[opendtv] Re: CBS Color without a wheel

This discussion is incredibly interesting - thank you. 

Best Regards,

Mike Tsinberg
http://www.keydigital.com        

-----Original Message-----
From: opendtv-bounce@xxxxxxxxxxxxx [mailto:opendtv-bounce@xxxxxxxxxxxxx] On
Behalf Of Olivier Houot
Sent: Saturday, December 10, 2011 11:55 PM
To: opendtv@xxxxxxxxxxxxx
Subject: [opendtv] Re: CBS Color without a wheel

Cliff Benham
> In spite of all that it is still the best overall TV system in the 
> world.
> 

Thanks for the whealth of information regarding those early TV developments.

As for SECAM, i will not argue that i was the best system overall, if only
for the mixing problems, just that it served its technical and economical
purposes, while providing the end users with a satisfying and resilient
color picture, and that they were valid reasons to choose it at the time it
was designed and launched.

Some would have UK PAL I as the best analog system. And why not ?

You have to wonder if it was optimal for a country that choosed the highest
frame rate of 60 Hz to also select the smallest channel size of
6 Mhz. According to your documents, there would have been opportunities to
change that when the UHF band was opened, as CBS got 12 Mhz.

PAL I has both a lower frame rate, and 8 Mhz to play with.

In can be mixed without demodulation.

It has the capacity to correct for phase errors if they occur along the way.

It has a higher gamma, allowing for more contrast.

For recording medias like analog tape and laserdiscs, you get longer playing
time because of the lower frame rate, and an extra squeeze with film as they
are shortened by 4 %.

It is more film friendly as it preserves a fluid motion. Correct motion
rendition is a core requirement of cinema or video technologies. But in
60 hz systems you have to compromise that and accept judder.

So for film transcription, you get:
- better motion
- higher definition
- longer playing time on analog medias

For 60 Hz, i have to admit there was little choice, since you needed to be
tied to the grid frequency in the beginnings, and a compatible color system
coming afterwards had to go along with that.

Yet CBS thought it could break that tradition, with their 24 fps system.
Now that would have been film-friendly...

 
 
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