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DATA COMPRESSION
Unit 5
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5.1 Data Compression and Coding

Fundamentals
Why we need image compression?
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5.1 Data Compression and Coding

Fundamentals
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5.1 Data Compression and Coding

Fundamentals
Storage Space and Coding Requirements
Storage Requirement
Uncompressed graphics, audio and video data require
considerable storage capacity.
For e.g. an image represented in 640 by 480 resolutions
with 8 bits per pixel require 300 kilobytes of storage space.
So, in order to reduce the storage requirement of the
multimedia data it should be compressed.
The compression should be such that there should not be
a loss of quality of the data and hence compression should not
reduce the information content of the data. For e.g. 90% of the
raw audio can be deleted without affecting the quality of the
audio.
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5.1 Data Compression and Coding

Fundamentals
Bandwidth Requirement
Uncompressed data transfer requires greater
bandwidth or data rate for its communication.
If the data is compressed there can be a
considerable reduction in the bandwidth requirement for the
transmission of the data.
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5.1 Data Compression and Coding

Fundamentals
Bandwidth Requirement (cont..)
The following examples specify continuous media
and derive the amount of storage required for one second
of playback:
 An uncompressed audio signal of telephone quality
sampled at 8 kHz and quantized with 8 bits per sample
requires 64 kbits to store one second of playback and a
bandwidth of 64 kbits/sec.
 An uncompressed stereo audio signal of CD quality is
sampled at a rate of 44.1 kHz quantized at 3 16 bits per
sample require 705.6 * 10 3 bits to store one second of
playback and the bandwidth requirement is 705.6 * 10
bits/second.
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5.1 Data Compression and Coding

Fundamentals
Bandwidth Requirement (cont..)
As mentioned above compression in multimedia systems is
subject to certain constraints.
 The quality of the compressed data should be as good
as possible.
 To make cost-effective implementation possible, the
complexity of the technique used should be minimal.
 The processing of the algorithm must not exceed
certain time span.
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5.1 Data Compression and Coding

Fundamentals
Bandwidth Requirement (cont..)
In retrieval mode application, the following demands arise:
 Fast forward and backward data retrieval should be
possible with simultaneous display.
 Random access to single images and audio frames of a
data stream should be possible without extending the
access time more than 0.5 second.
 Decompression of data should be independent of other
data units.
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5.1 Data Compression and Coding

Fundamentals
Bandwidth Requirement (cont..)
For both dialogue and retrieval mode, the following
requirements apply
 The format should be independent of frame size and
video frame rate.
 The format should support various data rate.
 There should be synchronization between the audio
and video.
 Compression and decompression should not require
additional hardware.
 The compression of data in one system of multimedia
should ensure the decompression in the other system.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding
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Lossy Vs. Lossless Compression

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Lossless Vs. Lossy Coding

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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Source Coding
Source coding takes into account the semantics and
the characteristics of the data. Thus the degree of
compression that can be achieved depends on the data
contents.
Source coding is a lossy coding process in which
there is some loss of information content. For e.g. in case
of speech the speech is transformed from the time domain
to frequency domain.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Source Coding(cont..)
In the psychoacoustic the encoder analyzes the incoming
audio signals to identify perceptually important information by
incorporating several psychoacoustic principles of the human
ear.
One is the critical-band spectral analysis, which accounts
for the ear‟s poorer discrimination in higher frequency regions
than in lower-frequency regions. The encoder performs the
psychoacoustic analysis based on either a side-chain FFT
analysis or the output of the filter bank.
E.g. Differential Pulse Code Modulation, Delta
Modulation, Fast Fourier Transform, Discrete Fourier Transform,
Sub-band coding etc
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)

Entropy Coding
Entropy coding is used regardless of the
media‟s specific characteristics.

The data stream to be compressed is

considered to be a simple digital sequence and the
semantics of the data is ignored. It is concerned solely
with how the information is represented.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Entropy Coding (cont..)
Run Length Coding
Typical applications of this type of encoding are
when the source information comprises long substrings of
the same character or binary digit. Instead of transmitting
the source string in the form of independent code-words or
bits, it is transmitted in the form of a different set of code-
words which indicate not only the particular character or bit
being transmitted but also indication of the number of
characters/bits in the substring.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Entropy Coding (cont..)
Run Length Coding (cont..)

