sophiecentaur
Science Advisor
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Here is a basic diagram of the waveform of a NTSC / PAL colour waveform of the 'colour bars' test picture. The white level is the highest luminance and, of course, has a chrominance value of zero. The colours in the diagram are false - just to show you which bar is which but show the maximum level of the subcarrier for each of the (saturated) coloured bars. A monochrome receiver sees a pretty good 'grey scale' bit it looks different from the normal monochrome signal. I think that the 'compatible' signal is in fact more in agreement with the original scene but people didn't like it (we don't like change, do we, dear?)
The colour subcarriers two components, in quadrature so varying the phase and amplitude of each component allows you to carry two colour coordinates of each point on the line. The frequency used for the subcarrier is very carefully chosen to have sidebands that fit between the components of the luminance signal. Because of the basic line frequency of the TV signal, static pictures have a comblike structure with a spacing of line frequency. The interleaving of the chrominance and luminance components allows the signals to occupy the same spectrum space. (Dead clever - eh?) Once there's motion, this interleaving fails but the eye doesn't spot the cross talk between the signals.
However, there is a real nasty when high frequency luminance patterns interfere with the chrominance signals and produce nasty patterns. This was avoided by making sure that TV presenters wore appropriate clothing without fine check patterns.
There were many advances in colour coding and decoding and, by the time digital TV came along, they'd got it pretty good. PALcoding was a significant advance on NTSC but we (UK) had to wait many years for it.
The picture shows that the "riding on top" is not too big a problem because the brightest parts of the picture do not have saturated colours so the colour subcarrier level is low. Headroom is not too much affected.artis said:I wonder how were the signals mixed before transmitting given the luminance signal has a much larger amplitude and the color signal "rides" on top of it with a lower amplitude, at least it seems so from the pictures i could find.
I grew up on PAL TV and the various clever bits gradually got absorbed into my brain. But it's now little more than history and it's really not worth anyone's while getting too deep into the details (imo), although it really was a magnificent piece of Engineering. The basics of colorimetry and imaging in general are all the same for DTV as for analogue TV so the vast amount of work that was done is still helping with DTV development. Many of the members of the MPEG group cut their teeth on Pal and NTSC.
Was some good stuff.