WO1991003904A1 - Superposition ou fondu enchaine d'une sequence video ou binaire - Google Patents

Superposition ou fondu enchaine d'une sequence video ou binaire Download PDF

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Publication number
WO1991003904A1
WO1991003904A1 PCT/GB1990/001350 GB9001350W WO9103904A1 WO 1991003904 A1 WO1991003904 A1 WO 1991003904A1 GB 9001350 W GB9001350 W GB 9001350W WO 9103904 A1 WO9103904 A1 WO 9103904A1
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WO
WIPO (PCT)
Prior art keywords
frame
output
sketch plane
video
plane data
Prior art date
Application number
PCT/GB1990/001350
Other languages
English (en)
Inventor
Michael Joseph Kemp
Nigel Gustav Hall
Original Assignee
Spaceward Limited
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Spaceward Limited filed Critical Spaceward Limited
Publication of WO1991003904A1 publication Critical patent/WO1991003904A1/fr

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Classifications

    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment
    • H04N5/262—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects
    • H04N5/272—Means for inserting a foreground image in a background image, i.e. inlay, outlay
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/222—Studio circuitry; Studio devices; Studio equipment
    • H04N5/262—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects
    • H04N5/2625—Studio circuits, e.g. for mixing, switching-over, change of character of image, other special effects ; Cameras specially adapted for the electronic generation of special effects for obtaining an image which is composed of images from a temporal image sequence, e.g. for a stroboscopic effect

