3-D Video Formats and Coding- A review

International Journal of Engineering Science Invention
ISSN (Online): 2319 – 6734, ISSN (Print): 2319 – 6726
www.ijesi.org ||Volume 6 Issue 2|| February 2017 || PP. 26-36
www.ijesi.org 26 | Page
3-D Video Formats and Coding- A review
Khalid Mohamed Alajel1
, Khairi Muftah Abusabee1
, Ali Tamtum1
1
(Electrical and Computer Engineering Department, Faculty of Engineering / Al-Mergib University, Libya)
Abstract: The objective of a video communication system is to deliver the maximum of video data from the
source to the destination through a communication channel using all of its available bandwidth. To achieve this
objective, the source coding should compress the original video sequence as much as possible and the
compressed video data should be robust and resilient to channel errors. However, while achieving a high
coding efficiency, compression also makes the coded video bitstream vulnerable to transmission errors. Thus,
the process of video data compression tends to work against the objectives of robustness and resilience to
errors. Therefore, extra information that needs to be transmitted in 3-D video has brought new challenge and
consumer applications will not gain more popularity unless the 3-D video coding problems are addressed.
Keywords: 2-D video; 3-D video; 3-D Formats; 3-D video coding.
I. Introduction
A digital video sequence consists of images, which are known as frames. Each frame consists of small
picture elements, pixels that describe the color at that point in the frame. To describe fully the video sequence, a
huge amount of data is required. Therefore, the video sequence is compressed to reduce the amount of data to
make possible transmission over channels with limited bandwidth. "Fig. 1" describes a two-dimensional (2-D)
video transmission system, where the encoder is used to compress the input sequence before the transmission
over the channel. The reconstructed video sequence at the decoder side contains distortion introduced by the
compression and the distortion in the channel respectively.
Encoder Channel Decoder
Fig. 1: 2-D video transmission system.
Video data creates a tremendous amount of data that needs to be transmitted or stored. The huge
amount of data is a heavy burden for both transmission and decoding processes. Therefore, video data needs to
be compacted into a smaller number of bits for practical storage and transmission. Source coding is the first
important part in a communication system chain. The objective of this part is to remove the redundancy in the
source as much as possible. Although there are many different categories of source coding techniques,
depending on the source information itself, this section will focus on 2-D image and video coding techniques
widely used in the recent international video standards.
There are currently many data compression techniques used for different purposes in video coding. One
compression method employs statistical and subjective redundancy. Statistical redundancy can be efficiently
compressed using lossless compression, so that the reconstructed data after compression are identical to the
original video data. However, only a moderate amount of compression is achievable using lossless compression.
In subjective redundancy, elements of video sequence can be removed without significantly affecting the visual
quality. As a result, much higher compression is achievable at the expense of a loss of visual quality. The
compression method employs both statistical and subjective redundancy which forms the basis of current video
standards. Generally, most of all the recent video techniques used in today's video encoders are based on
exploiting both temporal and spatial redundancy in the original video data (see "Fig. 2"). The following
paragraph will describe the background of predictive video coding.
In spatial redundancy, there is a high correlation between successive frames of video. The process of
removing redundancy within a frame is called intraframe coding. On the other hand, in temporal redundancy,
there is a high correlation between pixels (samples) that are close to each other. The process of removing
redundancy between frames is called interframe coding. Redundancy reduction is used to predict the value of
pixels based on the values previously coded and code the prediction error. This method is called differential
pulse code modulation (DCPM). Most of video coding standards such as MPEG-1 [4] MPEG-2 [5], MPEG-4
[6] by the moving picture experts group (MPEG) of the inter-national organization for standardization (ISO),

and H.261 [7], H.263 [8], and H.264 [1] by the video coding expert group (VCEG) of international
telecommunication union-telecommunication (ITU-T), employ a predictive coding system and variable-length
code (VLC) techniques which are the root cause of error propagation.