For e.g. if the string is AAAAABBBTTTTTTMMMMMMMM, it is

encoded as A!5BBBT!6M!8 (In this case there is no point in
encoding characters that repeats itself less than 4 times).

Diatomic encoding is a variation of run-length encoding based on

a combination of two data bytes. This technique determines the
most frequently occurring pairs of bytes. For e.g. in English
language “E”,”T”,”TH”,”A”,”S”,”RE”,”IN” and “HE” occurs most
frequently.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Entropy Coding (cont..)
Huffman Coding
Huffman coding is an example of variable length coding.
It is based in the concept that the probability of occurrence of the
characters is not same so different number of bits is assigned for
different character.
Basically in variable length coding the characters that
occur most frequently are assigned fewer numbers of bits.
However in order to used variable length coding the destination
must know the set of code-words being used by the source. In
Huffman Coding the probability of occurrence of the characters
are estimated and based on this estimation code-words are
assigned to the characters.
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Q.N.1:-Design Huffman code for probabilities:

0.1, 0.4, 0.06, 0.1, 0.04, and 0.3.
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Q.N.2:-Design Huffman code for probabilities:

0.1, 0.4, 0.15, 0.05, 0.1, and 0.2.
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Q.N.3: let the word to be encoded be

AABABBEEEEFEFC
Ans:- Length of string=14
No. of A =3 Probability of occurrence of A=3/14=0.214;
No. of B=3 Probability of occurrence of B=3/14=0.214
No. of E=5 Probability of occurrence of E=5/14=0.357
No. of F=2 Probability of occurrence of F=2/14=0.142
No. of C=1 Probability of occurrence of C=1/14=0.01
Here , Huffman code for probabilities are :
0.214, 0.214, 0.357, 0.142 and 0.01.
And solve ………..
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Q.N.4:- Construct the Huffman code for ( PoU 2014 / Fall)

Gray Level 0 1 2 3 4 5 6 7
No.of Pixel 5000 1000 500 530 1250 950 860 130
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Q.N.5:- Construct the Huffman code for ( PoU 2012 / Fall)

Gray Level 0 1 2 3 4 5 6 7
No. of Pixel 5320 1000 500 525 1236 956 856 128
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Entropy Coding (cont..)
Arithmetic Coding
Unlike Huffman coding which used a separate
codeword for each character, arithmetic coding yields a
single codeword for each encoded string of characters.
The first step is to divide the numeric range from 0 to
1 into a number of different characters present in the
message to be sent – including the termination character –
and the size of each segment by the probability of the
related character.
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5.1 Data Compression and Coding

Fundamentals
Source, Entropy and Hybrid Coding (cont..)
Hybrid Coding
This type of coding mechanism involve the combine
use of both the source coding and the entropy coding for
enhancing the compression ratio still preserving the quality
of information content. The example of Hybrid Coding
includes MPEG, JPEG, H.261, DVI techniques.
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5.2. Basic Data Compression Techniques

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5.2. Basic Data Compression Techniques

• Picture preparation: this includes analog to digital

conversion and generating a appropriate digital
representation of the information. An image is divided into
block of 8 X 8 pixels and represented by fixed number of
bits/pixel
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5.2. Basic Data Compression Techniques

• Picture processing: Processing is the actually the first

step of compression process which makes use of
sophisticated algorithm of transformation from time to
frequency domain. It can be performed using DCD
(Discrete Cosine transform).
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5.2. Basic Data Compression Techniques

• Quantization Process: Quantization process the result of

the previous step. It specifies the mapping of the real
number into integer. This can be considered as the
equivalent of μ-law and A- law which apply the audio data.
Quantization is performed using the different number of
bits per coefficient.
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5.2. Basic Data Compression Techniques

• Entropy Coding: Entropy coding is usually last step of

data compression. It compresses a sequence of digital
stream without loss. For e.g. a sequence of zero's in the
data stream can be compressed by specifying the number
of occurrence followed by zero it.
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5.2. Basic Data Compression Techniques