Definitions

  • This invention relates to digital video systems and in particular to systems which enable an artist to view a proposed sequence of moving images i.e. images of a scene in which movement is taking place.
  • a digital video signal may be recorded on tape by a digital video recorder or alternatively may be stored in RAM in a solid state video recorder.
  • Modifications to individual frames in a video sequence recorded on either of the above two types of video recorders is possible by loading a fra ⁇ e into a frame store and then performing same further processing on that frame in the frame store.
  • this processing can be performed without necessarily having to load the frame into a separate frame store.
  • each image can be individually touched up by an artist with a tablet and stylus by means of a well known electronic painting technique.
  • the same type of touching up technique can be used in animation systems where each image is generated manually using an electronic painting technique.
  • a plurality of sketch planes are provided in parallel with frames of video data in a mass storage unit containing images on which the artist is working.
  • the sketch planes can be displayed on the screen, each one preferably in a different colour. Therefore if each sketch plane contains an image shifted in time the artist will be given some impression of how the object he has sketched is moving from frame to frame as each sketch plane is displayed.
  • the video images correspondi g to the sketches can be optionally displayed along with the sketches overlaid on than.
  • Transparency values may be applied to individual sketch planes in accordance with a further aspect of the invention.
  • Figure 1 shows a system for transferring an image and its associated sketch plane to and from local frame stores
  • Figure 2 shows an arrange ⁇ ent for overlaying a sketch plane on a video image
  • Figure 3 shows an arrangem e nt for painting into the sketch plane
  • Figure 4 shows a circuit arrangement for overlaying multiple sketch planes
  • Figure 5 shows a modified version of the circuit of figure 4 with partial transparency for the .sketch planes
  • Figure 6 shows a circuit for c rbining a plurality of frames with varying degrees of transparency
  • Figure 7 shows a circuit for modifying the data in one of the frame stores of figure 6;
  • Figure 8 shows a graphical representation of some possible values of alpha for use in the circuit of figure 6;
  • Figure 9 shows a preferred enibodiinent developed from the circuit of figure 6.
  • Figure 10 shows a circuit which combines the circuits of figures 9 and 2.
  • One tool that an artist needs when he is retouching a sequence of live video images (rotoscoping) or when he is painting cartoon images is a sketch pad on which he can rough out a sequence before he puts a lot of time into carefully painting each frame.
  • This is typically iirplearented by providing a data plane of one bit per pixel in parallel with each video frame.
  • This parallel plane is called the sketch plane and the artist is able to draw into it using simple write and replace electronic drawing tools to create a rough image of what he will later draw properly into the full colour image plane.
  • this sketch plane can be overlaid in any desired colour over the video frame to enable the artist to see the location of his sketch in the video image.
  • FIG. 1 A circuit for storing and displaying full colour frames and their associated sketch Planes is shown in figure 1.
  • This emprises a mass picture storage unit 10 which may be either a video tape or a solid state storage device. This is coupled to a colour frame store 12 and a one bit deep sketch pad frame store 14.
  • the mass picture storage unit 10 stores a plurality of full colour RGB or YUV frames of for example 24 bits per pixel, or 16 bit per pixel YUV frames with U and V alternating from pixel to pixel, each full colour frame having a one bit sketch plane stored in parallel with it.
  • Outputs 16 and 18 are connected to an input of the full colour frame store 12 and the sketch plane frame store 14 respectively. These are used to load a video frame and its parallel sketch plane into the frame stores 12 and 14.
  • Corresponding inputs 20 and 22 to the mass picture storage unit 10 receive outputs from the frame stores 12 and 14 respectively to enable the frames to be stored.
  • the frame store 12 has a further input 24 to receive data from, for exa ⁇ ple an electronic painting system to enable the image stored in the frame store to be modified as desired by an artist. There is also an output 26 which supplies video data which can then be displayed.
  • the sketch plane frame store 14 has an input 28 to receive sketch data entered in from a tablet and stylus arrangement in an electronic painting system.
  • An output 30 provides the sketch from the frame store data for display.
  • Data may be transferred from the frame stores 12 and 14 to the mass picture storage unit 10 at video rates using the video rate outputs of the frame stores or, more slowly under the control of a central processing unit (CPU) which independently accesses the memory.
  • CPU central processing unit
  • Paint in the full colour frame buffer 12 can be effected by attaching a CPU to this frame buffer and painting directly into it.