Temporal
correlation
Spatial correlation
Fig. 2: Spatial and temporal correlation of video sequence.
A new field in signal processing is the representation of three-dimensional (3-D) scenes. Interest in 3-D
data representation for 3-D video communication has grown rapidly within the last few years. 3-D video may be
captured in different ways such as stereoscopic dual-camera and multi-view settings. Since 3-D video formats
consist of at least two video sequences and possibly additional depth data, many different coding techniques
have been proposed [2, 3].
II. Three-Dimensional (3-D) Video
A three-dimensional (3-D) video system is able to offer to the user a sense of “being there” and thus
provide a more impressive and realistic experience than two-dimensional (2-D) video. Recently, 3-D video has
received increased attention due to the recent advances in capturing, coding and display technologies and it is
anticipated that the 3-D video applications will increase rapidly in the near future. 3-D video system is able to
offer to the user a depth perception of the observed scene. Such 3-D depth perception can be achieved by special
3-D display systems which allow 3-D visual data to be viewed by the user with each eye. There exist a variety
of ways to represent 3-D content, such as conventional stereo video, multiview video and video-plus-depth [9].
As a consequence, there are a variety of compression and coding algorithms that are available for the different
3-Dvideo formats [10, 11]. In general, the additional dimension that the 3-D video provides results in
tremendous amount of data that needs to be transmitted or stored. Consequently, there is a significant increase in
the complexity of the whole 3-D video transmission system.
2-1 Human 3-D Visual System
Understanding how the human visual system (HVS) [12] works is crucial to understanding how 3-D
imaging works. The HVS consists of two parts, the two eyes and the brain. Each eye has a retina that collects
information and transfers it to a region of the brain called lateral geniculate body and then to the visual cortex
through the optic nerve. The pictures produced at each of the retinas are one up-side-down and as the pieces of
visual information are processed by the visual cortex, one single upright image is produced. As the two human
eyes of an individual are separated by about 6-8 cm, the 3-D depth perception is realized by two slightly
different images projected to the left and right eye retinas (binocular parallax) and then the brain fuses the two
images to give the depth perception (See "Fig.3").
Fig.3: Human 3-D visual system.

Although the binocular parallax is the most dominant cue for depth perception, natural scenes contain a
wide variety of visual cues known as monocular depth cues to determine depth. Monocular depth cues do not
require the observer to have two eyes to perceive depth. Instead the HVS still uses several monocular depth cues
such as motion parallax, relative size, and occlusion. The two eyes (binocular) are still the most important and
widely used depth cues which provide enough information for the HVS. The binocular disparity is available
because of the slight differences between the left and right eye points of view [13].
III. 3-D Video Formats And Coding
The contemporary interest in 3-D technology is now widespread and is manifested in different
applications, including the 3-D cinema [16], 3-D video [17], and mobile phones [18]. Depending on the
application, various choices of 3-D video formats are available. According to Merkle et al. [15], 3-D video
formats can be presented in the following formats: conventional stereo video (CSV), video-plus- depth (V+D),
multiview video (MVV), multiview video-plus-depth (MVD), and layered depth video (LDV). In this section,
these formats are going to be briefly described along with their associated coding methods. The ballet 3-D video
sequence [19, 20] will be used to illustrate these formats.
Conventional stereo video (CSV) is considered the least complex 3-D video format and it is a special
case of multiview (2 views only). In CSV, the 3-D video consists of two videos (views) representing the left and
right views of the same scene with slight difference in the angle of view corresponding to the distance of
separation of the human eyes. Each view forms a normal 2-D video and the human brain can fuse these two
different frames to generate the sensation of depth in the scene being viewed. "Fig.4" illustrates the CSV
formats.
Left view Right view
Fig. 4: CSV formats.
