Enhanced descriptions from Syndetics:

A complete professional `bible' on all aspects of audio and video compression using MPEG technology. The MPEG Handbook is both a theoretical and practical treatment of the subject. Fundamental knowledge is provided alongside practical guidance eg how to avoid quality loss or the creation of MPEG elementary streams and their multiplexing into transport streams (including the problems involved in synchronizing all of the signals in a multiplex). The clarity of explanation and depth of technical detail combine to make this book an essential and definitive reference work. Gives a comprehensive treatment of significant extensions made available by MPEG4, such as object coding, mesh coding and animation. Previously titled MPEG2, the book has now been extensively revised to cover the all the latest standards, including a description of the MPEG4 standard and the latest applications of the technology, such as the delivery of compressed audio, video, graphics and interactive capability over the internet and broadband networks. It gives a comprehensive treatment of significant extensions made available by MPEG4, such as object coding, mesh coding and animation. John Watkinson is an international consultant in audio, video and data recording. He is a Fellow of the AES, a member of the British Computer Society and a chartered information systems practitioner. He presents lectures, seminars, conference papers and training courses worldwide. He is the author of many other Focal Press books, including: the Kraszna-Krausz award winning MPEG-2; The Art of Digital Audio; An Introduction to Digital Video; The Art of Sound Reproduction; An Introduction to Digital Audio; TV Fundamentals and Audio for Television. He is also co-author, with Francis Rumsey, of The Digital Interface Handbook, and contributor to the Loudspeaker and Headphone Handbook, 3rd edition.