  • the real time video output from the frame buffer can be sent to a separate painting system.
  • the image is captured in the external painting system and the output of this system is then fed back into the full colour frame buffer. It may then be used with or without the one bit sketch plane overlay as will be described below.
  • the output of the external painting system can be continuously viewed by allowing the incoming video signal to the system to continually replace the contents of the frame buffer, or alternatively it may be captured and then written back into the mass picture storage unit 10 by disabling the video input to the frame buffer 12.
  • the circuit of figure 2 shows schematically how data from the sketch plane frame buffer 14 which is scanned out at full video rate is superi ⁇ posed over data from the full colour frame buffer 12, the sketch data over-writing the full colour frame in a selected colour.
  • the circuit comprises a full colour video data input coming from the output 26 of the full colour frame buffer 12 coupled to a first pole of an electronic switch 32.
  • the other pole of this switch is coupled to a fixed colour register 34 which contains colour data which is written to it from a CPU via an input 36.
  • This enable circuit is under the control of the CPU to either enable or disable the circuit from overlaying the sketch plane data onto the full colour video data as desired.
  • the switch 32 is set to pass the full colour data when the data received at the control input 38 from the sketch is zero, and to switch to the fixed colour data fr ⁇ n the register 34 when the data in the sketch plane frame buffer 14 is a logical one. This process operates on each pixel in the frame.
  • An output 42 of the switch 32 supplies the colour data to D-A converters where it is converted into an analogue video signal ready for display in a well known manner.
  • the mass picture storage 10 can be provided with real t ⁇ re video outputs for the two channels of colour video and sketch plane data.
  • a moving video image overlaid with the moving sketch plane data will be available via output 42 for display. This enables the artist to see how his sketches have moved from one frame to the next.
  • Paint in the sketch plane frame buffer 14 of figure 1 is achieved using the circuit shown in figure 3.
  • An input/output connection 44 couples the fra ⁇ e store 14 to a CPU 46. The arrangement is preferably such that the CPU can access the frame buffer independently of the circuit for scanning data out on the output 30.
  • a program and data store 48 also has an input/output connection 50 to the CPU.
  • the store 48 contains the program which the CPU uses for painting into the frame store 14 and this is loaded when a sketch is to be painted into the frame store.
  • the CPU has a further input from a tablet and stylus 52 which the artist uses.
  • the artist can modify pictures in the frame store to set them to a desired value.
  • the artist can choose by means of either a separate control (not shown) or by means of menus presented on a display or on the touch tablet use different size brushes, different shape brushes, and whether to paint in colour (by writing the data 1) or to erase painting already present ( by writing the date 0).
  • the data for the different size brushes etc is stored in the store 48.
  • the circuit comprises a look up table 54 with an input receiving an N bit word of sketch plane data. This N bit word can be read out serially from the mass picture storage unit 10 or, if as is usually the case, a parallel output is available, then in parallel for real time output.
  • the look up table (HIT) has 2 to the power of N entries, one for each combination of input data. These entries are loaded with data from the CPU via an input 56, such that different input words will generate data corresponding to different colours at the output of the look up table.
  • the output of the look up table is coupled to a terminal of a first electronic switch 32, the other input of which receives full colour video data from the mass picture storage 10.
  • the output is also coupled to a pole of a second electronic switch 58, the other input of which is coupled to the N bit sketch plane data input.
  • the output of this switch 58 is coupled to the input of a compare with zero comparator 60.
  • the output of this comparator 60 is the control input to switch 32. When the data received via switch 58 is non-zero then the output of this circuit will control switch 32 to make data from the LUT 54 available at the output of switch 32 for display.
  • Switch 58 is under the control of the CPU via control input 62 and can therefore be set so that either the sketch plane data itself is used by the c ⁇ rparator 60, or so that the output of the LOT can be used as the input to the comparator 60.
  • An exa ⁇ ple of the data stored in the look ⁇ p table 54 would for exa ⁇ ple, for a two bit system be a red output for a sketch in one plane (code 0,1), a green output for a sketch in another plane (1,0) and yellow when there is a sketch in both planes (1,1).
  • the CPU can render any of the sketch planes invisible simply by programming the look up table for all entries where data from that plane is present to be black of zero.
  • any individual plane or combination of planes can be made visible by setting non black colours when data from that plane or planes is present.
