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Understanding IP Video for

o for
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Part 1 of 4
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Understanding IP Video for

Part 1 of 4

Using Camera Specs to

Solve IP Application Issues
Networked video surveillance
systems are at the forefront of
the convergence of IT and
physical security. However, no
matter what the delivery
method, the proven, time-tested
principles of CCTV system
design remain vital. Applying
these theories to IP-based
systems can help overcome
some inherent shortcomings.

By Bob Wimmer
Principal
Video Security Consultants
cctvbob@aol.com

AT A GLANCE
• Although IP video represents an
exciting new age, the principles
of proper CCTV system design
still apply
• Whether IP or not, understand-
ing camera specifications and
W elcome to the latest of Security Sales & Integration’s acclaimed
“D.U.M.I.E.S.” series: “Understanding IP Video for D.U.M.I.E.S.” Brought
to you by Pelco, this four-part series has been designed to educate read-
ers about networked video — the next phase of surveillance technology following the
quantum leap from analog to digital CCTV systems. “D.U.M.I.E.S.” stands for dealers, users,
managers, installers, engineers and salespeople.
terms such as lux, IRE and AGC There has been much debate recently about the direction CCTV video is heading. Many
are essential to obtaining desir-
individuals believe analog video and some of its theories will become obsolete as Internet
able results from a video system
protocol (IP)-based surveillance becomes dominant within the industry.
installation
This belief begs the question: Why then is fundamental CCTV theory a necessity when
• IP cameras tend to be trickier to everything is headed toward digital? The following points can easily answer this question:
deploy in outside applications
due to lighting factors • The output quality of any IP circuit is only as good as the input
• How an image is captured has not changed through the years
• Paying close attention to f-stop
ratings and signal-to-noise ratios • Lighting, image detail and image quality are still a top propriety
(SNR) are key to achieving opti- There is a saying that rings true: “Images one sees, such as colors created by a sunset, are
mal images from IP cameras still analog.” With this in mind, let’s review the basics of solid CCTV system design and ana-
lyze how those elements can be transitioned into today’s emerging IP-based systems.

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Let’s compare two typical published

CCD Camera Block Diagram IP camera specifications:

CCD
CCD drive Sync generator
digital digital
Analog
A/D converter AGC
sample/hold gamma correction
At their source, all IP cameras are analog. It is a proven fact that any digital system,
whether it is an IP camera, digital multiplexer or digital recorder, relies on the overall
quality of the video input for success.
IP Cameras Designed 2 Ways
At their source, all IP cameras are
analog.
It is a proven fact that any digital
system, whether it is an IP camera,
digital multiplexer or digital recorder,
relies on the overall quality of the
video input for success. Understand-
ing camera specifications and how
they can affect video quality in an IP
system is a challenge. There are cam-
era parameters and features that can
contribute to success or failure.
To help reduce confusion and elim-
inate other pitfalls, we first must re-
view basic IP camera system designs.
In the first design, an integrated op-
tics package (IOP) and an IP interface
(encoder) are combined into a single
equipment housing. This design adds
to the overall size and power require-
ment of the camera package, as well
as some cable distance issues that will
External sync
inputs
Micro computer
digital BLC
A/D Encoder D/A
converter digital converter
the analog signal into a networked-
based format. Although this formation
requires two separate units, it is pre-
ferred in some outdoor applications due
to cable distance requirements.
Whichever method you select, there
is one thing common to both: The
conversion from an optical image to a
format that can be applied to the en-
coding section of the camera system.
Effects of Lighting on IP Cameras
Understanding camera specifica-
tions can be very useful to any surveil-
lance application. This holds true for
both IP and non-IP camera systems.
Integrated IP Camera Block Diagram
Analogvideo
Analog video output
output BNC
Camera 1:
• Pan/tilt/zoom (p/t/z) MPEG4/JPEG
network IP camera
• 26x optical zoom, pan range of
340° and tilt range of 115°
• Day/night function to provide
optimized sensitivity
• Minimum illumination — color:
2.2 lux (50 IRE, F1.6, AGC on);
black-and-white: 0.3 lux (50 IRE,
Video out F1.6, AGC on)
Camera 2:
• Fully configurable MPEG4 com-
pression engine
• Optimal synchronization of audio
and video
• Motorized pan and tilt capability
with click-to-move on image
• 64/128-bit WEP encryption
• Built-in intelligent motion de-
tection
Now, which one of these IP cameras
is rated for indoor use only? The an-
swer is Camera 2. The reasoning be-
hind this selection is simple. Most IP
cameras (about 80 percent) are de-
signed for indoor applications in
which there is usually an abundance
of available light to produce a quality
image (50 lux or greater), while out-
door applications can encounter
available light levels as low as .1 lux.
board
Ethernet board

