Chroma subsampling is the practice of encoding images by implementing less resolution forchromainformation than forluma information, taking advantage of the human visual system's lower acuity for color differences than for luminance.[1]
It is used in many video and still image encoding schemes – both analog and digital – including inJPEG encoding.
Digital signals are often compressed to reduce file size and save transmission time. Since the human visual system is much more sensitive to variations in brightness than color, a video system can be optimized by devoting more bandwidth to theluma component (usually denoted Y'), than to the color difference componentsCb andCr. In compressed images, for example, the 4:2:2Y'CbCr scheme requires two-thirds the bandwidth of non-subsampled "4:4:4"R'G'B'.[a] This reduction results in almost no visual difference as perceived by the viewer.
Thehuman vision system processes color information (hue andcolorfulness) at about a third of the resolution ofluminance (lightness/darkness information in an image). Therefore it is possible tosample color information at a lower resolution while maintaining good image quality.
This is achieved by encodingRGB image data into a compositeblack and white image, with separated color difference data (chroma). For example with,gamma encoded components are weighted and then summed together to create theluma component. The color difference components are created by subtracting two of the weighted components from the third. A variety offiltering methods can be used to limit the resolution.
Gamma encoded luma should not be confused with linearluminance. The presence of gamma encoding is denoted with theprime symbol.
Gamma-correcting electro-optical transfer functions (EOTF) are used due to the nonlinear response of human vision. The use of gamma improves perceived signal-to-noise in analogue systems, and allows for more efficient data encoding in digital systems. This encoding uses more levels for darker colors than for lighter ones, accommodating human vision sensitivity.[2]
The subsampling scheme is commonly expressed as a three-part ratioJ:a:b (e.g. 4:2:2) or four parts, if alpha channel is present (e.g. 4:2:2:4), that describe the number of luminance and chrominance samples in a conceptual region that isJ pixels wide and 2 pixels high. The parts are (in their respective order):
This notation is not valid for all combinations and has exceptions, e.g. 4:1:0 (where the height of the region is not 2 pixels, but 4 pixels, so if 8 bits per component are used, the media would be 9 bits per pixel) and 4:2:1.
| 4:1:1 | 4:2:0 | 4:2:2 | 4:4:0 | 4:4:4 | |||||||||||||||||||||||||||||||
| Y'CrCb | |||||||||||||||||||||||||||||||||||
| = | = | = | = | = | |||||||||||||||||||||||||||||||
| Y' | |||||||||||||||||||||||||||||||||||
| + | + | + | + | + | |||||||||||||||||||||||||||||||
| 1 | 2 | 3 | 4 | J | = 4 | 1 | 2 | 3 | 4 | J | = 4 | 1 | 2 | 3 | 4 | J | = 4 | 1 | 2 | 3 | 4 | J | = 4 | 1 | 2 | 3 | 4 | J | = 4 | ||||||
| (Cr, Cb) | 1 | a | = 1 | 1 | 2 | a | = 2 | 1 | 2 | a | = 2 | 1 | 2 | 3 | 4 | a | = 4 | 1 | 2 | 3 | 4 | a | = 4 | ||||||||||||
| 1 | b | = 1 | b | = 0 | 1 | 2 | b | = 2 | b | = 0 | 1 | 2 | 3 | 4 | b | = 4 | |||||||||||||||||||
| ¼ horizontal resolution, full vertical resolution | ½ horizontal resolution, ½ vertical resolution | ½ horizontal resolution, full vertical resolution | full horizontal resolution, ½ vertical resolution | full horizontal resolution, full vertical resolution | |||||||||||||||||||||||||||||||
The mapping examples given are only theoretical and for illustration. Also the diagram does not indicate any chroma filtering, which should be applied to avoidaliasing. To calculate required bandwidth factor relative to 4:4:4 (or 4:4:4:4), one needs to sum all the factors and divide the result by 12 (or 16, if alpha is present).
Each of the threeY'CbCr components has the same sample rate, thus there is no chroma subsampling. This scheme is sometimes used in high-end film scanners and cinematic post-production.
"4:4:4" may instead be wrongly referring toR'G'B' color space, which implicitly also does not have any chroma subsampling (except in JPEG R'G'B' can be subsampled). Formats such asHDCAM SR can record 4:4:4 R'G'B' over dual-linkHD-SDI.
The two chroma components are sampled at half the horizontal sample rate of luma: the horizontal chroma resolution is halved. This reduces the bandwidth of an uncompressed video signal by one-third, which means for 8 bit per component withoutalpha (24 bit per pixel) only 16 bits are enough, as in NV16.