Table of contents provided by Syndetics

• Preface (p. xi)
• Acknowledgements (p. xii)
• Chapter 1 Introduction to compression (p. 1)
• 1.1 What is MPEG? (p. 1)
• 1.2 Why compression is necessary (p. 3)
• 1.3 MPEG-1, 2, 4 and H.264 contrasted (p. 4)
• 1.4 Some applications of compression (p. 5)
• 1.5 Lossless and perceptive coding (p. 7)
• 1.6 Compression principles (p. 9)
• 1.7 Video compression (p. 14)
• 1.7.1 Intra-coded compression (p. 16)
• 1.7.2 Inter-coded compression (p. 16)
• 1.7.3 Introduction to motion compensation (p. 18)
• 1.7.4 Film-originated video compression (p. 19)
• 1.8 Introduction to MPEG-1 (p. 21)
• 1.9 MPEG-2: Profiles and Levels (p. 21)
• 1.10 Introduction to MPEG-4 (p. 24)
• 1.11 Introduction to H.264 (AVC) (p. 26)
• 1.12 Audio compression (p. 28)
• 1.12.1 Sub-band coding (p. 28)
• 1.12.2 Transform coding (p. 28)
• 1.12.3 Predictive coding (p. 29)
• 1.13 MPEG bitstreams (p. 29)
• 1.14 Drawbacks of compression (p. 30)
• 1.15 Compression pre-processing (p. 32)
• 1.16 Some guidelines (p. 32)
• References (p. 33)
• Chapter 2 Fundamentals (p. 35)
• 2.1 What is an audio signal? (p. 35)
• 2.2 What is a video signal? (p. 35)
• 2.3 Types of video (p. 36)
• 2.4 What is a digital signal? (p. 38)
• 2.5 Sampling (p. 41)
• 2.6 Reconstruction (p. 46)
• 2.7 Aperture effect (p. 50)
• 2.8 Choice of audio sampling rate (p. 52)
• 2.9 Video sampling structures (p. 56)
• 2.10 The phase-locked loop (p. 58)
• 2.11 Quantizing (p. 60)
• 2.12 Quantizing error (p. 61)
• 2.13 Dither (p. 65)
• 2.14 Introduction to digital processing (p. 67)
• 2.15 Logic elements (p. 69)
• 2.16 Storage elements (p. 71)
• 2.17 Binary coding (p. 73)
• 2.18 Gain control (p. 84)
• 2.19 Floating-point coding (p. 85)
• 2.20 Multiplexing principles (p. 87)
• 2.21 Packets (p. 88)
• 2.22 Statistical multiplexing (p. 88)
• 2.23 Timebase correction (p. 89)
• References (p. 91)
• Chapter 3 Processing for compression (p. 92)
• 3.1 Introduction (p. 92)
• 3.2 Transforms (p. 95)
• 3.3 Convolution (p. 97)
• 3.4 FIR and IIR filters (p. 97)
• 3.5 FIR filters (p. 100)
• 3.6 Interpolation (p. 107)
• 3.7 Downsampling filters (p. 116)
• 3.8 The quadrature mirror filter (p. 117)
• 3.9 Filtering for video noise reduction (p. 121)
• 3.10 Warping (p. 123)
• 3.11 Transforms and duality (p. 129)
• 3.12 The Fourier transform (p. 132)
• 3.13 The discrete cosine transform (DCT) (p. 138)
• 3.14 The wavelet transform (p. 140)
• 3.15 The importance of motion compensation (p. 147)
• 3.16 Motion-estimation techniques (p. 150)
• 3.16.1 Block matching (p. 150)
• 3.16.2 Gradient matching (p. 152)
• 3.16.3 Phase correlation (p. 153)
• 3.17 Motion-compensated displays (p. 158)
• 3.18 Camera-shake compensation (p. 159)
• 3.19 Motion-compensated de-interlacing (p. 161)
• 3.20 Compression and requantizing (p. 162)
• References (p. 167)
• Chapter 4 Audio compression (p. 169)
• 4.1 Introduction (p. 169)
• 4.2 The deciBel (p. 170)
• 4.3 Audio level metering (p. 175)
• 4.4 The ear (p. 177)
• 4.5 The cochlea (p. 180)
• 4.6 Level and loudness (p. 182)
• 4.7 Frequency discrimination (p. 183)
• 4.8 Critical bands (p. 184)
• 4.9 Beats (p. 187)
• 4.10 Codec level calibration (p. 188)
• 4.11 Quality measurement (p. 189)
• 4.12 The limits (p. 191)
• 4.13 Compression applications (p. 192)
• 4.14 Audio compression tools (p. 192)
• 4.15 Sub-band coding (p. 197)
• 4.16 Audio compression formats (p. 198)
• 4.17 MPEG audio compression (p. 199)
• 4.18 MPEG Layer I audio coding (p. 201)
• 4.19 MPEG Layer II audio coding (p. 206)
• 4.20 MPEG Layer III audio coding (p. 208)
• 4.21 MPEG-2 AAC - advanced audio coding (p. 212)
• 4.22 Dolby AC-3 (p. 218)
• 4.23 MPEG-4 audio (p. 219)
• 4.24 MPEG-4 AAC (p. 220)
• 4.25 Compression in stereo and surround sound (p. 221)
• References (p. 227)
• Chapter 5 MPEG video compression (p. 230)
• 5.1 The eye (p. 230)
• 5.2 Dynamic resolution (p. 234)
• 5.3 Contrast (p. 238)
• 5.4 Colour vision (p. 240)
• 5.5 Colour difference signals (p. 240)
• 5.6 Progressive or interlaced scan? (p. 245)
• 5.7 Spatial and temporal redundancy in MPEG (p. 250)
• 5.8 I and P coding (p. 255)
• 5.9 Bidirectional coding (p. 256)
• 5.10 Coding applications (p. 259)
• 5.11 Intra-coding (p. 260)
• 5.12 Intra-coding in MPEG-1 and MPEG-2 (p. 265)
• 5.13 A bidirectional coder (p. 270)
• 5.14 Slices (p. 274)
• 5.15 Handling interlaced pictures (p. 275)
• 5.16 MPEG-1 and MPEG-2 coders (p. 281)
• 5.17 The elementary stream (p. 282)
• 5.18 An MPEG-2 decoder (p. 283)
• 5.19 MPEG-4 and AVC (p. 286)
• 5.20 Video objects (p. 288)
• 5.21 Texture coding (p. 291)
• 5.22 Shape coding (p. 297)
• 5.23 Padding (p. 299)
• 5.24 Video object coding (p. 301)
• 5.25 Two-dimensional mesh coding (p. 303)
• 5.26 Sprites (p. 308)
• 5.27 Wavelet-based compression (p. 310)
• 5.28 Three-dimensional mesh coding (p. 315)
• 5.29 Animation (p. 324)
• 5.30 Scaleability (p. 326)
• 5.31 Advanced Video Coding (AVC) (p. 328)
• 5.32 Motion compensation in AVC (p. 335)
• 5.33 An AVC codec (p. 337)
• 5.34 AVC profiles and levels (p. 340)
• 5.35 Coding artifacts (p. 340)
• 5.36 MPEG and concatenation (p. 346)
• References (p. 352)
• Chapter 6 MPEG bitstreams (p. 353)
• 6.1 Introduction (p. 353)
• 6.2 Packets and time stamps (p. 355)
• 6.3 Transport streams (p. 357)
• 6.4 Clock references (p. 359)
• 6.5 Program Specific Information (PSI) (p. 361)
• 6.6 Multiplexing (p. 362)
• 6.7 Remultiplexing (p. 364)
• Reference (p. 365)
• Chapter 7 MPEG applications (p. 366)
• 7.1 Introduction (p. 366)
• 7.2 Telephones (p. 367)
• 7.3 Digital television broadcasting (p. 368)
• 7.4 The DVB receiver (p. 381)
• 7.5 ATSC (p. 383)
• 7.6 CD-Video and DVD (p. 389)
• 7.7 Personal video recorders (p. 394)
• 7.8 Networks (p. 397)
• 7.9 FireWire (p. 405)
• 7.10 Broadband networks and ATM (p. 407)
• 7.11 ATM AALs (p. 411)
• References (p. 414)
• Index (p. 415)