2012年6月12日 星期二

960H, D1, CIF


3MP is 2048 x 1536 pixels

1080p (FHD) is 1920 x 1080 pixels (16:9)

2MP is 1600 x 1200 pixels

HD+    1600x900 (16:9)
HD      1366x768 (16:9)

1.3MP is 1280 x 1024 pixels
1MP is 1280 x 960 pixels (4:3)

720p is 1280 x 720 pixels (16:9)

'960H' is the name given to a series of CCD image sensors developed by the Sony Corporation in 2009. These CCD image sensors are capable of capturing video images at a resolution of 976h x 528v.

WD1 is 960x480 pixels

    D1 is 720x480 pixels
    4CIF is 704x480 pixels

VGA is 640 x 480 pixels

    DCIF is 528x320 pixels
    2CIF is 704x240 pixels

Half D1: This is an MPEG-2 stream where it only has half the horizontal resolution
This would be 352x480 (NTSC) (兩倍CIF) and 352x576 (PAL)

    CIF is 352x240 pixels
    QCIF is 176x120 pixels
Xcif_graphic
















自動增益控制 AGC


AGC(Automatic Gain Control)是自动增益控制电路,用于保持放大器输出信号幅度大体恒定的电路系统。使放大电路的增益自动地随信号强度而调整的自动控制方法。
在放大电路中,不论输入信号的幅度波动情况如何。整流器对交流输出信号取样并送出一个与输出信号幅度成比例的直流信号。经过滤波的直流信号和平滑的输出电压作为偏压以正确的极性加到前一级或前几级放大电路,以减小其增益。放大器输入信号越强,增益减小的就越大,结果小信号放大增益高,大信号放大增益小,使得输出信号幅度维持在一定范围内。这种方案的各种形式被用于多种放大器和通信系统中。




資料來源:http://www.dianziaihaozhe.com/jichuyujingyan/1910/

2012年6月11日 星期一

PAL vs NTSC

There has been endless debate on the relative merits of the quality of PAL images versus the quality of NTSC images. In this article, I want to present you with the arguments for and against both PAL and NTSC on DVD so that you can make an informed decision when purchasing your DVDs in regards to the best version to buy. As you will see in this article, it is not necessarily the case that PAL is always better or that NTSC is always better. However, I aim to point out the reasons why you should prefer one format over the other, and in which circumstances you should prefer one format over the other.
    As an aside, if you are not familiar with the concept of 16x9 enhancement, I strongly recommend that you read my article on this topic, as your understanding of the remainder of this article will be significantly enhanced if you understand 16x9 enhancement.
    As a further aside, if you have a Region 1 DVD player you in all likelihood cannot play PAL DVDs both for reasons of Region locking and because the great majority of Region 1 DVD players have had their PAL playback ability disabled, not to mention the fact that most NTSC display devices cannot display PAL images.

They're Not Really PAL or NTSC

    The first thing I need to clarify about DVD is that PAL and NTSC are words and formats that are applied to DVD for convenience, and because of historical convention. There is nothing fundamental about a DVD which makes it either PAL or NTSC, but for simplicity and brevity, I will continue to use these terms throughout this article.    At their heart, DVDs are merely carriers of data files with compressed audio-visual information contained therein. This information can be placed on DVD in one of two resolutions; 720 x 576 pixels (PAL DVDs), or 720 x 480 pixels (NTSC DVDs), and with various frame rates (24, 25, and 30 frames per second are common). The DVD player itself takes this data file and formats it appropriately for display in either PAL or NTSC.

The Issue Of Resolution

    In principle, PAL DVDs have a compelling advantage over NTSC DVDs. PAL DVDs have 576 pixels of vertical resolution versus 480 pixels of vertical resolution. That's a 20% increase in resolution for a PAL DVD as compared to an NTSC DVD. Increased resolution translates into a better looking image. However, this is an overly simplistic way of looking at the whole PAL vs NTSC issue as there are other factors that need to be taken into account.