Since both cameras capture essentially the same scene, a straight-forward approach is to apply the
existing 2-D video coding schemes. Using the 2-D video coding approach, the two separate views can be
independently encoded, transmitted, and decoded with a 2-D video codec like H.264/AVC. This method is
known as simulcast coding. However, since the two views have similar content, and therefore are highly
redundant, coding efficiency can be increased by combined temporal/interview redundancy. This coding method
is called multiview coding (MVC) [21, 22]. To achieve this goal, a corresponding standard has been defined in
H.262/MPEG-2 multiview profile [23] as illustrated in "Fig. 5". The left view is encoded independently using
MPEG-2 codec and for the right view, interview prediction is allowed in addition to temporal prediction.
However, the gain in compression efficiency provided in the two views stereo video coding is limited compared
to individual coding of each view. Some other coding methods are using view interpolation to compensate from
camera geometry [24].
In CSV, the amount of data is twice that of 2-D video. Another alternative method for coding CSV data
is called mixed resolution stereoscopic (MRS) coding [25]. In this method, the resolution of CSV data is
downsampled to one fourth of its original resolution. Thus, a lower bit rate is achieved at equal quality. This
makes the approach attractive for mobile devices [25]. MRS coding is illustrated in "Fig. 6" [26].
3-1 Video-plus-depth (V+D) format
One of the most popular formats for representing 3-D video is video-plus-depth (V+D), which consists of a
conventional 2-D video with an associated per-pixel depth map represented with luma component only. For
video and depth information, a stereo pair can be synthesized at the decoder. With this technique left and right
views are generated at the display side by a method known as DIBR [14, 27]. The depth map represents the per-
pixel distance from the camera and it is between Znear = 255 and the maximum Zfar = 0, indicating the distance of
the corresponding 3-D point from the camera, where the near objects appear brighter and the far objects appear
darker. The V+D format is illustrated in "Fig.7".

Efficient coding of video-plus-depth format is necessary for mobile video services, due to its bandwidth
and processing power limitations, for realizing 3-D video. For coding V+D format, both MPEG-2 and
H.264/AVC can be used. If MPEG-2 is used, MPEG-C part 3 defines a video-plus-depth representation which
allows encoding video and depth data as conventional 2-D video [28]. The video and depth sequences are
encoded independently, where one view is transmitted simultaneously with the depth signal. The other view is
synthesized by DIBR techniques at the receiver side. In this case, the transmission of a depth map increases the
required bandwidth of 2-D video stream by about 20% [29].
Left view
Right view P
I
BB
BP
B
B
B
B BPB
BBB
Fig. 5: Combined temporal and interview prediction for stereo coding.
Left view Right view
Fig. 6: Right view downsampling for MRS.
Color video Depth data
Fig. 7: V+D format.
If the H.264/AVC is used, the H.264 codec is applied to both sequences simultaneously but
independently, where the video is the primary coded picture and the depth is the auxiliary coded picture. In this
case, the required bandwidth increases by only 8% as mentioned by [1, 29]. The following coding standards are
applicable to the video-plus-depth format, namely MPEG-C 3, H.264/AVC, H.264/MVC.

3-2 MPEG-C PART 3
The video-plus-depth format has been standardized within MPEG by a joint effort of Philips and
Fraunhofer Heinrich Hertz Institute (HHI). The new standard has been finalized at the MPEG meeting in
Marrakech, Morocco (January 2007). According to (ISO/IEC 23002-3), MPEG-C part 3 was presented for
standardization of the video-plus-depth coding which allows encoding the depth maps as conventional 2-D
video. Due to the very nature of the depth data, higher coding efficiency of depth data could be achieved than
the video data which results in small extra needed bandwidth for transmitting the depth data. Thus, the total
bandwidth required for video-plus-depth is reduced compared to that of stereo video.
MPEG-C part 3 is combined with H.264/AVC for coding video-plus-depth as illustrated in "Fig. 8".
H.264/AVC is used to encode the video and depth data sequences independently. The two coded bitstreams are
interleaved in the multiplexer frame-by-frame resulting in one stream for transmission. The demultiplexer
separates the transmitted stream back into two bitstreams which are then decoded independently using the
H.264/AVC decoder after transmission over wireless channels. This technique has been adopted in [30].
