8K video parameters were designed to provide an immersive experience; meanwhile, special considerations are necessary to assess the entire screen subjectively. This paper studies the video bit-rate required for 8K 119.88-Hz (120-Hz) and 59.94-Hz (60-Hz) the high efficiency video coding (HEVC)/H.265 temporal scalable coding based on subjective evaluation experiments. To investigate the appropriate bit-rate for both 8K 120- and 60-Hz videos for broadcasting purposes, we compress 8K 120-Hz test sequences using software that emulates our real-time HEVC encoder and conduct two types of experiments. The experimental results demonstrate that the required video bit-rate for 8K 120-Hz temporal scalable coding is estimated to be 85–110 Mbps, which is equivalent to the practical bit-rate for 8K 60-Hz videos, and the appropriate bit-rate for 8K 60-Hz video in 8K 120-Hz video at 85 Mbps is assumed to be ~80 Mbps. From the analyses of the encoded videos, it is confirmed that the experimental results are primarily influenced by the image quality on the slice boundary positioned at the middle of the screen height. When conducting the experiments, we determined settings referring to an initial 8K subjective assessment; we further mention requirements for future 8K subjective evaluations from the experimental results.

In 2018, the Alliance for Open Media (AOMedia) finalized its first video compression format AV1, which is jointly developed by the industry consortium of leading video technology companies. The main goal of AV1 is to provide an open source and royalty-free video coding format that substantially outperforms state-of-the-art codecs available on the market in compression efficiency while remaining practical decoding complexity as well as being optimized for hardware feasibility and scalability on modern devices. To give detailed insights into how the targeted performance and feasibility is realized, this paper provides a technical overview of key coding techniques in AV1. Besides, the coding performance gains are validated by video compression tests performed with the libaom AV1 encoder against the libvpx VP9 encoder. Preliminary comparison with two leading HEVC encoders, x265 and HM, and the reference software of VVC is also conducted on AOM's common test set and an open 4k set.

High Dynamic Range (HDR) displays can show images with higher color contrast levels and peak luminosities than the common Low Dynamic Range (LDR) displays. However, most existing video content is recorded and/or graded in LDR format. To show LDR content on HDR displays, it needs to be up-scaled using a so-called inverse tone mapping algorithm. Several techniques for inverse tone mapping have been proposed in the last years, going from simple approaches based on global and local operators to more advanced algorithms such as neural networks. Some of the drawbacks of existing techniques for inverse tone mapping are the need for human intervention, the high computation time for more advanced algorithms, limited low peak brightness, and the lack of the preservation of the artistic intentions. In this paper, we propose a fully-automatic inverse tone mapping operator based on mid-level mapping capable of real-time video processing. Our proposed algorithm allows expanding LDR images into HDR images with peak brightness over 1000 nits, preserving the artistic intentions inherent to the HDR domain. We assessed our results using the full-reference objective quality metrics HDR-VDP-2.2 and DRIM, and carrying out a subjective pair-wise comparison experiment. We compared our results with those obtained with the most recent methods found in the literature. Experimental results demonstrate that our proposed method outperforms the current state-of-the-art of simple inverse tone mapping methods and its performance is similar to other more complex and time-consuming advanced techniques.

This paper proposes a novel approach for lossless coding of light field (LF) images based on a macro-pixel (MP) synthesis technique which synthesizes the entire LF image in one step. The reference views used in the synthesis process are selected based on four different view configurations and define the reference LF image. This image is stored as an array of reference MPs which collect one pixel from each reference view, being losslessly encoded as a base layer. A first contribution focuses on a novel network design for view synthesis which synthesizes the entire LF image as an array of synthesized MPs. A second contribution proposes a network model for coding which computes the MP prediction used for lossless encoding of the remaining views as an enhancement layer. Synthesis results show an average distortion of 29.82 dB based on four reference views and up to 36.19 dB based on 25 reference views. Compression results show an average improvement of 29.9% over the traditional lossless image codecs and 9.1% over the state-of-the-art.