Active Pixels & 16x9 Enhancement

    Because programming can be presented on DVD in various aspect ratios, it is useful to consider the active pixels in a given image when considering the overall resolution of a DVD. For a widescreen image, not all of the pixels available on a DVD are actually used for the image. Some of them make up the black bars above and below the image. The format that provides the most overall active pixels for a given aspect ratio will in theory be the best possible format. Complicating the issue is the difference in active pixels when a DVD is 16x9 enhanced.    The following table illustrates the common aspect ratios presented on DVD along with the total active pixels presented in each possible DVD format. I have highlighted the best formats in green.

Aspect Ratio




4x3 PAL





16x9 enhanced PAL





4x3 NTSC





16x9 enhanced NTSC
1.33:1




720 x 576 = 414,720





538 x 576 = 309,888





720 x 480 = 345,600





538 x 480 = 258,240
1.66:1




720 x 461 = 331,920





671 x 576 = 386,496





720 x 384 = 276,480





671 x 480 = 322,080
1.78:1




720 x 430 = 309,600





720 x 576 = 414,720





720 x 358 = 257,760





720 x 480 = 345,600
1.85:1




720 x 414 = 298,080





720 x 554 = 398,880





720 x 345 = 248,400





720 x 461 = 331,920
2.35:1




720 x 326 = 234,720





720 x 436 = 313,920





720 x 271 = 195,120





720 x 363 = 261,360







Key




Best





Second Best





Third Best





Worst

Widescreen Movies

    For widescreen movies, 16x9 enhanced PAL DVDs provide the highest resolution image, and are theoretically the version of choice. If the PAL version of a widescreen movie is not 16x9 enhanced, then the version of choice is a 16x9 enhanced NTSC DVD.

Frame and Field Rates

    The consideration of which version is best is complicated by the issue of source material. In the case of movies, the choice is simple - pick the disc which has the highest possible image resolution, all else being equal. In the case of video-sourced material, the choice is less simple.
Movies
    Movies the world over are shown at a frame rate of 24 frames per second. That is, 24 images are projected onto the cinema screen every second. Movie film is a very high resolution format, far higher in resolution than the DVD format. Accordingly, the movie itself is not the limiting factor in deciding between PAL and NTSC format DVDs, as the same source material is usually used to create both the PAL and the NTSC versions of a particular DVD. Therefore, the limiting factor in resolution is the DVD itself, with PAL inherently higher in resolution than NTSC.
Video
    With video-based source material, there are two predominant worldwide formats; PAL and NTSC, which differ in both resolution and in frame rate. PAL is higher in resolution (576 horizontal lines) than NTSC (480 horizontal lines), but NTSC updates the on-screen image more frequently than PAL (30 times per second versus 25 times per second). What does this mean in practice? NTSC video is lower in resolution than PAL video, but because the screen updates more frequently, motion is rendered better in NTSC video than it is in PAL video. There is less jerkiness visible. When video source material is transferred to DVD, it is usually transferred in the format it was created in - PAL or NTSC, and the subsequent image has either higher temporal resolution (more frames per second - NTSC) or higherspatial resolution (more lines per image - PAL).    Conversions between the two video formats are possible, and  are indeed frequently carried out, as it seems to be far more acceptable to sell PAL transfers in PAL countries and NTSC transfers in NTSC countries, even if the source material did not originate in the respective format. Conversions between these formats is problematic, however, as compromises need to be made in order to accommodate the source material, and visible artefacts can be introduced by the conversion process.

Converting NTSC to PAL
    When converting from NTSC to PAL, two things need to be accomplished. 480 lines of resolution have to be upconverted to 576 lines of resolution, and 30 images per second have to be downconverted to 25 images per second.    The resolution upconversion does not actually add any real picture information to the image, as you cannot create real picture information where none existed before. It does, however, make the picture viewable on a PAL display, and often results in a superficially better-looking image.
    The frame rate conversion actually results in a loss of temporal resolution, as PAL has a lower frame rate than NTSC.
Converting PAL to NTSC
    The converse situation applies to PAL to NTSC conversions. 576 lines of resolution are downconverted to 480 lines of resolution, and frames need to be inserted to go from the 25 frames per second of PAL to the 30 frames per second of NTSC. Once again, the resultant image is of less actual resolution than the original image, as information is discarded spatially and made up temporally.