  • switch 58 would be to provide an additional bit in the look up table 54 which could be progra ⁇ med by the CPU in accordance with whether or not that colour was to be visible or not. This could be arranged to be independent of the colour programmed for the look up table output.
  • the circuit of figure 5 shows a further development of figure 4 which enables the sketch planes to be displayed with partial transparency. This is desirable if the artist is to see more clearly the full colour video data whilst painting on to it from the sketch he has done in the sketch plane.
  • the circuit omits the switch 58 of the circuit of figure 4 and uses a cross fade circuit 64 instead of an electronic switch 32.
  • an alpha value is stored to determine the opacity of the sketch plane overlay. This alpha is fed out from the look up table to a control input 66 of the cross fade circuit 64.
  • the value of alpha for each combination of N bit sketch plane inputs is determined by the CPU in accordance with an opacity value selected by the artist.
  • the cross fade circuit 64 is a well known circuit and is used in many video applications.
  • the HJT's can be used to store both varying colour and varying alpha values so that soft edges and anti-aliasing can also be included in the overlaying of the sketch plane data.
  • Different portions of the N bit input word may be used to access the varying colour values ' and the varying transparency values stored in the LOT'S.
  • M has been used as an indicator on the full colour video data indicating the number of bits of data for that signal. This is typically 24 bits for an RGB or a YUV system. In a YUV system with 16 bits and where the 8 bits of chroma are alternate between U and V on successive pixels, the data from the look up table would be 24 bits of YUV. A selector would therefore be required to select the 8 bits for U and the 8 bits for V to natch the U/V alternation in the main video data path.
  • the sketch planes are not limited in their usage to si ⁇ ulating the movement of a sketch but can be used as a production effect in the form of multi coloured overlays.
  • a path may be added from the overlaid video output back into the mass picture storage unit 10 so that the overlaid image can be stored.
  • Dynamic special effects can be achieved by using the CPU to change the colours in the LOT'S in real time even when viewing a stationary video image from the frame store 12 and sketch plane store 14.
  • Use of the transparency value in the LOT allows the sketch plane image to be overlaid to any desired transparency level.
  • Another way of visualising motion in adjacent frames in a sequence can be achieved by providing a method of overlaying a sequence of images on either side of the current frame with varying degrees of transparency. This enables the multiple locations occupied by a moving object to be viewed simultaneously. This is achieved as described below.
  • Figure 6 shows a circuit which enables this to be achieved for five adjacent frames.
  • the circuit comprises a mass picture storage unit 10 which has an output coupled to the input of five frame stores labelled 1 to 5.
  • the outputs of these frame stores 1 to 5 are multiplied by fractions alpha 1 to alpha 5 respectively in multipliers 71 to 75.
  • the outputs of all these multipliers are summed in adder 76 to give the final video output.
  • the sum of all the alphas is arranged to be unity. In practice this is achieved by each alpha value being a fractional part of 256 and the resultant sum fr ⁇ n the adder 76 is divided by 256 by taking the most significant byte of the two byte sum.
  • Figure 7 shows, as an exa ⁇ ple, how the centre frame store of figure 6 (frame store 3) c ⁇ nunicates with various devices.
  • An input 78 from the mass storage unit 10 or from the previous frame store (frame store 2) is coupled to one input of a switch 82.
  • the input 80 to this switch 82 cc es from an external painting unit.
  • the output of the switch is coupled to the input of the frame store 3.
  • An output 84 of the frame store 3 is available to the external paint unit to load the image fr ⁇ n that frame store so that it nay be modified. It is also available to the mass storage unit 10 to be stored once it has been modified.
  • Figure 8 shows various different graphical representations of the values of alpha.
  • alpha 3 is set to 255 which is equivalent to unity and all the others are set to zero.
  • all five alphas are set to 51 which is equivalent to 0.2.
  • exa ⁇ ple (i) will only show the centre frame fr ⁇ n store 3 whilst exa ⁇ ple (ii) will show all five frames with equal intensity.
  • An intermediate curve, as for exa ⁇ ple shown in exa ⁇ ples (iii) and (iv) will provide varying degrees of visibility for the frames on each side of the centre frame from store 3. The degree of variation is typically chosen by the artist, for exa ⁇ ple with a software slider controlled by a tablet and pen or a joy-stick.
  • the method employed in figures 6 to 8 can in fact be extended to the use of more frames stores.
  • the final image can be assembled in a single frame store by loading one frame at a time fr ⁇ n the mass storage unit 10 via a multiplier and an adder with inputs fr ⁇ n the multiplier and a feedback loop fr ⁇ n the frame store.
