Motion picture films comprise silver-halide crystals dispersed in an emulsion, coated in thin layers on a film base.  The exposure and development of these crystals form the photographic image consisting of discrete tiny particles of silver.  In color negatives, the silver undergoes chemical removal after development and tiny blobs of dye occur on the sites where the silver crystals form.  These small specks of dye are commonly called ‘grain’ in color film.  Grain appears randomly distributed on the resulting image because of the random formation of silver crystals on the original emulsion.  Within a uniformly exposed area, some crystals develop after exposure while others do not. 
Grain varies in sizes and shapes.  The faster the film, the larger the clumps of silver formed and blobs of dye generated, and the more they tend to group together in random patterns.  The grain pattern is typically known as ‘granularity’.  The naked eye cannot distinguish individual grains, which vary from 0.0002 mm to about 0.002 mm.  Instead, the eye resolves groups of grains, referred to as blobs.  A viewer identifies these groups of blobs as film grain.  As the image resolution becomes larger, the perception of the film grain becomes higher.  Film grain becomes clearly noticeable on cinema and high-definition images, whereas film grain progressively loses importance in SDTV and becomes imperceptible in smaller formats. 
Motion picture film typically contains image-dependent noise resulting either from the physical process of exposure and development of the photographic film or from the subsequent editing of the images.  The photographic film possesses a characteristic quasi-random pattern, or texture, resulting from physical granularity of the photographic emulsion.  Alternatively, a similar pattern can be simulated over computed-generated images in order to blend them with photographic film.  In both cases, this image-dependent noise is referred to as grain.  Quite often, moderate grain texture presents a desirable feature in motion pictures.  In some instances, the film grain provides visual cues that facilitate the correct perception of two-dimensional pictures.  Film grain is often varied within a single film to provide various clues as to time reference, point of view, etc.  Many other technical and artistic uses exist for controlling grain texture in the motion picture industry.  Therefore, preserving the grainy appearance of images throughout image processing and delivery chain has become a requirement in the motion picture industry. 
Several commercially available products have the capability of simulating film grain, often for blending a computer-generated object into a natural scene.  Cineon® from Eastman Kodak Co, Rochester N.Y., one of the first digital film applications to implement grain simulation, produces very realistic results for many grain types.  However, the Cineon® application does not yield good performance for many high-speed films because of the noticeable diagonal stripes the application produces for high grain size settings.  Further, the Cineon® application fails to simulate grain with adequate fidelity when images are subject to previous processing, for example, such as when the images are copied or digitally processed. 
Another commercial product that simulates film grain is Grain Surgery™ from Visual Infinity Inc., which is used as a plug-in of Adobe® After Effects®.  The Grain Surgery™ product appears to generate synthetic grain by filtering a set of random numbers.  This approach suffers from disadvantage of a high computational complexity. 
None of these past schemes solves the problem of restoring film grain in compressed video.  Film grain constitutes a high frequency quasi-random phenomenon that typically cannot undergo compression using conventional spatial and temporal methods that take advantage of redundancies in the video sequences.  Attempts to process film-originated images using MPEG-2 or ITU-T Rec.  H.264 ISO/IEC 14496-10 compression techniques usually either result in an unacceptably low degree of compression or complete loss of the grain texture. 
Thus, there exists a need for a technique simulating film grain, especially a technique that affords relatively low complexity.