3-3 H.264/AVC
For coding video-plus-depth format using H.264/AVC, the auxiliary picture syntax specifies that extra
monochrome pictures must be sent with the video stream. The monochrome picture must contain the exact
number of macroblocks as the primary picture. Thus, auxiliary coded pictures should have the same syntactic
and semantic restrictions. The overview diagram in "Fig. 9" illustrates the coding procedure of H.264/AVC for
color-plus-depth format. The depth and video sequences are interlaced line by-line into one sequence, where the
top field contains the video data and the bottom field the depth data. H.264/AVC coder is applied to both
sequences simultaneously but independently where the video is the primary coded picture and the depth the
auxiliary coded picture, resulting in one coded bit-stream. After transmission, this stream is decoded resulting in
the distorted video and depth sequences. However, with this approach the backward compatibility is not
supported.
H.264/AVC
Encoder
H.264/AVC
Encoder
Mux
H.264/AVC
Decoder
H.264/AVC
Decoder
Dmux
Wireless
channel
Fig. 8: Block diagram of MPEG-C part 3 coding for video-plus-depth representation.
H.264/AVC
Encoder
H.264/AVC
Decoder
Wireless
channel
Primary pic
(video)
auxiliary pic
(video)
Primary pic
(video)
auxiliary pic
(video)
Fig. 9: H.264/AVC coding for video-plus-depth representation.
3-4 H.264/MVC
In multiview video coding, the picture can have temporal and interview prediction, respectively. "Fig.
10" shows the MVC coding process for video-plus-depth data. Interview predictive coding is applied through
the H.264/AVC encoder for both sequences. Since the H.264/MVC combines temporal and interview prediction,
thus, the input sequences must be with identical resolution. The advantage of this method is the backward
compatibility.
By exploiting the depth data features, however, higher coding efficiency can be achieved. For instance,
the existing correlation between the 2-D video sequence and its corresponding depth map sequence can be
exploited to improve the compression ratio as proposed by [31, 32]. Alternative approaches based on so-called
Platelets were also proposed [33]. The V+D concept is highly interesting due to the backward compatibility and

the use of the available video codec. This format is alternative to CSV for mobile 3-D services and is being
investigated by Fraunhover Institute for telecommunications. However, the advantages of V+D format come at
the cost of increased encoder/decoder complexity [34].
H.264/MVC
Encoder
Mux
H.264/MVC
Decoder
Wireless
channel
Fig. 10: H.264/MVC coding for video-plus-depth format.
3-5 MULTIVIEW VIDEO (MVV) FORMAT
One drawback of stereo video is that it only provides 3-D from one direction, whereas the HVS has the
ability to see different parts of objects if the head is moved. Multiview can provide all the necessary depth cues
and is considered one of the most promising techniques for 3-D video. For more than two views of the CSV this
is easily extended to multiview video (MVV) [10, 35]. Transmission of a huge amount of data is the major
challenge with multiview video applications, which require a high coding efficiency scheme. In MVV, N
cameras are arranged to capture the same scene from different view-points. Therefore, they all share common
scene contents.
The straight-forward method to encode multiview video is a Simulcast coding where, each view is
coded independently. Simulcast coding can be done with any video codec including H.264/AVC where, the
temporal and spatial correlation within one view is exploited. However, multiview video contains a large
amount of interview statical dependencies which can be exploited for combined temporal/interview prediction.
The multiple correlations makes multiview video coding have a different structure from single view, where the
images are predicted temporally from neighbouring images within the same view and also from corresponding
images in adjacent views, as illustrated in "Fig. 11". Significant gain can be achieved by combining
temporal/interview prediction as proposed by [36, 37].
