />The MPEG standards<br />MPEG stands for Moving Picture Coding Exports Group [4]. At the same time it describes a whole family of international standards for the compression of audio-visual digital data. The most known are MPEG-1, MPEG-2 and MPEG-4, which are also formally known as ISO/IEC-11172, ISO/IEC-13818 and ISO/IEC-14496. More details about the MPEG standards can be found in [4],[5],[6]. The most important aspects are summarised as follows:<br />The MPEG-1 Standard was published 1992 and its aim was it to provide VHS<br />quality with a bandwidth of 1,5 Mb/s, which allowed to play a video in real<br />time from a 1x CD-ROM. The frame rate in MPEG-1 is locked at 25 (PAL) fps<br />and 30 (NTSC) fps respectively. Further MPEG-1 was designed to allow a<br />fast forward and backward search and a synchronisation of audio and video.<br />A stable behaviour, in cases of data loss, as well as low computation times<br />for encoding and decoding was reached, which is important for symmetric<br />applications, like video telephony.<br />In 1994 MPEG-2 was released, which allowed a higher quality with a slightly<br />higher bandwidth. MPEG-2 is compatible to MPEG-1. Later it was also used<br />for High Definition Television (HDTV) and DVD, which made the MPEG-3 standard disappear completely.<br />The frame rate is locked at 25 (PAL) fps and 30 (NTSC) fps respectively, just as in MPEG-1. MPEG-2 is more scalable than MPEG-1 and is able to play the same video in different resolutions and frame rates.<br />MPEG-4 was released 1998 and it provided lower bit rates (10Kb/s to 1Mb/s) with a good quality. It was a major development from MPEG-2 and was designed for the use in interactive environments, such as multimedia applications and video communication. It enhances the MPEG family with tools to lower the bit-rate individually for certain applications. It is therefore more adaptive to the specific area of the video usage. For multimedia producers, MPEG-4 offers a better reusability of the contents as well as a<br />copyright protection. The content of a frame can be grouped into object, which can be accessed individually via the MPEG-4 Syntactic Description Language (MSDL). Most of the tools require immense computational power (for encoding and decoding), which makes them impractical for most “normal, nonprofessional user” applications or real time applications. The real-time tools in MPEG-4 are already included in MPEG-1 and MPEG-2.<br />The MPEG Compression<br />The MPEG compression algorithm encodes the data in 5 steps:<br />First a reduction of the resolution is done, which is followed by a motion compensation in order to reduce temporal redundancy. The next steps are the Discrete Cosine Transformation (DCT) and a quantization as it is used for the JPEG compression; this reduces the spatial redundancy (referring to human visual perception). The final step is an entropy coding using the Run Length Encoding and the Huffman coding algorithm.<br />Step 1: Reduction of the Resolution<br />The human eye has a lower sensibility to colour information than to dark-bright contrasts. A conversion<br />from RGB-colour-space into YUV colour components help to use this effect for compression. The<br />chrominance components U and V can be reduced (subsampling) to half of the pixels in horizontal<br />direction (4:2:2), or a half of the pixels in both the horizontal and vertical (4:2:0).<br />Figure: Depending on the subsampling, 2 or 4 pixel values of the chrominance channel can be grouped together.<br />The subsampling reduces the data volume by 50% for the 4:2:0 and by 33% for the 4:2:2 subsampling.<br />MPEG uses similar effects for the audio compression, which are not discussed at this point.<br />Step 2: Motion Estimation<br />An MPEG video can be understood as a sequence of frames. Because two successive frames of a video<br />sequence often have small differences (except in scene changes), the MPEG-standard offers a way of reducing this temporal redundancy. It uses three types of frames:<br />I-frames (intra), P-frames (predicted) and B-frames (bidirectional).<br />The I-frames are “key-frames”, which have no reference to other frames and their compression is not that high. The P-frames can be predicted from an earlier I-frame or P-frame. P-frames cannot be reconstructed without their referencing frame, but they need less space than the I-frames, because only<br />the differences are stored. The B-frames are a two directional version of the P-frame, referring to both directions (one forward frame and one backward frame). B-frames cannot be referenced by other P- or Bframes, because they are interpolated from forward and backward frames. P-frames and B-frames are called inter coded frames, whereas I-frames are known as intra coded frames.<br />Figure:. An MPEG frame sequence with two possible references: a P-frame referring to a I-frame and a B-frame referring to two P-frames.<br />The usage of the particular frame type defines the quality and the compression ratio of the compressed video. I-frames increase the quality (and size), whereas the usage of B-frames compresses better but also produces poorer quality. The distance between two I-frames can be seen as a measure for the quality of an MPEG-video. In practise following sequence showed to give good results for quality and compression level: IBBPBBPBBPBBIBBP.