Implications for Video Programming On DVD
    The best format to record and play back video programming on DVD in is the format in which the programming was originally created. If it was videotaped in the NTSC format, then the NTSC DVD will be the version of choice. If it was videotaped in the PAL format, then the PAL DVD will be the version of choice.
Higher Definition Source Material
    Complicating this issue is the fact that more and more programming is being created in higher definition video formats these days, and these high definition formats can usually be converted down to PAL or NTSC equally well, with both formats having their respective disadvantages.
So, Which Version Do I Choose?
    As a general rule, video programming sourced from PAL-based countries is likely to look better in PAL, and video programming sourced from NTSC-based countries is likely to look better in NTSC, since these are the likely native formats that they have been created in.

Other Factors To Consider

    If all of the above issues aren't enough to consider when deciding whether to purchase a PAL or an NTSC version of a particular title, there are several other factors which are also worth taking into consideration.
Compression Ratio
    Previously, it has been established that a PAL DVD has 20% more resolution than an NTSC DVD. This does not necessarily translate into a superior image. The DVD format relies on a lossy video compression format (MPEG-2) to allow a reasonable length of programming to fit onto a single DVD. The longer the programming, the higher the compression ratio needs to be, and the more likely it is that visible compression artefacts will be present. If an additional 20% of resolution needs to be compressed, then this can potentially result in a lesser quality image if the programming is overcompressed. Fortunately, many PAL DVDs are being produced as dual layer discs, whereas their NTSC counterparts are being produced as single layer discs, thus providing the necessary room for both versions to look their best.
Censorship
    There are times when programming can be censored for display in PAL countries and uncensored in NTSC countries. GoldenEye and Tomorrow Never Dies are specific examples of DVDs where the PAL versions of the DVDs have been censored in comparison to the uncensored NTSC versions. The converse also sometimes applies, as is the case with Eyes Wide Shut, the DVD of which was digitally censored in the USA but uncensored in Australia.    It is exceedingly difficult to find out whether a specific DVD has been censored in one part of the world or another. Two specific Internet resources that are helpful in this area are;
  • The Internet Movie Database, at http://www.imdb.com. This lists cuts and alternate edits to specific movies under the Alternate Versions subheading, and
  • Melon Farmers, at http://www.melonfarmers.co.uk/dhhits.htm. This is predominately a listing of UK cuts to DVDs, which is generally not applicable to the Australian version of the DVD. However, on occasion we receive the same disc as the UK, and subsequently suffer the same censorship.
  • The Cut List, at http://www.dvdfile.com/software/cut_list/index.html. This is a listing of US cuts and alternate DVD edits.
PAL's 4% Speed Up
    Movies on PAL DVDs play back 4% faster than their NTSC counterparts. The great majority of people will never notice this, but for a small minority, this is an intolerable artefact. For more details on why this speed-up occurs, please refer to my article on this topic.
NTSC's 3:2 Pulldown
    Movies on NTSC DVDs play back at the correct speed, but they achieve this by utilizing a process called "3:2 pull-down". A detailed discussion of this process is beyond the scope of this article, but the net effect of this is that any image pan is not smooth, but takes place in a series of uneven steps, an artefact known as judder. As with PAL's 4% speed-up, the great majority of people will never notice this artefact, but for a small minority, this is intolerable. Personally, I find this artefact all but intolerable and find it very hard to watch a movie on an NTSC DVD because of it.
Extras
    Often times, the extras on one version of a DVD are not found on another version. It is most disconcerting when you have purchased a DVD to find out that another version is available which has far more extras than the one that you have just paid good money for.
Remastering
    Sometimes, a DVD will be produced from restored or remastered source elements in one region and from non-restored sources in another region.