In July 2008, H.264/MVC standard [38] was specified as an extension to H.264/AVC. H.264/MVC
uses the intra prediction for each view to reduce interview dependency. At the same time, it applies interview
prediction from neighbouring views to every 2nd
view using previously encoded frames from adjacent views, as
depicted in "Fig. 11". Several researchers addressing that interview/temporal prediction technique efficiency
exploited statical redundancy in multiview video data [39, 41]. Among them, algorithms that are based on
hierarchical prediction (B) are proposed. This structure outperforms the simulcast coding by 20% of coding
efficiency as reported in [42, 43]. According to Merkle et al. [43], H.264/AVC and hierarchical B-frames have
been shown to achieve the highest coding efficiency. As H.264/MVC combines temporal and interview
prediction, the identical resolution of the input video sequence is required.
Although this approach enhances the coding efficiency of multiview video, its drawback is increased
complexity. To address this issue of complexity, one solution is to allow interview prediction only at key
frames, which slightly reduces the coding efficiency compared to the one using key frames for all frames.
However, as shown by Merkle et al. in [43], in the case of sparsely positioned cameras, interview prediction
may not have any impact on coding efficiency while the complexity of the encoder is reduced substantially. For
more details of MVC, the reader is referred to [35, 44].
3-6 MULTIVIEW PLUS DEPTH (MVD) FORMAT
Transmitting all views requires a high bit rate where, the number of views increases the bit rate
linearly. Therefore, MVC is inefficient if the number of views to be transmitted is large. At the same time, V+D
format provides a very limited free viewpoint video (FVV) functionality. The solution to the problem of high bit
rate when transmitting all views, and the limited FVV, is multiview plus depth (MVD) format. MVD format
contains multiple views and associated depth information for each view as illustrated in "Fig.12".
Multiview plus depth format is an extension of V+D and is included by MPEG in recent proposals [45,
46]. In MVD, depth has to be estimated for the N views and then N color with N depth videos have to be
encoded and transmitted. MVD video sequence can be coded using methods for multiview video coding where,
the depth image is estimated for each view of the multiview videos. In coding depth map sequences, Fehn et al.

[14] showed that the depth data contains only 10-20% of the data in color sequence. Many algorithms have been
proposed for coding MVD such as [3, 47]. The coding of MVD has been improved by using Platelet-based
depth coding as shown in [33].
View 0
View 1 B
I
BB
BB
B
B
B
B BBB
BBB
B
P
BB
BP
B
B
B
B BPB
BBB
I
B
P
B
P BBBB BBB P
View 2
View 3
View 4
T0 T1 T2 T3 T4 T5 T6 T7 T8
Time
Views
Fig. 11: Multiview coding structure with temporal/interview prediction.
View 0 View 1 View 2
Fig. 12: Multiview video-plus-depth.
3-7 LAYERED DEPTH VIDEO (LDV) FORMAT
Although MVD can reduce the required bandwidth to transmit the color and depth data for all views,
the overall required bandwidth is still very large. To further reduce the bit rate, LDV is an effective technique.
Layered depth video (LDV) [48, 49] is a derivative and alternative to MVD where only one full view with
additional residual data is transmitted. One representation of LDV again uses color video with associated depth

map (V+D) representation and an additional component called the background layer with its associated depth
map, as illustrated in "Fig. 13".
Another type of LDV consists of a main layer that contains one full or central view and one or more
residual layers of color and depth data to represent the side views. One major problem with LDV is
disocclusions, where blank spots appear as the distance between the central view and side views increases.
Hence, the extra information enables a correct rendering of disoccluded objects. For more details on LDV, the
reader is refereed to [49, 50].
Background layer
Color video Depth data
Background layer depth data
Fig. 13: Layered depth video.
IV. 3-D Video Coding Standards
Coding and compression of 3-D video formats is the next block in the 3-D video processing chain. To
realize an efficient transmission over bandwidth limited channels, 3-D video representation formats discussed in
the previous section, have to be compressed efficiently. In the last few years, the ISO-MPEG and ITU-VCEG
international organizations mainly focused on improving the coding efficiency of the H.264/AVC standard and
on multiview video coding. The joint team between ISO-MPEG and ITU-VCEG set up a joint collaboration in
2010 to develop a video coding standard which aimed to improve the coding efficiency of H.264/AVC by up to
50%. The scope of this subsection is to describe related compression standards. In particular, H.264/AVC and
H.264/MVC, are briefly reviewed.
