A Motion Estimation based Algorithm for Encoding Time Reduction in HEVC

High Efficiency Video Coding (HEVC) is a video compression standard that offers 50% more efficiency at the expense of high encoding time contrasted with the H.264 Advanced Video Coding (AVC) standard. The encoding time must be reduced to satisfy the needs of real-time applications. This paper has proposed the Multi- Level Resolution Vertical Subsampling (MLRVS) algorithm to reduce the encoding time. The vertical subsampling minimizes the number of Sum of Absolute Difference (SAD) computations during the motion estimation process. The complexity reduction algorithm is also used for fast coding the coefficients of the quantised block using a flag decision. Two distinct search patterns are suggested: New Cross Diamond Diamond (NCDD) and New Cross Diamond Hexagonal (NCDH) search patterns, which reduce the time needed to locate the motion vectors. In this paper, the MLRVS algorithm with NCDD and MLRVS algorithm with NCDH search patterns are simulated separately and analyzed. The results show that the encoding time of the encoder is decreased by 55% with MLRVS algorithm using NCDD search pattern and 56% with MLRVS using NCDH search pattern compared to HM16.5 with Test Zone (TZ) search algorithm. These results are achieved with a slight increase in bit rate and negligible deterioration in output video quality.

Bandwidth Estimation and Optimized Bitrate Selection for Dynamic Adaptive Streaming Over Http Using RSI-GM And ISSO

Dynamic Adaptive Streaming over HTTP (DASH) is an emerging solution that aims to standardize existing proprietary streaming systems. DASH specification defines the media presentation description (MPD), which describes a list of available content, URL addresses, and the segment format. High bandwidth demands in interactive streaming applications pose challenges in efficiently utilizing the available bandwidth. In this paper, a novel Relative Strength Index (RSI) with Geometric mean (GM) namely RSI-GM is proposed for estimating available bandwidth for DASH. The proposed work starts by taking the video as an input at the transmitter side and then the video compression is performed using the TRLE. Then MD5 hashing-based AES encryption is applied to the compressed video data to provide data security. Then RSI-GM is proposed to estimate the available bandwidth for DASH. Finally, after estimation, the bitrate for estimated bandwidth is selected optimally using the Improved Shark Smell Optimization (ISSO) algorithm.

Dynamic Point Cloud Compression Based on Projections, Surface Reconstruction and Video Compression

In this paper we will present a new dynamic point cloud compression based on different projection types and bit depth, combined with the surface reconstruction algorithm and video compression for obtained geometry and texture maps. Texture maps have been compressed after creating Voronoi diagrams. Used video compression is specific for geometry (FFV1) and texture (H.265/HEVC). Decompressed point clouds are reconstructed using a Poisson surface reconstruction algorithm. Comparison with the original point clouds was performed using point-to-point and point-to-plane measures. Comprehensive experiments show better performance for some projection maps: cylindrical, Miller and Mercator projections.

The Shape of Motion

Cinematic motion has long been celebrated as an emblem of change and fluidity or claimed as the source of cinema’s impression of reality. But such general claims undermine the sheer variety of forms that motion can take onscreen—the sweep of a gesture, the rush of a camera movement, the slow transformations of a natural landscape. What might one learn about the moving image when one begins to account for the many ways that movements move? In The Shape of Motion: Cinema and the Aesthetics of Movement, Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema’s “motion forms”: structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks long-standing assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces the natural perception of motion, The Shape of Motion shows how cinema’s motion forms do not merely transpose the movements of the world in front of the camera; they transform them.

Bleeding Pixels

This chapter examines the aesthetic properties and phenomenological effects of compression glitches—blocky image distortions that momentarily deform digitally compressed video. As visible expressions of the invisible processes of digital video compression, compression glitches offer unprecedented encounters with the technological production of cinematic motion. Two distinct consequences of these encounters are explored in this chapter. First, because compression glitches are more likely to occur when the compression algorithm is overworked by large volumes of onscreen movement, the ubiquity of compression glitches has yielded a spectatorial sensitivity to the magnitude of movement on screen. Second, because compression glitches extract movement itself (i.e., algorithmic motion instructions) from its original visual context, the visual qualities of such glitches heighten our attention to the formal qualities of movement as distinct from the actions and events that such movements comprise. Taken together, these two spectatorial effects of the compression glitch illuminate new orientations toward cinematic motion in the digital era. Describing these orientations, the chapter argues, can model a form of inquiry that bridges the gap between technologically oriented and phenomenologically oriented accounts of “digital cinema.”

Analisis Perbandingan Teknik Video Codec H.264/AVC, H.265/HEVC, VP9 dan AV1

Video applications consume more energy on the Internet and can be accessed by electronic devices, due to an increase in the consumption of high-resolution and high-quality video content, presenting serious issues to delivery infrastructure that needs higher video compression technologies. The focus of this paper is to evaluate the quality of the most current codec, AV1, to its predecessor codec. The comparison was made experimentally at two video resolutions (1080p and 720p) by sampling video frames with various CRF/CQP values and testing several parameters analyses such as encoding duration, compression ratio, bit rate, Mean Square Error (MSE), and Peak Signal to Noise Ratio (PSNR). The AV1 codec is very great in terms of quality and file size, even though it is slower in terms of compression speed. The H.265/HEVC codec, on the other side, beats the other codec in terms of compression ratio. In conclusion, the H.265/HEVC codec is suggested as a material for obtaining a well compressed video with small file size and a short time.