Many high-end digital video formats and interfaces use this scheme:
In 4:1:1 chroma subsampling, the horizontal color resolution is quartered, and the bandwidth is halved compared to no chroma subsampling. Initially, 4:1:1 chroma subsampling of theDV format was not considered to be broadcast quality and was only acceptable for low-end and consumer applications.[3][4] However,DV-based formats (some of which use 4:1:1 chroma subsampling) have been used professionally in electronic news gathering and in playout servers. DV has also been sporadically used in feature films and indigital cinematography.
In the480i "NTSC" system, if the luma is sampled at 13.5 MHz, then this means that theCr andCb signals will each be sampled at 3.375 MHz, which corresponds to a maximumNyquist bandwidth of 1.6875 MHz, whereas traditional "high-end broadcastanalog NTSC encoder" would have a Nyquist bandwidth of 1.5 MHz and 0.5 MHz for theI/Q channels. However, in most equipment, especially cheap TV sets andVHS/BetamaxVCRs, the chroma channels have only the 0.5 MHz bandwidth for bothCr andCb (or equivalently for I/Q). Thus the DV system actually provides a superior color bandwidth compared to the bestcomposite analog specifications for NTSC, despite having only 1/4 of the chroma bandwidth of a "full" digital signal.
Formats that use 4:1:1 chroma subsampling include:
In 4:2:0, the horizontal sampling is doubled compared to 4:1:1, but as theCb andCr channels are only sampled on each alternate line in this scheme, the vertical resolution is halved. The data rate is thus the same. This fits reasonably well with thePAL color encoding system, since this has only half the vertical chrominance resolution ofNTSC. It would also fit extremely well with theSECAM color encoding system, since like that format, 4:2:0 only stores and transmits one color channel per line (the other channel being recovered from the previous line). However, little equipment has actually been produced that outputs a SECAM analogue video signal. In general, SECAM territories either have to use a PAL-capable display or atranscoder to convert the PAL signal to SECAM for display.
Different variants of 4:2:0 chroma configurations are found in:
Cb andCr are each subsampled at a factor of 2 both horizontally and vertically. Most digital video formats corresponding to 576i "PAL" use 4:2:0 chroma subsampling.
There are four main variants of 4:2:0 schemes, having different horizontal and vertical sampling siting relative to the 2×2 "square" of the original input size.[16]
Withinterlaced material, 4:2:0 chroma subsampling can result in motion artifacts if it is implemented the same way as for progressive material. The luma samples are derived from separate time intervals, while the chroma samples would be derived from both time intervals. It is this difference that can result in motion artifacts. The MPEG-2 standard allows for an alternate interlaced sampling scheme, where 4:2:0 is applied to each field (not both fields at once). This solves the problem of motion artifacts, reduces the vertical chroma resolution by half, and can introduce comb-like artifacts in the image.
Original. This image shows a single field. The moving text has some motion blur applied to it.
4:2:0progressive sampling applied to movinginterlaced material. The chroma leads and trails the moving text. This image shows a single field.
4:2:0interlaced sampling applied to movinginterlaced material. This image shows a single field.
In the 4:2:0 interlaced scheme, however, vertical resolution of the chroma is roughly halved, since the chroma samples effectively describe an area 2 samples wide by 4 samples tall instead of 2×2. As well, the spatial displacement between both fields can result in the appearance of comb-like chroma artifacts.
Original still image.
4:2:0progressive sampling applied to a still image. Both fields are shown.
4:2:0interlaced sampling applied to a still image. Both fields are shown.
If the interlaced material is to be de-interlaced, the comb-like chroma artifacts (from 4:2:0 interlaced sampling) can be removed by blurring the chroma vertically.[19]
This ratio is possible, and somecodecs support it, but it is not widely used. This ratio uses half of the vertical and one-fourth the horizontal color resolutions, with only one-eighth of the bandwidth of the maximum color resolutions used. Uncompressed video in this format with 8-bit quantization uses 10 bytes for every macropixel (which is 4×2 pixels) or 10 bit for every pixel. It has the equivalent chrominance bandwidth of a PAL-I or PAL-M signal decoded with a delay line decoder, and still very much superior to NTSC.
Used by Sony in their HDCAM High Definition recorders (not HDCAM SR). In the horizontal dimension, luma is sampled horizontally at three quarters of the full HD sampling rate – 1440 samples per row instead of 1920. Chroma is sampled at 480 samples per row, a third of the luma sampling rate. In the vertical dimension, both luma and chroma are sampled at the full HD sampling rate (1080 samples vertically).
A number of legacy schemes allow different subsampling factors in Cb and Cr, similar to how a different amount of bandwidth is allocated to the two chroma values in broadcast systems such asCCIR System M. These schemes are not expressible inJ:a:b notation. Instead, they adopt aY:Cb:Cr notation, with each part describing the amount of resolution for the corresponding component. It is unspecified whether the resolution reduction happens in the horizontal or vertical direction.