  • proportions of the final image are successively added into the frame store means. This will of course result in a slower response as the artist modifies the images in individual frames.
  • a possible improvement to the technique can be achieved by providing edge-enhancement to the frames which are not the current central frame. This will highlight the edges in the transparent images which will help the artist to see more precisely in what direction motion is occuring.
  • the circuit of figure 6 shows one output from the mass picture storage unit 10 feeding all of the frame stores 1 to 5. With this i ⁇ plamentation it takes five video frame tines (since the mass storage unit will be able to provide video data in real time) to load all the frame stores. This is adequate for a stop-frame or slow mode of operation.
  • the preferred method of connecting the frame stores together is shown in figure 9. In this arrangement the output of the mass picture storage unit 10 is fed via a hal pixel delay unit 86 to frame store 1. Frame store 1 and all the other frame stores have their inputs and outputs controlled by a write in address generation circuit 88 and a read out address generation circuit 90. Data is read out from the mass picture storage unit 10 under control of the circuit 90.
  • the output of frame store 1 passes via a further half pixel delay unit 86 to the input to frame store 2.
  • a similar arrangement occurs with the output of frame store 2 and the input of frame store 3 and the output and input of the sucx ⁇ eding frame stores.
  • the outputs of all the frame stores are also available to the multipliers 71 to 75 and the adder 76 as shown in figure 6.
  • the arrangement of figure 9 enables frames to pass from the mass picture storage unit 10 in sequence through the frames stores 1 to 5 in real time. Thus five frames are continuously available to the combiner circuit even though each frame is advancing through the chain of frame stores in real time.
  • the operation of the circuit of figure 9 is as follows.
  • the frame store 1 provides the first pixel in its store to its output under the control of the read out address generator which provides the desired address and a read out pulse.
  • the output of the store 1 is fed to multiplier 71 and then to the combining circuit 76 (see Figure 6). It is also made available to a half pixel delay circuit 86 the output of which is coupled to the input of frame store 2.
  • the write address generator 88 addresses the same pixel in, and generates a write pulse to fra ⁇ e store 2.
  • the data stored in the corresponding pixel in frame store 1 is written to frame store 2.
  • This arrangement can be modified to run backwards as well as forwards by providing a connection fr ⁇ n the mass storage unit 10 to the frame store 5 and feeding the output of each store to the store above.
  • frames could simply be read from the mass storage unit 10 in reverse order.
  • the system can be run at rates slower than real time by inhibiting the write pulse to the writing address generator 88 for several frames.
  • the artist can start to paint on the image held in frame store 3. This can be done either by applying a painting algorithm directly to frame store 3, or by passing the image out of frame store 3 to an external painting system using the a_ ⁇ _angement of Fig.7.
  • the output of this external painting system can be fed back in along the input shown in Fig.7 such that it may be continuously viewed by continually writing it in to the store.
  • the painted image can be permanently transferred into the store at any time and its output can then be fed back to the mass storage unit 10 for recording along the connection shown in Fig.9.
  • the combining technique described with relation to Figs. 6 to 9 can be combined with the sketch overlay technique of Figs. 1 in Fig.10.
  • This comprises the mass storage unit 10 which stores full colour video frames and associated sketch plane frames.
  • This has a full colour video output connected to the ulti frame overlay circuit 92 of Fig.9.
  • This circuit provides a video data output to the sketch plane overlay circuit 94 of Fig.2.
  • the other input to this circuit 94 comes from the sketch plane output of the mass storage unit 10.
  • the final output of the sketch plane overlay circuit is a video output which can be fed to a display.
  • the mass storage unit 10 has its tw ⁇ outputs ninning in parallel. If the circuit of figure 10 is running in real time the outputs are arranged such that the sketch plane output lags three frame periods behind the full colour video output of the mass storage unit 10. This is so that the sketch plane corresponding to the delayed centre frame stored in frame store 3 will be overlaid on the combined output of the circuit 92.
  • the video output of the circuit 94 can be fed back to the mass storage unit 10.
  • Conventional addressing circuitry would be used to ensure that the output is fed back to the correct storage locations.
  • Techniques of the type described in British Patent Application No. 8913803.6 may also be used for storing the image.
  • the sketch plane overlay circuit could of course include means for applying a transparency value and a cross fade circuit 64 as shown in Fig.5.
  • the other variations on the sketch plane overlay circuit which are described in relation to the other figures 1 to 5 could also be included.

