MPEG-4: Context and objectives

Koenen, Rob; Pereira, Fernando; Chiariglione, Leonardo

doi:10.1016/s0923-5965(97)00003-9

Cited by 71 publications

(39 citation statements)

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“…MPEG-4 audio encompasses a great deal more functionality than just perceptual coding [258]. It comprises an integrated family of algorithms with wide ranging provisions for scaleable, object-based speech and audio coding at bit rates from as low as 200 bps up to 64 kbps per channel.…”

Section: Iso/iec 14496-3 (Mpeg-4)mentioning

confidence: 99%

Perceptual coding of digital audio

2000

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I. INTRODUCTIONAudio coding or audio compression algorithms are used to obtain compact digital representations of high-fidelity (wideband) audio signals for the purpose of efficient transmission or storage. The central objective in audio coding is to represent the signal with a minimum number of bits while achieving transparent signal reproduction, i.e., generating output audio that cannot be distinguished from the original input, even by a sensitive listener ("golden ears"). This paper gives a review of algorithms for transparent coding of high-fidelity audio.The introduction of the compact disk (CD) in the early eighties [1] brought to the fore all of the advantages of digital audio representation, including unprecedented high-fidelity, dynamic range, and robustness. These advantages, however, came at the expense of high data rates. Conventional CD and digital audio tape (DAT) systems are typically sampled at either 44.1 or 48 kilohertz (kHz) using pulse code modulation (PCM) with a sixteen bit sample resolution. This results in uncompressed data rates of 705.6/768 kilobits per second (kbps) for a monaural channel, or 1.41/1.54 megabits per second (Mbps) for a stereo pair at 44.1/48 kHz, respectively. Although high, these data rates were accommodated successfully in first generation digital audio applications such as CD and DAT. Unfortunately, second generation multimedia applications and wireless systems in particular are often subject to bandwidth and cost constraints that are incompatible with high data rates. Because of the success enjoyed by the first generation, however, end users have come to expect "CD-quality" audio reproduction from any digital system. Therefore, new network and wireless multimedia digital audio systems must reduce data rates without compromising reproduction quality. These and other considerations have motivated considerable research during the last decade towards formulation of compression schemes that can satisfy simultaneously the conflicting demands of high compression ratios and transparent reproduction quality for high-fidelity audio signals

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Section: Iso/iec 14496-3 (Mpeg-4)mentioning

confidence: 99%

Perceptual coding of digital audio

2000

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“…Coding results for both sprite-based and standard (nonsprite) MPEG-4 coding methods were obtained using the software implementation of the MPEG-4 Version 1 encoder/decoder provided by the ACTS 098 MoMuSys project [24], [25]. In the proposed approaches, methods A1 and A2, coding of all four views is based on a single sprite image obtained from all views.…”

Section: Resultsmentioning

confidence: 99%

Sprite generation and coding in multiview image sequences

Grammalidis

Beletsiotis

Strintzis

2000

IEEE Trans. Circuits Syst. Video Technol.

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Abstract-A novel algorithm for the generation of background sprite images from multiview image sequences is presented. A dynamic programming algorithm, first proposed in [1] using a multiview matching cost, as well as pure geometrical constraints, is used to provide an estimate of the disparity field and to identify occluded areas. By combining motion, disparity, and occlusion information, a sprite image corresponding to the first (main) view at the first time instant is generated. Image pixels from other views that are occluded in the main view are also added to the sprite. Finally, the sprite coding method defined by MPEG-4 is extended for multiview image sequences based on the generated sprite. Experimental results are presented, demonstrating the performance of the proposed technique and comparing it with standard MPEG-4 coding methods applied independently to each view.Index Terms-Dynamic programming, MPEG-4, multiview video applications, sprites.

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“…Although the television paradigm dominated audiovisual communications for many years, the situation is nowadays evolving very quickly in terms of the ways audiovisual content is produced, delivered and consumed [2]. Moreover hardware and software are getting more and more powerful, opening new frontiers to the technologies used and to the functionalities provided.…”

Section: Why: the Contextmentioning

confidence: 99%

“…The three major trends above mentioned -mounting importance of audiovisual media on all networks, increasing mobility and growing interactivity -have driven, and still drive, the development of the MPEG-4 standard [2].…”

Section: What: the Objectives And Achievementsmentioning

confidence: 99%

“…However, the process of vision is just a part of the task at hand since typically the human being needs and wants to see, to take actions after, interacting with the objects that compose the world being seen. A similar reasoning can be made regarding the process of hearing and the corresponding audio representation models.Although the television paradigm dominated audiovisual communications for many years, the situation is nowadays evolving very quickly in terms of the ways audiovisual content is produced, delivered and consumed [2]. Moreover hardware and software are getting more and more powerful, opening new frontiers to the technologies used and to the functionalities provided.…”

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