Encoder board
Encoder board

Image drivers
Image drivers
processing
processing
board
I/Oboard

be discussed later in this series. How-

Imager
Imager
Video
Video

AC input
input Lens
Ethernet

AC Lens
ever, some of the advantages com-
I/O

pared to other system designs include

Ethernetoutput
output RJ-45
RJ-45
single installation requirements, Ethernet

equipment location management and

ease of wiring, just to mention a few.
The second design involves incorpo-
rating two separate units, one consisting
of the camera and optics, while the other
includes the encoder, which converts
IP
IPcamera
camera
In this camera design, an integrated optics package (IOP) and an IP interface (encoder) are
combined into a single equipment housing. Some of the advantages of this design include
single installation requirements, equipment location management and ease of wiring.

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Understanding IP Video for

There is an old saying applicable

Camera With IP Encoder Block Diagram here that goes something like this:
“The big print gives and the small
Analog video
In Out print takes away.” The data sheet pro-
vides the amount of light required,

Ethernet board

Encoder board

Image drivers
processing
I/O Board
but how was that number calculated?

Imager
Video
Lens
AC input

Ethernet Output RJ-45

Mystery of the IRE Unit Explained
An IRE unit is a measurement de-
Encoder CCD camera signed by the Institute of Radio Engi-
This camera design involves incorporating two separate units, one consisting of the neers, now called IEEE or the Institute of
camera and optics, while the other includes the encoder, which converts the analog sig- Electrical and Electronic Engineers. The
nal into a networked-based format. Although this formation requires two separate units, measurement indicates the amount of
it is preferred in some outdoor applications due to cable distance requirements. signal strength generated by a camera,
or in the case of an IP camera, the output
Whether the camera is comprised clear as to why no concern for light lev- of the IOP (integrated optics package).
of a single unit or two combined as- els is declared. Especially since all qual- Typically, there are 140 IRE units asso-
semblies, when considering any IP ity cameras can produce great video at ciated with a 1V peak-to-peak (p-p) full-
camera for a low-light/outdoor appli- the 10 foot-candle or 10.7-lux level. strength video signal (1 IRE = .00714V).
cation, the camera sensitivity param- Outdoor applications require more The introduction of the IRE unit makes
eter must be comprehended. information in order to select the prop- luminance level values much easier to
Let’s take a close look at the sensitivity er IP camera or to ensure quality video understand and communicate.
specifications of Camera 1. The color vs. images. According to the “Outdoor A video signal is divided into two
black-and-white should be no mystery, Light Levels” chart, it is now necessary sections. The first section is the vertical
but what about the rest of the informa- to list the camera sensitivity, especially and horizontal synchronization sig-
tion? Divide and conquer is always a when the overall light levels fall below nals. This unit is used in the ITU-R
good rule to follow when trying to un- 1 foot-candle or 10-lux levels. BT.470, which defines PAL, NTSC and
derstand multilayered specifications. Using our sample camera’s color SECAM EIA-170A standards and is
Let’s begin with the value of 2.2 lux. specification, it becomes apparent this used to lock up the video equipment in
Lux is a light unit for measuring illu- camera was designed for low-light ap- order to produce a stable image. The
mination. It is defined as the illumina- plication. But how low? Again, refer- standard level, which supports a true
tion of a surface when the luminous ring the “Outdoor Light Levels” chart, signal, is listed as 40 IRE units.
flux of 1 lumen falls on an area of 1m2. it appears this camera should produce
It is also known as lumen per square a video image during light levels equal
meter, or meter-candelas. to a deep twilight condition. The ques-
Outdoor Light Levels
Some camera specifications also tion now arises: Will the quality of the Condition Illumination
list illumination in foot-candles. A image be acceptable? Let’s find out. FC LUX
foot-candle is the light intensity (illu-
Sunlight 10,000 107,527
mination) of a surface at a distance of
1 foot from a source of 1 candela. It is
Indoor Light Levels Full daylight 1,000 10,752.7
equal to 1 lumen per square foot (1FC
Overcast day 100 1,075.3
Condition Illumination
= 1 lm ft2. A quick conversion follows: Very dark day 10 107.53
FC LUX
1 foot-candle equals 10.7 lux. Twilight 1 10.75
Warehouse 13.9 150 Deep twilight 0.1 1.08
Manufacturing 18.5-93 200-100 Full moon 0.01 0.108
Indoor Vs. Outdoor Applications
Retail stores 69.7 750 Quarter moon 0.001 0.0108
For the most part, IP cameras have
Office work 46.4 500 Starlight 0.0001 0.0011
been designed for indoor or high light
level applications. Camera 2’s specifi-
Banks 18.5-46.4 200-500 Overcast night 0.00001 0.0001
cations easily confirm this fact by not Detail work 139.4-185.8 1,500-2,000
Light levels in outdoor environments
including any information on the The illumination levels cameras have encompass a much higher degree of
amount of light required to produce a to work with indoors is shown in foot- variance than those indoors. Some ap-
candles (FC) and lux across a half- plications demand cameras designed
video image. Referring to the “Indoor for extremely low-level lighting.
dozen environments.
Light Level” chart, it becomes very