Conclusions

  • PAL is a higher resolution format for DVD than NTSC. All else being equal, a PAL DVD of a movie should look significantly better than the equivalent NTSC DVD.
  • If a PAL version of a movie DVD is not 16x9 enhanced and the NTSC version is 16x9 enhanced, then the NTSC version will be the preferred version, all else being equal.
  • For video-based material, it is generally better for the DVD to remain in the same format as the source material.
  • Do your homework before purchasing a DVD! Check as many resources as you can in order to determine which version of a particular DVD is the most appropriate one to purchase.
資料來源:http://www.michaeldvd.com.au/articles/palvsntsc/palvsntsc.asp

NTSC is used with a fps of 60i or 30p, so theoretically offers very slightly smoother motion than PAL, which is generally used with 50i or 25p.

Progressive scanning (alternatively referred to as noninterlaced scanning) is a way of displaying, storing, or transmitting moving images in which all the lines of each frame are drawn in sequence. This is in contrast to interlaced video used in traditional analog television systems where only the odd lines, then the even lines of each frame (each image called a video field) are drawn alternately. (p-逐行掃描/播放, i-隔行掃描/撥放)

以NTSC電視機為例, 在工作的時候, 把衣幅525行圖像分成兩場來掃, 第一場稱奇數場, 掃描奇數行, 而第二場掃描偶數行, 透過兩場掃描完成原來一圖像掃描的行數

PAL broadcast systems

This table illustrates the differences:
PAL BPAL G, HPAL IPAL D/KPAL MPAL N
Transmission BandVHFUHFUHF/VHF*VHF/UHFVHF/UHFVHF/UHF
Fields505050506050
Lines625625625625525 = NTSC625
Active lines576576582**576480 = NTSC576
Channel Bandwidth7 MHz8 MHz8 MHz8 MHz6 MHz6 MHz
Video Bandwidth5.0 MHz5.0 MHz5.5 MHz6.0 MHz4.2 MHz4.2 MHz
Colour Subcarrier4.43361875 MHz4.43361875 MHz4.43361875 MHz4.43361875 MHz3.575611 MHz3.58205625 MHz
Sound Carrier5.5 MHz5.5 MHz6.0 MHz6.5 MHz4.5 MHz4.5 MHz

The Internet Movie Database

http://www.imdb.com/

 美國不錯的影評網站

DVD 區域碼

數位影碟區域碼限制DVD region code),俗稱DVD區域碼,即最主要就是保障每個地區的影音產品經銷商與代理商的權益,而專為DVD-Video所制定出的「限定在某區域內才能正常使用」的區域碼限制,用以杜絕產品平行輸入的問題,避免某區域未上映的電影票房收入因為其DVD-Video的流通而造成損失。



DVD區域碼限制
區域號碼區域限制
0非正式術語,意思是「全世界」。0區碼不是官方設置標誌,0區碼的光碟沒有設置標誌,而1-6區碼的光碟設有設置標誌。
1加拿大美國百慕達美國管轄地區
2歐洲俄羅斯白俄羅斯烏克蘭除外)、中東(僅傳統中東地區)、南非史瓦濟蘭賴索托格陵蘭日本法國海外領地(例如法屬蓋亞那
3香港澳門臺灣韓國東南亞
4墨西哥中美洲南美洲法屬蓋亞那除外)、加勒比地區波多黎各除外)、大洋洲新喀里多尼亞除外)
5俄羅斯白俄羅斯烏克蘭非洲埃及南非史瓦濟蘭賴索托除外)、中亞南高加索國家、南亞阿富汗蒙古北韓
6中國大陸
7預留
8國際管轄地區,例如飛機客輪內。
ALL全區碼,是任何區碼(即1-6區碼選擇其中一個)的DVD播放機可播放光碟。
資料來源:http://zh.wikipedia.org/zh-tw/DVD%E5%8D%80%E5%9F%9F%E7%A2%BC

16x9 Enhancement

Enhanced for 16x9 displaysAnamorphic16x9 Enhanced16:9 Transfer. You've probably seen one of these phrases at some stage on DVD packaging without being quite sure of what it actually means. Put simply, it is one of the most significant enhancements in video quality that DVD offers over all other consumer video formats. Sadly, it is also one of the most misunderstood. I will use the term 16x9 Enhanced for the remainder of this article, as it is both the most common, and the most correct term. Before we launch into the specifics of 16x9 enhancement, there are a few basic principles that we need to understand.