<br />The references between the different types of frames are realised by a process called motion estimation or motion compensation. The correlation between two frames in terms of motion is represented by a motion vector. The resulting frame correlation, and therefore the pixel arithmetic difference, strongly depends on how good the motion estimation algorithm is implemented. Good estimation results in higher compression ratios and better quality of the coded video sequence. However, motion estimation is a computational intensive operation, which is often not well suited for real time applications. The following figure shows the steps involved in motion estimation, which will be explained as follows:<br />Frame Segmentation - The Actual frame is divided into nonoverlapping blocks (macro blocks) usually 8x8 or 16x16 pixels. The smaller the block sizes are chosen, the more<br />vectors need to be calculated; the block size therefore is a critical factor in terms of time performance, but also in terms of quality: if the blocks are too large, the motion matching is<br />most likely less correlated. If the blocks are too small, it is probably, that the algorithm will try to match noise. MPEG uses usually block sizes of 16x16 pixels. <br />Search Threshold - In order to minimise the number of expensive motion estimation calculations, they are only calculated if the difference between two blocks at the same position is higher than a threshold, otherwise the whole block is transmitted. <br />Block Matching - In general block matching tries, to “stitch together” an actual predicted frame by using snippets (blocks) from previous frames. The process of block matching is the<br />most time consuming one during encoding. In order to find a matching block, each block of the current frame is compared with a past frame within a search area. Only the luminance<br />information is used to compare the blocks, but obviously the colour information will be included in the encoding. The search area is a critical factor for the quality of the matching. It is more likely that the algorithm finds a matching block, if it searches a larger area. Obviously the number of search operations increases quadratically, when extending the search area. Therefore too large search areas slow down the encoding process dramatically. To reduce these problems often rectangular search areas are used, which take into account, that horizontal movements are more likely than vertical ones.<br />Prediction Error Coding - Video motions are often more complex, and a simple “shifting in 2D” is not a perfectly suitable description of the motion in the actual scene, causing so called prediction errors. The MPEG stream contains a matrix for compensating this error. After prediction the, the predicted and the original frame are compared, and their differences are coded. Obviously less data is needed to store only the differences (yellow and black regions in the figure).<br />Vector Coding - After determining the motion vectors and evaluating the correction, these can be compressed. Large parts of MPEG videos consist of B- and P-frames as seen before, and most of them have mainly stored motion vectors. Therefore an efficient compression of motion vector data, which has usually high correlation, is desired.<br />Block Coding - see Discrete Cosine Transform (DCT) below.<br />Step 3: Discrete Cosine Transform (DCT)<br />DCT allows, similar to the Fast Fourier Transform (FFT), a representation of image data in terms of frequency components. So the frame-blocks (8x8 or 16x16 pixels) can be represented as frequency components. The transformation into the frequency domain is described by the following formula:<br />Standard Application Bit Rate<br />The DCT is unfortunately computational very expensive and its complexity increases disproportionately (O(N 2 ) ). That is the reason why images compressed using DCT are divided into blocks. Another disadvantage of DCT is its inability to decompose a broad signal into high and low frequencies at the same time. Therefore the use of small blocks allows a description of high frequencies with less cosineterms.<br />Figure: Visualisation of 64 basis functions (cosine frequencies) of a DCT<br />The first entry (top left in this figure) is called the direct current-term, which is constant and describes the average grey level of the block. The 63 remaining terms are called alternating-current terms. Up to this point no compression of the block data has occurred. The data was only well-conditioned for a<br />compression, which is done by the next two steps.<br />Step 4: Quantization<br />During quantization, which is the primary source of data loss, the DCT terms are divided by a quantization matrix, which takes into account human visual perception. The human eyes are more reactive to low frequencies than to high ones. Higher frequencies end up with a zero entry after quantization and the domain was reduced significantly.<br />Where Q is the quantisation Matrix of dimension N. The way Q is chosen defines the final compression level and therefore the quality. After Quantization the DC- and AC- terms are treated separately. As the correlation between the adjacent blocks is high, only the differences between the DC-terms are stored, instead of storing all values independently. The AC-terms are then stored in a zig-zag-path with increasing frequency values. This representation is optimal for the next coding step, because same values are stored next to each other; as mentioned most of the higher frequencies are zero after division with Q.