• The processing and quantization cab be repeated
iteratively several times in feedback loop.
• The term spatial domain (time domain) refer to the image
plane itself and approaches in this category are based on
discrete manipulation of pixel in an image.
• After compression, the compressed video stream contains
the specification of the image starting point and an
identification of the compression technique may be the
part of the data stream. The error correction code may
also be added to the stream.
• Decompression is the inverse process of compression.
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5.3.Data Compression and Coding Standards:

JPEG (Joint Photographic Experts Group)

The JPEG standard for compressing
continuous –tone still pictures (e.g. photographs)
was developed by photographic experts working
under the joint auspices of ITU, ISO and IEC.
JPEG is significant in compression because
MPEG or the standard for motion picture
compression is just the JPEG encoding applied to
each frame separately.
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5.3.Data Compression and Coding Standards:

JPEG (Joint Photographic Experts Group) (cont..)
There are some requirements of JPEG standard and they are:
 The JPEG implementation should be independent of image size.
 The JPEG implementation should be applicable to any image and
pixel aspect ratio.
 Color representation itself should be independent of the special
implementation.
 Image content may be of any complexity, with any statistical
characteristics.
 The JPEG standard specification should be state of art (or near)
regarding the compression factor and achieved image quality.
 Processing complexity must permit a software solution to run on as
many available standard processors as possible. Additionally, the
use of specialization hardware should substantially enhance image
quality.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression

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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 1: (Block Preparation)
This step involves the block preparation. For e.g. let
us assume the input to be 640*480 RGB image with 24
bits/pixel. The luminance and chrominance component of
the image is calculated using the YIQ model for NTSC
system.
Y=0.30R + 0.59G + 0.11B
I= 0.60R – 0.28G – 0.32B
Q= 0.21R – 0.52G + 0.31B
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 1: (Block Preparation) (cont..)
For PAL system YUV model is used. Separate
matrices are constructed for Y, I and Q each elements in
the range of 0 and 255.
The square blocks of four pixels are averaged in the
I and Q matrices to reduce them to 320*240. Thus the data
is compressed by a factor of two.
Now, 128 is subtracted from each element of all
three matrices to put 0 in the middle of the range. Each
image is divided up into 8*8 blocks. The Y matrix has 4800
blocks; the other two have 1200 blocks.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 2: (Discrete Cosine Transformation)
Discrete Cosine Transformation is applied to each
7200 blocks separately.
The output of each DCT is an 8*8 matrix of DCT
coefficients.
DCT element (0,0)is the average value of the block.
The other element tells how much spectral power is
present at each spatial frequency.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 3: (Quantization)
In this step the less important DCT coefficients are
wiped out.
This transformation is done by dividing each of the
coefficients in the 8*8 DCT matrix by a weight taken from a
table.
If all the weights are 1 the transformation does
nothing however, if the weights increase sharply from the
origin, higher spatial frequencies are dropped quickly.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 4: (Differential Quantization)
This step reduces the (0,0) value of each block by
replacing it with the amount it differs from the
corresponding element in the previous block.
Since these elements are the averages of their
respective blocks, they should change slowly, so taking the
differential values should reduce most of them to small
values.
The (0,0) values are referred to as the DC
components; the other values are the AC components.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 5: (Run length Encoding)
This step linearizes the 64 elements and applies
run-length encoding to the list.
In order to concentrate zeros together, a zigzag
scanning pattern is used.
Finally run length coding is used to compress the
elements.
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5.3.Data Compression and Coding Standards:

Steps in JPEG Compression (cont..)