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Make-up of a Video Signal
1V peak to peak or 140 IRE units
A video signal is divided into two sec-
tions: the vertical and horizontal syn-
chronization signals; and the actual
video signal strength from the camera.
Typically, there are 140 IRE units asso-
ciated with a 1V peak-to-peak, full-
strength video signal.
The second section of the meas-
urement is the actual video signal
strength from the camera. The reason
IRE is a relative measurement is be-
cause a video signal may be any am-
plitude. A value of 100 IRE is defined
as the range from black to white in a
video signal to produce a high-quali-
ty, full video signal. A value of 0 IRE
corresponds to the zero voltage value
during the blanking period.
With all of that stated, the simple fact
is since the video strength measured in
IRE units is linear, the greater the IRE
level the stronger the video signal.
Returning to our camera example
with a rating of 2.2 lux @50 IRE (see
“Camera Output Comparison”), we
can see the difference of 100 IRE out-
put vs. 50 IRE. In order to produce the
higher quality image, more than 4.4
lux of light would be required.
Some at this point might say, “So
what? The video image is still accept-
able, so what is all of the concern?”
The answer is it isn’t just the reduced
quality of the video but also what this
loss of IRE units will do the overall
scheme of things.
First, for the IP system that incor-
porates individual encoders, each en-
coder must convert the analog video
signal into digital. This is accom-
plished via an A/D (analog-to-digital)
encoder. Each encoder has a set of
input parameters and many of them
require a minimum of 50 IRE units in
order to function properly.
Secondly, in the case of an integrat-
ed IP camera, the encoder board may
try to amplify the video signal up to
the 100-IRE levels, which can cause a
grainy, or noisy, image file and thus
increase the bits per second transfer
rate on a network.
F-Stop Determines Performance
Throughout a given day, the amount
of illumination reaching a scene de-
pends on the time of day and atmos-
pheric conditions. Direct sunlight pro-
duces the highest contrast scene,
allowing maximum identification of
objects. On a cloudy or overcast day,
the objects in the scene receive less
light, resulting in less contrast.
To produce an optimum camera pic-
ture under the wide variation in light
levels (such as occurs when the sun is
obscured by clouds), an automatic-iris
camera system is required. Typically,
scene illumination measured in foot-
candles or lux can vary over a range of
10,000 to 1 (or more), which exceeds the
operating range of most cameras for
producing good quality video images.
To overcome this situation, lenses
with auto iris are incorporated. Howev-
er, all lenses have a rating to specify
their ability to pass light at low-light
levels, as well as handle extreme light-
ing conditions. The term indicating the
Camera Output Comparison
100 IRE output
Here we see the difference in image quality when 100 IRE unit output is compared to 50
IRE unit output. Even though the image on the right might still seem acceptable, it will
likely suffer degradation during video processing.
lens’ performance is known as the f-
stop rating of the lens. The camera spec-
ification sheet lists the minimum f-stop
rating of the test lens used in producing
the camera performance specifications.
The f-stop deals with the iris of a lens
and how well the lens can pass light. To
better understand how this works let’s
make a comparison to the human eye.
As light becomes brighter, the iris of your
eyes closes to allow only the proper
amount of light to reach your retina and
produce a quality image. It is the same
with the lenses used in IP cameras.
A growing concern in lens selection
is the minimum f-stop rating of the
lens, or how well it operates at low
light levels. With the increased use of
IP cameras for outdoor usage this
concern has become a very real issue.
Even with advancing technology, IP
color cameras require more light to
produce the same quality picture as a
black-and-white surveillance camera.
The f-stop rating of any lens is given
by the ratio of the focal length of the
lens divided by the actual mechanical
diameter of the iris opening of that
lens as follows:
F-stop rating = F (focal length in mm)
————————————————
D (iris opening in mm)
The lower the f-stop rating of the
lens, the “faster,” or greater, the light-
gathering capability of the lens. The
50 IRE output