4-1 H.264/AVC codec
Apart from the deblocking filter, most of H.264 standard functions (prediction, transform, and entropy
coding) are presented in prior standards but the most important changes in H.264 appear in the details of each
function. The input to the H.264 encoder is video frames in YUV format. H.264/AVC encoder will try to exploit
redundancies to reduce the amount of bits necessary to represent it. Then, the decoder will identify the syntax of
representation and decode the received bit stream to reconstruct the video at the receiver side. The H.264/AVC
standard consists of two layers, known as the video coding layer (VCL) and the network abstraction layer
(NAL). The reader is referred to the standard itself [51] and some overview papers that have discussed this
matter [35, 52, 53].
4-2 MVC extension of H.264 standard
The large amount of data required to represent multiview video applications, which requires the
development of highly efficient coding schemes, is the major challenge for multiview video transmission. MVC
is based on the single-view video compression standard. For the general case of two or more views, the joint
video team (JVT) of the ITU-T video coding is developing a multiview extension of the H.264/AVC standard,
known as H.264/MVC extension. MVC provides a new technique to improve coding efficiency by exploiting

temporal as well as interview statical dependencies between neighboring views. Consequently, MVC takes
advantage of the redundancies among the inter-pictures of one view and the interview pictures of other views.
A straightforward approach for coding multiview video content is simulcast coding where each view is
encoded and decoded separately. This can be done with any video codec including H.264/AVC. In simulcast
coding, the prediction process is limited to the reference pictures in the temporal dimension. "Fig. 14" shows the
simulcast coding structure with hierarchical bi-directional B pictures for temporal prediction with two views and
a group of pictures (GOP) of length of 8. This scheme is simple, but is an inefficient way to compress multiview
video sequences because it does not benefit from the existing correlation between the different views.
View 0
View 1 B
I
BB
BB
B
B
B
B BBB
BBB
I
B
T0 T1 T2 T3 T4 T5 T6 T7 T8
Time
Views
Fig. 14: Simulcast coding structure with B pictures for temporal prediction.
View 0
View 1 B
I
BB
BB
B
B
B
B BBB
BBB
P BPBB BPB
I
B
PView 2
T0 T1 T2 T3 T4 T5 T6 T7 T8
Time
Views
Fig.15: Typical MVC prediction structure.
The MVC coding was added as an extension to H.264/AVC in July 2008 and ultimately standardized in
early 2010. The H.264/MVC standard uses hierarchical B pictures for each view and at the same time, applies
inter-view prediction to every second view in order to exploit all statical dependencies. "Fig.15" illustrates how
temporal prediction is combined with inter-view prediction. The first view is coded independently, as in
simulcast coding, and for the remaining views, interview reference pictures are additionally used for prediction.
As a consequence, MVC provides up to 40% bit rate reduction for multiview data in comparison to single view
AVC coding. This is at the cost of random access delay. A more detailed description of the H.264/MVC is given
in [35, 44, 54]. As discussed in this section, the 3-D video coding standards are mainly 3-D extensions of
existing 2-D video coding standards modified to support 3-D application requirements.
V. Conclusion
This paper has surveyed state-of-the-art 3-D video formats and coding. Various types of 3-D video
representation techniques were reviewed and the major 3-D video coding techniques and standards in the
literature were discussed. Coding of 3-D video for limited bandwidth is an important problem that needs to be
addressed. The paper concluded with 3-D video coding standards that could be adopted or extended from 2-D to
3-D formats, which are integral in resolving these issues. From the state-of-the-art literature, it is evident that
these techniques are very promising for 3-D video transmission.

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