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Animation Sequence Compression Yang Liu Department of Computer - PowerPoint PPT Presentation

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Animation Sequence Compression Yang Liu Department of Computer Science March 2009 . . . . . . Outline Introduction Purpose Animation Sequence Problem Definition Theory about Compression Techniques Techniques in Animation Compression

  1. Lossy Compression ◮ We do need exact information, in some cases. ◮ But not always. ◮ MP3, JPEG, MPEG, H.264, ... , all lossy ◮ For CAD/CAE/documents, precision does matter ◮ For entertainment, not really . . . . . .

  2. Lossy Compression ◮ We do need exact information, in some cases. ◮ But not always. ◮ MP3, JPEG, MPEG, H.264, ... , all lossy ◮ For CAD/CAE/documents, precision does matter ◮ For entertainment, not really ◮ Just drop not-so-important info . . . . . .

  3. Lossy Compression ◮ We do need exact information, in some cases. ◮ But not always. ◮ MP3, JPEG, MPEG, H.264, ... , all lossy ◮ For CAD/CAE/documents, precision does matter ◮ For entertainment, not really ◮ Just drop not-so-important info ◮ Usually done by quantization – Covered later . . . . . .

  4. Outline Introduction Purpose Animation Sequence Problem Definition Theory about Compression Techniques Techniques in Animation Compression . . . . . .

  5. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. . . . . . .

  6. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. ◮ Idea: any magnitude is related to previous magnitude. . . . . . .

  7. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. ◮ Idea: any magnitude is related to previous magnitude. ◮ Identical predictors work on both ends: Compression and De-compression. . . . . . .

  8. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. ◮ Idea: any magnitude is related to previous magnitude. ◮ Identical predictors work on both ends: Compression and De-compression. ◮ Only residue is stored/transferred. . . . . . .

  9. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. ◮ Idea: any magnitude is related to previous magnitude. ◮ Identical predictors work on both ends: Compression and De-compression. ◮ Only residue is stored/transferred. ◮ Residue should be very small. . . . . . .

  10. Techniques in Audio Compression ◮ Basically, audio compression relies on predictor. ◮ Idea: any magnitude is related to previous magnitude. ◮ Identical predictors work on both ends: Compression and De-compression. ◮ Only residue is stored/transferred. ◮ Residue should be very small. ◮ Entropy coding could compress residue easily . . . . . .

  11. Techniques in Audio Compression-cnt ◮ Predictors for non-lossy compression: FLAC etc. . . . . . .

  12. Techniques in Audio Compression-cnt ◮ Predictors for non-lossy compression: FLAC etc. ◮ MP3: Just drop high-frequency signals. . . . . . .

  13. Techniques in Audio Compression-cnt ◮ Predictors for non-lossy compression: FLAC etc. ◮ MP3: Just drop high-frequency signals. ◮ People are not picky on high-frequency sound . . . . . .

  14. Techniques in Audio Compression-cnt ◮ Predictors for non-lossy compression: FLAC etc. ◮ MP3: Just drop high-frequency signals. ◮ People are not picky on high-frequency sound ◮ Fourier Transform . . . . . .

  15. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). . . . . . .

  16. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. . . . . . .

  17. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. ◮ Drop High-Frequency signal (Details). . . . . . .

  18. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. ◮ Drop High-Frequency signal (Details). ◮ Run-Length Encoding . . . . . .

  19. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. ◮ Drop High-Frequency signal (Details). ◮ Run-Length Encoding ◮ Huffman Coding . . . . . .

  20. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. ◮ Drop High-Frequency signal (Details). ◮ Run-Length Encoding ◮ Huffman Coding ◮ Lossy . . . . . .

  21. Techniques in JPEG ◮ Employes Discrete Cosine Transform (Specialized Fourier Transform). ◮ In JPEG2000, Wavelet Transform is employed. ◮ Drop High-Frequency signal (Details). ◮ Run-Length Encoding ◮ Huffman Coding ◮ Lossy ◮ Image may be blurred, with high compression ratio. . . . . . .

  22. Techniques in MPEG ◮ Intuitive way to store/transfer video is to transfer all images one by one (Raw Data). . . . . . .

  23. Techniques in MPEG ◮ Intuitive way to store/transfer video is to transfer all images one by one (Raw Data). ◮ By using similarity between adjacent image, it is possible to remove redundant information, thus compress data. . . . . . .

  24. Techniques in MPEG ◮ Intuitive way to store/transfer video is to transfer all images one by one (Raw Data). ◮ By using similarity between adjacent image, it is possible to remove redundant information, thus compress data. ◮ Another way is to “drop” some not so important information. That is, lossy compression. . . . . . .

  25. Techniques in MPEG ◮ Intuitive way to store/transfer video is to transfer all images one by one (Raw Data). ◮ By using similarity between adjacent image, it is possible to remove redundant information, thus compress data. ◮ Another way is to “drop” some not so important information. That is, lossy compression. ◮ MPEG is based on JPEG. Both of them are lossy to gain more compression ratio. . . . . . .