It's A 4:3, 4:3, 4:3, 4:3, 4:3 World

    We live in a world dominated by TV, and the shape of a TV screen, which is 4 units wide by 3 units high.

    It doesn't have to be this shape. This shape was defined in the early days of the development of TV, and has stuck with us ever since.

Why Change It?

    Movies and TV have evolved. In the very early days, movies were projected in the same shape that TV is in now (4:3). With the advent of TV, movies widened in shape. Now, there are two common shapes for movies; 1.85:1 and 2.35:1.



    To simplify this explanation, I am going to discuss the 1.85:1 movie shape only. The principles are exactly the same for 2.35:1 movies.

How Do We Fit A Wide Image Onto A Narrow Screen?

    Movies no longer fit onto a TV screen easily. How do we squeeze a movie of this shape -  - onto a TV screen of this shape -  ? Well, there are three basic ways of doing it, though the third way is not something that you would think of immediately. The first two ways involve significant compromise either in the content or in the resolution of the resulting video image.
Panning & Scanning
     The most common way is to chop parts of the movie off when it is displayed on TV and only show what are considered to be the more important parts of the picture. This process is called Panning & Scanning.

 -> 
    The disadvantage of Panning & Scanning is that important parts of the image can be chopped off in the narrowing process.
Letterboxing
    The second way is to shrink the overall size of the picture so that the entire movie fits onto the TV. This process is called Letterboxing.

 -> 
 Letterboxing keeps the movie's shape in its original form, but it shrinks the overall size of the image, and reduces the overall resolution of the image because of the wasted space above and below the image. Until the advent of DVD, however, it was the only way of watching a movie on TV in its original aspect ratio.
16x9 Televisions
    The less obvious, but very much better, way to display a movie in its original aspect ratio is to widen the TV to fit the movie image, which is exactly what is happening with the introduction of High Definition TV (HDTV). HDTV has a screen shape that is 16 units wide by 9 units high (16:9 or 1.78:1 in the other parlance).
 ->  -> 
    This method has two advantages. Firstly, it retains the original aspect ratio of the movie, so we see the movie as the director intended us to see it. Secondly, there is no loss in resolution

OK, I follow all of that, but what has that got to do with 16x9 Enhancement?

    Remember back to what I said at the start of this article - we live in a 4:3 world. All of our TV and video recording equipment is geared around a screen that is 4:3 shaped. When you record something on a VCR, it is recorded in the 4:3 shape. DVD changes this. The image on a DVD can be stored in one of two shapes; this shape -  (4:3) or this shape -  (16:9). This is a critically important point. If you don't follow this point, stop now and think about it for a while. This is a fundamental change in the way video is recorded, and one that takes some thinking about before it sits comfortably in our 4:3 world.
    A DVD that is recorded with a 16:9 shape is one that is 16x9 enhanced.

So What?

    On a 16:9 TV, a 16x9 enhanced DVD will be displayed at maximum resolution, and will preserve the original aspect ratio of the movie that it is showing, giving us the best possible image, both in size and in resolution.
 -> 

Wait a minute, I don't have a 16:9 TV, I have a 4:3 TV!

    If you try and play back a 16x9 enhanced DVD on an ordinary TV screen, you will get distortion of the image. This is because you are trying to squeeze the wider image recorded on this type of DVD onto the narrower 4:3 TV screen.
 -> 

Does this mean that if I have a 4:3 TV that all 16x9 transfers will look funny on my screen?