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  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Signal Processing (AREA)
  • Controls And Circuits For Display Device (AREA)
  • Image Processing (AREA)

Abstract

Chaque trame d'une pluralité de trames de données d'images vidéo (12, 26) disposée dans une unité de stockage de masse (10) comprend une trame de données de plan d'esquisse (14, 30) associée à ladite trame. On peut sortir, de façon sélective, lesdites données de plan d'esquisse au moyen d'un commutateur (32) de manière à voir à l'avance les modifications que l'on se propose de porter à une séquence d'images vidéo. Lesdites données peuvent être superposées sur les données d'images vidéo, et peuvent se voir assigner une valeur de transparence (α). Un système pour afficher une pluralité de trames d'une séquence d'images vidéo comprend une unité de stockage de masse (10) pour les trames de l'image vidéo. Ledit système envoie des trames individuelles à une pluralité de stocks de trames (1-5). La sortie de chaque stock de trames est multipliée par une fraction (α1-5) dans un multiplicateur (71-75). Les sorties provenant de tous les multiplicateurs (71-75) sont combinées dans un additionneur (76) de manière à obtenir une image vidéo comprenant des proportions de trames stockées dans lesdits stocks de trames (1-5) en fonction des fractions par lesquelles elles sont multipliées.
PCT/GB1990/001350 1989-09-01 1990-08-31 Superposition ou fondu enchaine d'une sequence video ou binaire WO1991003904A1 (fr)

Applications Claiming Priority (2)

Application Number Priority Date Filing Date Title
GB898919836A GB8919836D0 (en) 1989-09-01 1989-09-01 Improvements in digital video systems
GB8919836.0 1989-09-01

Publications (1)

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WO1991003904A1 true WO1991003904A1 (fr) 1991-03-21

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Cited By (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
GB2254218A (en) * 1991-01-31 1992-09-30 Samsung Electronics Co Ltd Field overlapping device for a colour video printer giving perspective representations
EP0506430A2 (fr) * 1991-03-29 1992-09-30 The Grass Valley Group, Inc. Dispositif et procédé pour combiner des signaux vidéo
WO1998018260A1 (fr) * 1996-10-25 1998-04-30 Diva Systems Corporation Procede et appareil pour masquer les temps d'attente dans un systeme interactif de diffusion d'informations
US6881067B2 (en) * 1999-01-05 2005-04-19 Personal Pro, Llc Video instructional system and method for teaching motor skills

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Publication number Priority date Publication date Assignee Title
US4233631A (en) * 1978-10-04 1980-11-11 Cbs Inc. Television system for displaying and recording paths of motion
US4360831A (en) * 1979-11-16 1982-11-23 Quantel Limited Multiple image digital processing system
WO1988007801A1 (fr) * 1987-03-27 1988-10-06 Ampex Corporation Systeme d'effets video avec combinaison video de recirculation et combinaison de sortie

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Publication number Priority date Publication date Assignee Title
US4233631A (en) * 1978-10-04 1980-11-11 Cbs Inc. Television system for displaying and recording paths of motion
US4360831A (en) * 1979-11-16 1982-11-23 Quantel Limited Multiple image digital processing system
WO1988007801A1 (fr) * 1987-03-27 1988-10-06 Ampex Corporation Systeme d'effets video avec combinaison video de recirculation et combinaison de sortie

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Title
SMPTE Journal, Volume 92, No. 11, November 1983, (Scarsdale, New York, US), T.F. KLIMEK et al.: "The Computer-Controlled Frame Buffer as a Production Tool" pages 1202-1207 see page 1203, left-hand column, lines 18-37; figure 1; page 1205, central-column, line 25 - right-hand column, line 27; page 1206, left-hand column, line 27 - page 1207, left-hand column, line 5 *

Cited By (6)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
GB2254218A (en) * 1991-01-31 1992-09-30 Samsung Electronics Co Ltd Field overlapping device for a colour video printer giving perspective representations
GB2254218B (en) * 1991-01-31 1994-12-07 Samsung Electronics Co Ltd Device for forming overlapping fields of video for use in a color video printer
EP0506430A2 (fr) * 1991-03-29 1992-09-30 The Grass Valley Group, Inc. Dispositif et procédé pour combiner des signaux vidéo
EP0506430A3 (en) * 1991-03-29 1993-03-17 The Grass Valley Group, Inc. Apparatus and method for combining video signals
WO1998018260A1 (fr) * 1996-10-25 1998-04-30 Diva Systems Corporation Procede et appareil pour masquer les temps d'attente dans un systeme interactif de diffusion d'informations
US6881067B2 (en) * 1999-01-05 2005-04-19 Personal Pro, Llc Video instructional system and method for teaching motor skills

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