Step 6: (Statistical Encoding)
Huffman encodes the numbers for storage or
transmission, assigning common numbers shorter codes
than uncommon ones.
JPEG produces a 20:1 or even better compression
ratio. Decoding a JPEG image requires running the
algorithm backward and thus it is roughly symmetric:
decoding takes as long as encoding.
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5.3.Data Compression and Coding Standards:

Lossy Sequential DCT-based Mode of JPEG

Image Processing
It basically involves the block preparation where the
image samples are grouped into 8*8 pixels and passed to
the encoder.
Then Discrete Cosine Transformation is applied to
the blocks where the pixel values are shifted into the range
[-128,127] with zero as the center.
Each of these values is then transformed using
Forward DCT (FDCT). DCT is similar to Discrete Fourier
Transformation as it maps the values from the time to the
frequency domain.
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5.3.Data Compression and Coding Standards:

Lossy Sequential DCT-based Mode of JPEG

Quantization
The JPEG application provides a table of 64 entries.
Each entry will be used for the quantization of one of the 64
DCT-coefficients
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5.3.Data Compression and Coding Standards:

Lossy Sequential DCT-based Mode of JPEG

Entropy Encoding
During the initial step of entropy encoding, the quantized
DC-coefficients are treated separately from the quantized
AC-coefficients.
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5.3.Data Compression and Coding Standards:

Lossy Sequential DCT-based Mode of JPEG

Entropy Encoding
 The DC-coefficient determines the basic color of the data
units.
 The DCT processing order of the AC coefficients involves the
zigzag sequence to concentrate the number of zeros.

JPEG specifies Huffman and arithmetic encoding as

entropy encoding methods. However, as this is lossy sequential
DCT-based mode, only Huffman encoding is allowed. In lossy
sequential mode the framework of the whole picture is not
formed but parts of it are drawn i.e. sequentially done.
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5.3.Data Compression and Coding Standards:

Expanded Lossy DCT-based Mode

It differs from the sequential mode in terms of number of
bits per sample. Here 12 bits along with 8 bits per sample
can be used.

Figure: Progressive Picture Presentation

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5.3.Data Compression and Coding Standards:

Expanded Lossy DCT-based Mode (cont..)

For the expanded lossy DCT-based mode, JPEG
specifies progressive encoding in addition to sequential
encoding.
At first, a very rough representation of the image
appears which is progressively refined until the whole
image is formed. This progressive coding is achieved by
layered coding.
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5.3.Data Compression and Coding Standards:

Expanded Lossy DCT-based Mode (cont..)

Progressiveness is achieved in two different ways:
 By using a spectral selection in the first run only, the
quantized DCT coefficients of low frequencies of each
data unit are passed in the entropy encoding. In
successive runs, the coefficients of higher frequencies
are processed.
 Successive approximation transfers all of the quantized
coefficients in each run, but single bits are differentiated
according to their significance. The most-significant bits
are encoded first, then the less-significant bits.
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5.3.Data Compression and Coding Standards:

Hierarchical Mode
This mode uses either the lossy DCT-based algorithms or
the lossless compression technique. The main feature of this
mode is the encoding of an image at different resolutions, i.e.,
the encoded data contains images at several resolutions. This
involves the sampling of images at higher resolutions at first and
then subsequently reducing the horizontal and vertical
resolution. The compressed image is subtracted from the
previous result. The process is repeated until the full resolution is
reduced considerably and no further compression is possible.
This requires more storage but as images at different
resolution are available the systems using low resolution need
not decode the image as the low resolution image is easily
available.
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5.3.Data Compression and Coding Standards:

MPEG (Motion Picture Expert Group)

The Motion Pictures Expert Group was formed by
the ISO to formulate a set of standards relating to a range
of multimedia applications that involve the use of video with
sound.
The coders associated with the audio compression
part of these standards are known MPEG audio coders and
a number of these use perceptual coding.
MPEG can deliver a data rate of at most 1856000
bits/second, which should not be exceeded. Data rates for
audio are between 32 and 448 Kbits/second; this data rate
enables video and audio compression of acceptable
quality.
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5.3.Data Compression and Coding Standards:

MPEG (Motion Picture Expert Group) (cont..)
The MPEG standard exploits the other standards and they are
 JPEG:
JPEG is used as the motion picture is a continuous sequence of still
image.
 H.261:
H.261 video compression standard has been defined by the ITU-T for
the provision of video telephony and videoconferencing services over
an Integrated Services Digital Network (ISDN). It specifies two
resolution formats with an aspect ratio of 4:3 are specified. Common
Intermediate Format (CIF) defines a luminance component of 288 lines,
each with 352 pixels. The chrominance components have a resolution
with a rate of 144 lines and 176 pixels per line. Quarter CIF (QCIF) has
exactly half of the CIF resolution i.e., 176*144 pixels for the luminance
and 88*72 pixels for the other components.
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5.3.Data Compression and Coding Standards:

MPEG (Motion Picture Expert Group) (cont..)
MPEG video uses video compression algorithms called Motion-
Compensated Discrete Cosine Transform algorithms. The
algorithms use the following basic algorithm
 Temporal Prediction: It exploits the temporal redundancy
between video pictures.
 Frequency Domain Decomposition: It uses DCT to
decompose spatial blocks of image data to exploit statistical
and perceptual spatial redundancy.
 Quantization: It reduces bit rate while minimizing loss of
perceptual quality.
 Variable-length Coding: It exploits the statistical redundancy
in the symbol sequence resulting from quantization as well as
in various types of side information.
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5.3.Data Compression and Coding Standards:

MPEG (Motion Picture Expert Group) (cont..)

As far as audio compression is concerned the time-
varying audio input signal is first sampled and quantized
using PCM, the sampling rate and number of bits per
sample being determined by the specific application.
The bandwidth that is available for transmission is
divided into a number of frequency sub bands using a bank
of analysis function which because of their role, are also
known as critical-band filters.
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5.3.Data Compression and Coding Standards:

Video Encoding
Video is nothing but simply a sequence of digitized pictures. The
video that MPEG expects to process is composed of a sequence of frames
or fields of luma and chroma.
Frame-Based Representation:
MPEG-1 is restricted to representing video as a sequence of frames.
Each frame consists of three rectangular arrays of pixels, one for the
luma (Y, black and white) component, and one each for the chroma (Cr
and Cb, color difference) components. The chroma arrays in MPEG-1
are sub-sampled by a factor of two both vertically and horizontally
relative to the luma array.
Field-Based Representation:
MPEG-2 is optimized for a wider class of video representations,
including, most importantly, field-based sequences. Fields are created by
dividing each frame into a set of two interlaced fields, with odd lines from
the frame belonging to one field and even lines to the other. The fields
are transmitted in interlaced video one after the other, separated by half
a frame time.
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5.3.Data Compression and Coding Standards:

Video Encoding (cont..)

MPEG provides 14 different image aspect ratios per
pixel which are coded in the data stream. The image
refresh frequency is also encoded in the data stream. Eight
frequencies are defined: 23.976Hz, 24 Hz, 25 Hz, 29.97
Hz, 30 Hz, 50 Hz, 59.94 Hz and 60 Hz.
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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG

There are two basic types of compressed frame:
those that are encoded independently and those that are
predicted.
The first are as intracoded frames or I frames. In
practice, there are two types of predicted frames: predictive
or P-frames and bidirectional or B-frames and because of
the way they are derived, the latter are also known as
intercoded or interpolation frames.
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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG (cont..)

I-frames (Intra coded Images):
I- frames are encoded without reference to any other
frames.
Each frame is treated as a separate (digitized) picture
and the Y, C , and C matrices are encoded independently using
the JPEG algorithm.
b r The level of compression obtained with I-frames is relatively
small. I-frames must be present in the output stream at regular
intervals in order to allow for the possibility of the contents of an
encoded I-frame being corrupted during transmission. The
number of frames/pictures between successive I-frames is
known as a group of pictures or GOP.
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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG (cont..)

P-frames (Predictive-Coded Frames):
The encoding of a P-frame is relative to the contents of
either a preceding I-frame or a preceding P frame.
As indicated, P-frames are encoded using a combination
of motion estimation and motion compensation and hence
significantly higher levels of compression can be obtained.
In practice, the number of P-frames between each
successive pair of I-frames is limited since any errors present in
the first P-frame will be propagated to the next. The number of
frames between a P-frame and the immediately preceding I- or
P-frame is called the prediction span. It is given the symbol M
and typical values range from 1 through 3.
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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG (cont..)

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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG (cont..)