Chroma subsampling suffers from two main types of artifacts, causing degradation more noticeable than intended where colors change abruptly.
Gamma-corrected signals like Y'CbCr have an issue where chroma errors "bleed" into luma. In those signals, a low chroma actually makes a color appear less bright than one with equivalent luma. As a result, when a saturated color blends with an unsaturated or complementary color, a loss of luminance occurs at the border. This can be seen in the example between magenta and green.[21] This issue persists in HDR video where gamma is generalized into a transfer function "EOTF". A steeper EOTF shows a stronger luminance loss.[22]
Some proposed corrections of this issue are:
Rec. 2020 defines a "constant luminance" Yc'CbcCrc, which is calculated from linear RGB components and then gamma-encoded. This version does not suffer from the luminance loss by design.[26]
Another artifact that can occur with chroma subsampling is that out-of-gamut colors can occur upon chroma reconstruction. Suppose the image consisted of alternating 1-pixel red and black lines and the subsampling omitted the chroma for the black pixels. Chroma from the red pixels will be reconstructed onto the black pixels, causing the new pixels to have positive red andnegative green and blue values. As displays cannot output negative light (negative light does not exist), these negative values will effectively be clipped, and the resulting luma value will be too high. Other sub-sampling filters (especially the averaging "box") have a similar issue that is harder to make a simple example out of. Similar artifacts arise in the less artificial example of gradation near a fairly sharp red/black boundary.[21]
It is possible for the decoder to deal with out-of-gamut colors by considering how much chroma a given luma value can hold and distribute it into the 4:4:4 intermediate accordingly, termed "in-range chroma reconstruction" by Glenn Chan. The "proportion" method is in spirit similar to Kornelski's luma-weighted average, while the "spill" method resembleserror diffusion.[21] Improving chroma reconstruction remains an active field of research.[27]
The termY'UV refers to an analog TV encoding scheme (ITU-R Rec. BT.470) while Y'CbCr refers to a digital encoding scheme.[2] One difference between the two is that the scale factors on the chroma components (U, V, Cb, and Cr) are different. However, the term YUV is often used erroneously to refer to Y'CbCr encoding. Hence, expressions like "4:2:2 YUV" always refer to 4:2:2 Y'CbCr, since there simply is no such thing as 4:x:x in analog encoding (such as YUV). Pixel formats used in Y'CbCr can be referred to as YUV too, for example yuv420p, yuvj420p and many others.
In a similar vein, the term luminance and the symbol Y are often used erroneously to refer to luma, which is denoted with the symbol Y'. Theluma (Y') of video engineering deviates from theluminance (Y) of color science (as defined byCIE). Luma is formed as the weighted sum ofgamma-corrected (tristimulus) RGB components. Luminance is formed as a weighed sum oflinear (tristimulus) RGB components. In practice, theCIE symbol Y is often incorrectly used to denote luma. In 1993,SMPTE adopted Engineering Guideline EG 28, clarifying the two terms. The prime symbol ' is used to indicate gamma correction.[28]
Similarly, the chroma of video engineering differs from the chrominance of color science. The chroma of video engineering is formed from weighted tristimulus components (gamma corrected, OETF), not linear components. In video engineering practice, the termschroma,chrominance, andsaturation are often used interchangeably to refer to chroma, but it is not a good practice, as ITU-T Rec H.273 says.[29]
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Chroma subsampling was developed in the 1950s byAlda Bedford for the development of color television byRCA, which developed into theNTSC standard; luma–chroma separation was developed earlier, in 1938 byGeorges Valensi. Through studies[which?], he showed that the human eye has high resolution only for black and white, somewhat less for "mid-range" colors like yellows and greens, and much less for colors on the end of the spectrum, reds and blues.[clarification needed] This knowledge allowed RCA to develop a system in which they discarded most of the blue signal after it comes from the camera, keeping most of the green and only some of the red; this is chroma subsampling in theYIQ color space and is roughly analogous to 4:2:1 subsampling, in that it has decreasing resolution for luma, yellow/green, and red/blue.
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Assumes that the image will be upsampled using a bilinear filter. If nearest neighbor is used instead, the upsampled image might look worse than with standard downsampling.
luma: To avoid the interdisciplinary confusion resulting from the two distinct definitions of luminance, it has been proposed that the video documents use luma for luminance, television (i.e., the luminance signal), and chroma for chrominance television (i.e., the chrominance signal)
NOTE – The term chroma is used rather than the term chrominance in order to avoid the implication of the use of linear light transfer characteristics that is often associated with the term chrominance. [...] NOTE – The term luma is used rather than the term luminance in order to avoid the implication of the use of linear light transfer characteristics that is often associated with the term luminance. The symbol L is sometimes used instead of the symbol Y to avoid confusion with the symbol y as used for vertical location.
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