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Understanding IP Video for
IRE Output Level Vs. Lighting
Video signal
video
Usable
0 20
Video quality
Video image quality improves as the level of IRE units increases. IP systems that con-
vert analog video into digital use encoders that may require a minimum of 50 IRE units
in order to function properly. In the case of an integrated IP camera, the encoder board
may amplify the video signal up to the 100-IRE level, which can cause a grainy image.
normal minimum f-stop rating of a
typical lens is between f1.0 to f1.8.
Since every camera requires a lens
to produce an image, the specifica-
tion will list the type of lens used in
the testing phase of the camera. In
this case, the lens selected was a fixed
lens with an f-stop rating of f1.6.
If an integrator has the ability to se-
lect different lenses, he or she must
ensure that the rating of the lenses is
equal to or less than what’s shown in
the data sheet. If not, again the video
output strength from the camera will
suffer. The end results could mean no
video images or excessive image file
sizes for both storage and transmis-
sion of the video signal.
As a helpful hint, the f-stop rating
of lenses is logarithmic, which means
every single f-stop increase in a lens
will decrease the amount of light
passed through that lens by 50 percent.
Common f-stops are listed as f1.0;
f1.4; f2.0; f2.8; f4.0; f5.6. This fact also
will hold true when installing any
zoom lens on an IPO camera. The rat-
ing of a zoom lens is always the best
rating. As one zooms in on an object,
the amount of light will decrease on
that camera’s sensing device, causing
lower video output levels.
How AGC Impacts IP Cameras
Many people are already familiar
with automatic gain control (AGC).
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Full video
50 100 IRE
However, what does AGC have in com-
mon with IP cameras? First, for those
who are unfamiliar with the function
of AGC, a quick primer is in order.
The purpose of AGC is to increase
the sensitivity of the camera during
low-light level applications. This fea-
ture is a compromise because it will
amplify the video signal to improve
image strength, but at the same time
it also amplifies the random noise
generated by the circuitry within the
camera. This amplification of noise
causes a grainy image that randomly
moves about the scene.
So, how can AGC affect the per-
formance of an IP camera? IT person-
nel probably already know the an-
swer, but non-IT types may require
an explanation.
MPEG4 compression uses what is
called temporal reduction as one of its
compression methods. This is the cor-
relation between adjacent frames in a
sequence. This information is the
basis for MPEG as well as the H.26*
series of compression standards.
In temporal reduction, two types of
image arrangements are analyzed.
The first one is a full representation of
the viewed image. This is known as
the I-frame and is encoded as a single
image, with no reference to any past
or future images. In some circles, it is
also referred to as the Key-frame. The
logic for temporal asks, if there is no
movement, why bother saving the in-
formation? Conversely, any move-
ment will be detected and the com-
pression process will begin.
Many people refer to IP cameras as
intelligent cameras; and they are up to
a point. But the IP compression en-
gine cannot tell the difference be-
tween actual movement and excessive
AGC noise. Consequently, in many
cases the bit image rates as well digital
storage devices will suffer.
AGC is a compromise. It is incorpo-
rated to improve camera sensitivity at
a price. Without AGC, the camera used
in this example would require more
than 22 lux of light to produce a 50-
IRE signal output.
High SNR Helps Offset AGC Issues
What areas can be improved to help
the AGC situation?
The enemy of picture clarity and
compression engine is noise; this elec-
tronic noise is present to some extent in
all video signals. Noise manifests itself
as snow or graininess over the whole
picture on the monitor. Signal-to-noise
ratio (SNR) compares the amount of
noise generated within the camera to
that of the video signal strength. The
higher the number (measured in dB),
the better the noise characteristics
and the less grainy the picture will be,
especially at low light levels.
Lens F-Stops
Light loss
10lux
5lux
2.5lux
1.25lux
f1.0 f1.4 f2.0 f2.8 f4.0
The f-stop rating of lenses is logarith-
mic, which means every single f-stop
increase in a lens will decrease the
amount of light passed through that