B-frames (Bi-directionally predictive-coded frames):
Motion estimation involves comparing small
segments of two consecutive frames for differences and,
should a difference be detected, a search is carried out to
determine to which neighboring segment the original
segments has moved. In order to minimize the time for
each search, the search region is limited to just a few
neighboring segments. Some applications may involve very
fast moving objects; however, it is possible for a segment to
have moved outside the search region. To allow for this
possibility, in applications such as movies, in addition to P-
frames, second types of frames are used called B-frames.
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5.3.Data Compression and Coding Standards:

Types of Image Frames in MPEG (cont..)
D-frames (DC-Coded Frames):
D-frame has been defined for use in movie/video-on-
demand applications.
D-frames are used for display in fast-forward or fast-
rewind modes. D-frames are inserted at regular intervals
throughout the stream. These are highly compressed frames and
are ignored during the decoding of P- and Bcompression
algorithm, the DC coefficient associated with each 8 * 8 block
pixels- both for the luminance and the two chrominance signals-
is the mean of all the values in the related block. Hence by using
only encoded DC coefficients of each block of pixels in the
periodically inserted D-frames, a lowresolution sequence of
frames is provided each of which can be decoded at the higher
speeds that are expected with the rewind and fast-forward
operations.
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5.3.Data Compression and Coding Standards:

Audio Encoding:
The time-varying audio input signal is first sampled and
quantized using PCM, the sampling rate and number of bits per
sample being determined by the specific application. The
bandwidth that is available for transmission is divided into a
number of frequency sub bands using a bank of analysis filters
which, because of their role, are also known as critical-band
filters.
Each frequency subbands is of equal width and,
essentially, the bank of filters maps each set of 32 PCM samples
into an equivalent frequency samples, one per subband, Hence
each is known as a sub band sample and indicates the
magnitude of each of the 32 frequency components that are
present in a segment of the audio input signals of a time duration
equal to 32 PCM samples.
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5.3.Data Compression and Coding Standards:

Audio Encoding:
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5.3.Data Compression and Coding Standards:

DVI (Digital Video Interactive)

DVI is a technology that includes coding algorithms.
The fundamental components are a VLSI chip set for the
video subsystem, a well specified data format for audio and
video files, an application user interface to the audio-visual
kernel and compression, as well as decompression,
algorithms. For encoding audio standard signal processor
is used. Processing of images and video is performed by a
video processor.
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5.3.Data Compression and Coding Standards:

DVI (Digital Video Interactive) (cont..)

Audio and Still Image encoding:
Audio signals are digitized using 16-bits per sample.
Audio signals may be PCM-encoded or compressed using
the adaptive differential pulse coded modulation (ADPCM)
technique. Supported sampling frequencies are: 11025Hz,
22050Hz and 44100 Hz for one or two PCM-coded
channels. And 8268Hz, 31129Hz, 33075Hz for ADPCM.
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5.3.Data Compression and Coding Standards:

DVI (Digital Video Interactive) (cont..)

Audio and Still Image encoding:
For Still Images, DVI assumes an internal digital
YUV format for image preparation. Any video input signal
must first be transformed into this format. The color of each
pixel is split into luminance component and the two
chrominance components (U and V). The luminance
represents the gray scale image. With RGB, DVI computes
the YUV signal using the following relationship.
Y=0.30R+0.59G+0.11B
U=B-Y
V=R-Y
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5.3.Data Compression and Coding Standards:

DVI (Digital Video Interactive) (cont..)

Audio and Still Image encoding: (cont..)
It leads to:
U=-30R-0.59G+0.89B
V=0.70R-059G-0.11B

DVI Determines the components YUV according to the

following:
Y=0.299R+0.587G+0.144B+16
U=0.577B-0.577Y+137.23
V=0.730R-0.730Y+139.67
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5.3.Data Compression and Coding Standards:

DVI (Digital Video Interactive) (cont..)
Audio and Still Image encoding: (cont..)
DVI is able to process image in the 16-bit YUV format and the
24-bit YUV format. The 24-bit YUV format uses 8 bits for each
component. The 16-bit YUV format coded the Y components of
each pixel with 6 bits and the color difference components with 5
bits each.
There are 2 bitmap formats: Planer and Packed.
Planer:
All data of the Y component are stored first, followed by the U
component values and then all V values.
Packed:
For the packed bitmap format, the Y, U, and V information of
each pixel is stored together by the data of the next pixel.