    DVD has been designed as a transition format between 4:3 TV displays and 16:9 TV displays. Every DVD player has the ability to take a 16x9 enhanced image, and downconvert it for display on a 4:3 TV, so that it displays correctly. At its simplest level, this is done by discarding lines from the 16x9 enhanced image, decreasing its resolution.
 -> 
    The net effect of this process is the same as that done by letterboxing the image in the first place - the image shrinks, and the image loses resolution. Don't forget, however, that the image on the disc itself is still in a higher resolution than that which is displayed on the screen. The resolution of this type of image is approximately the same as that which could be achieved with letterboxed laserdisc in the past.
    Some 4:3 TVs have a built-in 16:9 mode which shrinks the overall height of the picture whilst retaining the same number of lines as in full screen mode - these TVs allow you to take advantage of the full resolution of 16x9 enhanced DVDs. Theoretically, you could achieve the same effect on any 4:3 TV by adjusting the vertical height of the image.

Yep, I'm following so far - so why should I care about 16x9 Enhancement? I don't have a 16:9 TV and I'm not likely to ever get one.

    There are two reasons why you should care.    Firstly, even though you  have no intention of buying a 16:9 TV now, in the future you may change your mind. If you do, then you can take full advantage of the extra resolution on 16x9 enhanced DVDs. For the mathematically-inclined, 16x9 enhancement translates into a 25% increase in resolution of the image over an image that is merely letterboxed instead of 16x9 enhanced.
    Secondly, until the advent of DVD, 16x9 enhanced transfers basically did not exist. This means that any 16x9 enhanced transfer must have been created recently, using recent vintage equipment. Even on an ordinary 4:3 display device, these transfers will look better than older generation transfers by virtue of the fact that the technology used to transfer movies to video has improved markedly in recent years.

What about TV programs on DVD?

    16x9 enhancement solves the problem of loss of resolution on widescreen material when this material is displayed on TV letterboxed, which until the advent of DVD was the only way to record and display this material. It is of no benefit to ordinary 4:3 images, such as those from TV series which have been committed to DVD unless the TV series was itself recorded in a widescreen format.

In Summary

    16x9 enhancement is an extremely significant advance in the quality of video presentation for widescreen material. I hope that this explanation of 16x9 enhancement goes a long way to making you understand why it is such a significant advance. If you have the capacity to take advantage of it, your movies will look significantly better than ever before. If you don't, you should still demand 16x9 enhancement to protect your investment in DVD in the future.

2012年6月10日 星期日

淺談H.264的編碼格式

2009年 9月 29日, 17:12

H.264技術可以更有效率地壓縮及傳輸高品質影像,使得安防業者對其也抱持著高度的興趣,相關討論更是沸沸揚揚。然而,究竟該如何正確應用H.264這項新技術,以便發揮最大的壓縮功能,並且呈現最優異的畫質呢?