  26. Techniques in MPEG - cnt ◮ Normally, video contains 24 - 30 frams per second (Film/NTSC) . . . . . .

  27. Techniques in MPEG - cnt ◮ Normally, video contains 24 - 30 frams per second (Film/NTSC) ◮ In-Frame Compression: JPEG . . . . . .

  28. Techniques in MPEG - cnt ◮ Normally, video contains 24 - 30 frams per second (Film/NTSC) ◮ In-Frame Compression: JPEG ◮ I-frame and P-frame . . . . . .

  29. Techniques in MPEG - cnt ◮ Normally, video contains 24 - 30 frams per second (Film/NTSC) ◮ In-Frame Compression: JPEG ◮ I-frame and P-frame ◮ I-frame is stored/transferred completely (high-quality) . . . . . .

  30. Techniques in MPEG - cnt ◮ Normally, video contains 24 - 30 frams per second (Film/NTSC) ◮ In-Frame Compression: JPEG ◮ I-frame and P-frame ◮ I-frame is stored/transferred completely (high-quality) ◮ P-frame is stroed/transferred as residue (low-quality) . . . . . .

  31. Techniques in MPEG - cnt-2 ◮ What the coder do: . . . . . .

  32. Techniques in MPEG - cnt-2 ◮ What the coder do: ◮ Find blocks moving on screen and background . . . . . .

  33. Techniques in MPEG - cnt-2 ◮ What the coder do: ◮ Find blocks moving on screen and background ◮ Compress background and moving objects seperately . . . . . .

  34. Techniques in MPEG - cnt-2 ◮ What the coder do: ◮ Find blocks moving on screen and background ◮ Compress background and moving objects seperately ◮ For I-frame, just store/transfer it. . . . . . .

  35. Techniques in MPEG - cnt-2 ◮ What the coder do: ◮ Find blocks moving on screen and background ◮ Compress background and moving objects seperately ◮ For I-frame, just store/transfer it. ◮ For P-frame, predicts movement of blocks, store/transfer residue . . . . . .

  36. Techniques in MPEG - cnt-2 ◮ What the coder do: ◮ Find blocks moving on screen and background ◮ Compress background and moving objects seperately ◮ For I-frame, just store/transfer it. ◮ For P-frame, predicts movement of blocks, store/transfer residue ◮ For blocks, it may change. Store/transfer the residue of block . . . . . .

  37. Techniques in MPEG - cnt-3 ◮ Finding moving blocks is hard. So encoding takes more time than decoding. . . . . . .

  38. Techniques in MPEG - cnt-3 ◮ Finding moving blocks is hard. So encoding takes more time than decoding. ◮ That’s why different MPEG encoder may produce different compression result . . . . . .

  39. Techniques in MPEG - cnt-3 ◮ Finding moving blocks is hard. So encoding takes more time than decoding. ◮ That’s why different MPEG encoder may produce different compression result ◮ More residue information means better quality and more bits . . . . . .

  40. Techniques in MPEG - cnt-3 ◮ Finding moving blocks is hard. So encoding takes more time than decoding. ◮ That’s why different MPEG encoder may produce different compression result ◮ More residue information means better quality and more bits ◮ Less residue information means lower quality and less bits . . . . . .

  41. Techniques in MPEG - cnt-3 ◮ Finding moving blocks is hard. So encoding takes more time than decoding. ◮ That’s why different MPEG encoder may produce different compression result ◮ More residue information means better quality and more bits ◮ Less residue information means lower quality and less bits ◮ That’s why action movie requires more bits. . . . . . .

  42. Outline Introduction Purpose Animation Sequence Problem Definition Theory about Compression Techniques Techniques in Animation Compression . . . . . .

  43. Animation Compression ◮ Predictor-Based method: . . . . . .

  44. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor . . . . . .

  45. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. . . . . . .

  46. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. ◮ Inter-frame compression: Time-only predictor and residue for each vertex . . . . . .

  47. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. ◮ Inter-frame compression: Time-only predictor and residue for each vertex ◮ Combine them together: Space-Time predictor . . . . . .

  48. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. ◮ Inter-frame compression: Time-only predictor and residue for each vertex ◮ Combine them together: Space-Time predictor ◮ Using quantization, we can compress model with degraded quality. . . . . . .

  49. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. ◮ Inter-frame compression: Time-only predictor and residue for each vertex ◮ Combine them together: Space-Time predictor ◮ Using quantization, we can compress model with degraded quality. ◮ Assumption: Connectivity never change. . . . . . .

  50. Animation Compression ◮ Predictor-Based method: ◮ In-frame compression: Space-only predictor ◮ That is, transfer only part of vertices. ◮ Inter-frame compression: Time-only predictor and residue for each vertex ◮ Combine them together: Space-Time predictor ◮ Using quantization, we can compress model with degraded quality. ◮ Assumption: Connectivity never change. ◮ Dynapack: Space-Time compression of the 3D animations of triangle meshes with fixed connectivity, Lawrence Ibarria et al. . . . . . .

  51. Animation Compression-cnt ◮ Skeleton-Based method: . . . . . .

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