<br />Figure: Zig-zag-path for storing the frequencies<br />If the compression is too high, which means there are more zeros after quantization, artefacts are visible (next figure). This happens because the blocks are compressed individually with no correlation to each other. When dealing with video, this effect is even more visible, as the blocks are changing (over time) individually in the worst case.<br />Step 5: Entropy Coding<br />The entropy coding takes two steps: Run Length Encoding (RLE ) [2] and Huffman coding [1]. These are well known lossless compression methods, which can compress data, depending on its redundancy, by an additional factor of 3 to 4.<br />All five Steps together<br />Figure: Illustration of the discussed 5 steps for a standard MPEG encoding.<br />As seen, MPEG video compression consists of multiple conversion and compression algorithms. At every step other critical compression issues occur and always form a trade-off between quality, data volume and computational complexity. However, the area of use of the video will finally decide which compression standard will be used. Most of the other compression standards use similar methods to achieve an optimal compression with best possible quality.<br />H.261 is a 1990 ITU-T video coding standard originally designed for transmission over ISDN lines on which data rates are multiples of 64 kbit/s. It is one member of the H.26x family of video coding standards in the domain of the ITU-T Video Coding Experts Group (VCEG). The coding algorithm was designed to be able to operate at video bit rates between 40 kbit/s and 2 Mbit/s.<br />MPEG-1: Initial video and audio compression standard. Later used as the standard for Video CD, and includes the popular Layer 3 (MP3) audio compression format. MPEG-2: Transport, video and audio standards for broadcast-quality television. Used for over-the-air digital television ATSC, DVB and ISDB, digital satellite TV services like Dish Network, digital cable television signals, and (with slight modifications[citation needed]) for DVDs. MPEG-3: Originally designed for HDTV, but abandoned when it was discovered that MPEG-2 (with extensions) was sufficient for HDTV. (Do not confuse with MP3, which is MPEG-1 Layer 3.) MPEG-4: Expands MPEG-1 to support video/audio quot;
objectsquot;
, 3D content, low bitrate encoding and support for Digital Rights Management. Several new (newer than MPEG-2 Video) higher efficiency video standards are included (an alternative to MPEG-2 Video).<br />These are explained as follows:<br />MPEG-1 <br />It is a standard for lossy compression of video and audio. It is designed to compress VHS-quality raw digital video and CD audio down to 1.5 Mbit/s (26:1 and 6:1 compression ratios respectively) without excessive quality loss, making video CDs, digital cable/satellite TV and digital audio broadcasting (DAB) possible. <br />Today, MPEG-1 has become the most widely compatible lossy audio/video format in the world, and is used in a large number of products and technologies. Perhaps the best-known part of the MPEG-1 standard is the MP3 audio format it introduced.<br />The MPEG-1 standard is published as ISO/IEC 11172 - Information technology—Coding of moving pictures and associated audio for digital storage media at up to about 1,5 Mbit/s. The standard consists of the following five Parts: Systems (storage and synchronization of video, audio, and other data together)<br />Video (compressed video content)<br />Audio (compressed audio content)<br />Conformance testing (testing the correctness of implementations of the standard)<br />Reference software (example software showing how to encode and decode according to the standard)<br />Applications<br />Most popular computer software for video playback includes MPEG-1 decoding, in addition to any other supported formats.<br />The popularity of MP3 audio has established a massive installed base of hardware that can play back MPEG-1 Audio (all three layers).<br />quot;
Virtually all digital audio devicesquot;
can play back MPEG-1 Audio.[30] Many millions have been sold to-date.<br />Before MPEG-2 became widespread, many digital satellite/cable TV services used MPEG-1 exclusively.[9][19]<br />The widespread popularity of MPEG-2 with broadcasters means MPEG-1 is playable by most digital cable and satellite set-top boxes, and digital disc and tape players, due to backwards compatibility.<br />MPEG-1 is the exclusive video and audio format used on Video CD (VCD), the first consumer digital video format, and still a very popular format around the world.<br />The Super Video CD standard, based on VCD, uses MPEG-1 audio exclusively, as well as MPEG-2 video.<br />The DVD-Video format uses MPEG-2 video primarily, but MPEG-1 support is explicitly defined in the standard.<br />Color space<br />Before encoding video to MPEG-1, the color-space is transformed to Y'CbCr (Y'=Luma, Cb=Chroma Blue, Cr=Chroma Red). Luma (brightness, resolution) is stored separately from chroma (color, hue, phase) and even further separated into red and blue components. The chroma is also subsampled to 4:2:0, meaning it is reduced by one half vertically and one half horizontally, to just one quarter the resolution of the vid