H.264壓縮技術並非專門針對影像監控系統所設計,而且事實上共有7種編碼格式。因此,使用者必須選對適合自家產品的編碼格式,才能夠發揮最大的效益。
H.264編碼格式的發展過程
H.264壓縮技術原本僅有Baseline Profile、Main Profile和Extension Profile三種編碼格式。但由於這三種壓縮格式無法支援高畫質光碟(HD DVD)與藍光光碟(Blu-ray DVD),因此,研發單位之後又以Main Profile為基礎,增加了High Profile、High 10 Profile、High 4:2:2 Profile及High 4:4:4 Profile等四種編碼格式,以便拓展H.264壓縮技術在高解析影像上的應用。
其中,Baseline Profile編碼格式為複雜度較低的行動視訊應用,適用於影像通訊及行動多媒體播放器。因此,支援H.264格式的監視攝影機,大多採用這種編碼格式。
然而,這種編碼格式也受到許多限制。舉例來說,雖然採用Baseline Profile編碼格式之後,壓縮率可比採用MPEG-4的同類產品提高約15%,只能支援逐條掃描(Progressive)影像,卻無法支援隔行掃描(Interlace)影像的功能。
此外,攝影機若採用Baseline Profile編碼格式,對於快速移動的物體影像,也會產生畫質劣化的情況。
若攝影機必須傳輸HD高畫質影像(128-720畫素),因為對於壓縮效率的要求較高,此時,通常會採用H.264壓縮技術中的High Profile編碼格式,因為其壓縮率可比MPEG-4提高約30%。同時,由於High Profile編碼格式還可兼顧影像品質及壓縮率,PELCO及BOSCH兩家廠商,目前都已採用H.264壓縮技術中的High Profile編碼格式。
H.264最初僅支援原始影像每個畫素的採樣值可以達到8bit,且僅限於4:2:0的色彩採樣格式。改良後的編碼技術,除可提高壓縮效率外,並放寬轉換係數數量化時至12 bit的精確度,並且增加了4:2:2以及4:4:4等色彩次採樣格式,也可支援更高的解析度。
此外,改良後的H.264編碼技術,還可以針對特定高畫質影像需求,對影像進行無破壞壓縮,並且支援RGB的格式,可以減少顏色偏差。
H.264的優點
H.264壓縮技術真正的功能,是可以有效壓縮影像的重複動作部分。其中,Baseline Profile編碼格式只能支援I幀、P幀,因此壓縮效率較差。而Main Profile編碼格式及High Profile編碼格式,除支援I幀、P幀外,還可支援B幀,因此可以提供品質較佳的壓縮效率。
有些網路監視攝影機由於必須同時傳輸MPEG-4及H.264格式的影像,因此採用H.264的Main Profile編碼格式,可節省約30%的傳輸量及記憶體容量。
目前已有歐美大廠發揮H.264壓縮技術的長處,針對影像要求嚴苛的安防產業,開發HD畫質的攝影機。

H.264的7種編碼格式
Baseline Profile
主要應用於影像通訊、行動多媒體撥放器。可支援I幀、P幀。可支援逐條掃描影像,但不可支援隔行掃描影像。
Main Profile
主要用在HDTV數位電視廣播等民生應用,但已逐漸被High Profile取代。可支援I幀、P幀及B幀,且支援逐條掃描影像及隔行掃描影像。
Extension Profile
壓縮效率較高,主要應用於IPTV或MOD等多媒體影像串流。雖可支援I幀、P幀、B幀、SP幀及SI幀,但只能支援逐條掃描影像。
High Profile
主要應用於藍光光碟與HD DVD等高密度儲存媒體的影像編碼。可支援I幀、P幀、B幀,並可支援逐條掃描影像及隔行掃描影像。
High 10 Profile
為了支援目前消費性產品,以High Profile為基礎所設計而成的編碼。可支援10bit的精確度可支援更高的解析度。
High 4:2:2 Profile
為了支援逐條掃描的影像,以High 10 Profile為基礎所設計的編碼。可支援10bit的精確度,也支援更高的解析度。另外,這個編碼格式也進一步放寬顏色次取樣至4:2:2,可減少顏色失真的情況。
High 4:4:4 Profile
以High 4:2:2 Profile為基礎所設計的編碼。相較於High 4:2:2 Profile,進一步放寬顏色次取樣至4:4:4,並放寬轉換係數量化時至12 bit的精確度,屬於不會損害壓縮檔案,而且具有多色彩空間(Color Space)的編碼方式。

H.264最大的优势是具有很高的数据压缩比率,在同等图像质量的条件下,H.264的压缩比是MPEG-2的2倍以上,是MPEG-4的1.5~2倍。举个例子,原始文件的大小如果为88GB,采用MPEG-2压缩标准压缩后变成3.5GB,压缩比为25∶1,而采用H.264压缩标准压缩后变为879MB,从88GB到879MB,H.264的压缩比达到惊人的102∶1。

資料來源:http://forum.netcontrol.tw/viewtopic.php?f=49&t=877
http://baike.baidu.com/view/56322.htm

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