Recent trends in multimedia technologies indicate the need for richer imaging modalities to increase user engagement with the content. Among other alternatives, point clouds denote a viable solution that offers an immersive content representation, as witnessed by current activities in JPEG and MPEG standardization committees. As a result of such efforts, MPEG is at the final stages of drafting an emerging standard for point cloud compression, which we consider as the state-of-the-art. In this study, the entire set of encoders that have been developed in the MPEG committee are assessed through an extensive and rigorous analysis of quality. We initially focus on the assessment of encoding configurations that have been defined by experts in MPEG for their core experiments. Then, two additional experiments are designed and carried to address some of the identified limitations of current approach. As part of the study, state-of-the-art objective quality metrics are benchmarked to assess their capability to predict visual quality of point clouds under a wide range of radically different compression artifacts. To carry the subjective evaluation experiments, a web-based renderer is developed and described. The subjective and objective quality scores along with the rendering software are made publicly available, to facilitate and promote research on the field.

Recent progress in video compression is seemingly reaching its limits making it very hard to improve coding efficiency significantly further. The adaptive loop filter (ALF) has been a topic of interest for many years. ALF reaches high coding gains and has motivated many researchers over the past years to further improve the state-of-the-art algorithms. The main idea of ALF is to apply a classification to partition the set of all sample locations into multiple classes. After that, Wiener filters are calculated and applied for each class. Therefore, the performance of ALF essentially relies on how its classification behaves. In this paper, we extensively analyze multiple feature-based classifications for ALF (MCALF) and extend the original MCALF by incorporating sample adaptive offset filtering. Furthermore, we derive new block-based classifications which can be applied in MCALF to reduce its complexity. Experimental results show that our extended MCALF can further improve compression efficiency compared to the original MCALF algorithm.

In this paper we combine video compression and modern image processing methods. We construct novel iterative filter methods for prediction signals based on Partial Differential Equation (PDE)-based methods. The central idea of the signal adaptive filters is explained and demonstrated geometrically. The meaning of particular parameters is discussed in detail. Furthermore, thorough parameter tests are introduced which improve the overall bitrate savings. It is shown that these filters enhance the rate-distortion performance of the state-of-the-art hybrid video codecs. In particular, based on mathematical denoising techniques, two types of diffusion filters are constructed: a uniform diffusion filter using a fixed filter mask and a signal adaptive diffusion filter that incorporates the structures of the underlying prediction signal. The latter has the advantage of not attenuating existing edges while the uniform filter is less complex. The filters are embedded into a software based on HEVC with additional QTBT (Quadtree plus Binary Tree) and MTT (Multi-Type-Tree) block structure. Overall, the diffusion filter method achieves average bitrate savings of 2.27% for Random Access having an average encoder runtime increase of 19% and 17% decoder runtime increase. For UHD (Ultra High Definition) test sequences, bitrate savings of up to 7.36% for Random Access are accomplished.

In this paper, we compare the video codecs AV1 (version 1.0.0-2242 from August 2019), HEVC (HM and x265), AVC (x264), the exploration software JEM which is based on HEVC, and the VVC (successor of HEVC) test model VTM (version 4.0 from February 2019) under two fair and balanced configurations: All Intra for the assessment of intra coding and Maximum Coding Efficiency with all codecs being tuned for their best coding efficiency settings. VTM achieves the highest coding efficiency in both configurations, followed by JEM and AV1. The worst coding efficiency is achieved by x264 and x265, even in the placebo preset for highest coding efficiency. AV1 gained a lot in terms of coding efficiency compared to previous versions and now outperforms HM by 24% BD-Rate gains. VTM gains 5% over AV1 in terms of BD-Rates. By reporting separate numbers for JVET and AOM test sequences, it is ensured that no bias in the test sequences exists. When comparing only intra coding tools, it is observed that the complexity increases exponentially for linearly increasing coding efficiency.

Due to the increased popularity of augmented (AR) and virtual (VR) reality experiences, the interest in representing the real world in an immersive fashion has never been higher. Distributing such representations enables users all over the world to freely navigate in never seen before media experiences. Unfortunately, such representations require a large amount of data, not feasible for transmission on today's networks. Thus, efficient compression technologies are in high demand. This paper proposes an approach to compress 3D video data utilizing 2D video coding technology. The proposed solution was developed to address the needs of “tele-immersive” applications, such as VR, AR, or mixed reality with “Six Degrees of Freedom” capabilities. Volumetric video data is projected on 2D image planes and compressed using standard 2D video coding solutions. A key benefit of this approach is its compatibility with readily available 2D video coding infrastructure. Furthermore, objective and subjective evaluation shows significant improvement in coding efficiency over reference technology. The proposed solution was contributed and evaluated in international standardization. Although it is was not selected as the winning proposal, as very similar solution has been selected developed since then.