lens by 50 percent.
SS3pA1-A8.qxp 2/27/07 10:12 AM
Note that every time a video signal
is processed in any way, noise is intro-
duced. This noise cannot be reduced
by correction equipment; it is intro-
duced at the source. A common source
of noise: when AGC is introduced at a
camera in very low lighting conditions.
What is the reason for all of these
concerns for a little-understood data
sheet parameter? The answer is sim-
ple: as more and more dealers turn to
IP systems and digital motion detec-
tion, the SNR becomes very important.
This is because to IP cameras with
built-in activity detection, noise is
viewed as motion. If not properly un-
derstood, IP networks, as well as mass-
storage devices, can soon reach their
maximum transmission and storage
limits with very little actual useful in-
formation. Cameras with a SNR greater
than 50dB are highly recommended
when used in networking situations.
What Specifications Don’t Tell You
While some of today’s manufactur-
ers publish the exact procedures and
criteria they used in order to provide
you with their camera’s sensitivity,
other manufacturers assume everyone
is already knowledgeable on how spec-
ifications are determined. Well, there is
Reflectance Factor Chart
Empty asphalt parking lot 5%
Parkland, trees, grass 20%
Red brick 35%
Unpainted concrete 40%
Parking lot with cars 40%
Aluminum building 65%
Glass windows and hallways 70%
Snow cover landscape 85%
Manufacturers usually fail to disclose
the reflectance factor of the test pat-
tern used to derive camera specifica-
tions. This is important because reflect-
ed light in the real world varies from 5
percent to 95 percent depending on the
type of scene.
Page A7
Typical Testing Setup for Camera Sensitivity
Foot-candles
or
lux
Reflectance
F-stop IRE
ouput
In their specifications, camera manufacturers list the direct
amount of light that the camera requires to produce an
image. Many give you the f-stop rating of the lens that is
used, the output signal strength (measured in IRE units) and
whether the AGC is incorporated to produce the numbers
listed in the data sheet.
a little-known fact about camera speci- As an example, let’s use the camera
fication that holds a big punch. specifications that we have been ap-
Camera manufacturers list the di- plying throughout this article. This
rect amount of light that the camera specification was based on an 89.9-
requires to produce an image. Many percent reflective test pattern. If this
give you the f-stop rating of the lens camera was located in an outdoor as-
that is used, the output signal strength phalt parking lot (5 percent to 10 per-
(measured in IRE units) and whether cent), it would require at least 9 to 10
the AGC is incorporated to produce lux of light to perform within the lim-
the numbers listed in the data sheet. its set by the data sheet.
However, one test item is missing:
What was the reflectance factor of the Image Enhancement Is on Deck
test pattern used in the procedure? All of the items discussed in this ar-
Reflected light in the real world set ticle will control the output quality of
of parameters, especially in the sur- any IP solutions surveillance systems
veillance arena, varies from 5 percent to some extent.
to 95 percent depending on the type For the most part, indoor or high
of scene. light level areas seem to suit IP cam-
The test percentage used by most is eras well and do not pose too many
referenced as either 75 percent or 89.9 concerns. However, as the IP revolu-
percent and is determined by the tion advances to outdoor or low-light
test pattern incorporated when testing applications, broader background
the camera’s sensitivity. After review- knowledge will be necessary.
ing the reflectance chart, it does not The next installment of this
take long before most can realize that “D.U.M.I.E.S.” series will discuss fea-
real-world surveillance operates with tures that will enhance IP camera
a great deal less reflectance than that image quality, as well as address basic
offered by the camera’s specifications. system layouts. ■
This difference between the actual
and data-sheet reflectance indicates Robert (Bob) Wimmer is president of Video Security
Consultants and has more than 35 years of experi-
that the minimum sensitivity printed
ence in CCTV. His consulting firm is noted for tech-
on the data sheet will require much nical training, system design, technical support and
more lighting when used in these areas. overall system troubleshooting.
MARCH 2007 — www.securitysales.com A7