Quote:
Originally Posted by NewVista
If I was watching PAL, I'd modify the decoder for PAL-S (the way Telefunken originally intended it) that way you would get back the vert chroma resolution the delay line robs you of!
A color system should really not give the public a 'Tint' control because its set up really requires a test signal. Even my 1954 GE hides the "Hue"(Tint) on the back panel (not sure if that was a good idea back then) but my mid 60s RCA has it on the front panel with no "correct-setting"detent (as all-tube chassis not stable enough for this?).
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The system as a whole was not stable enough in the all-tube era, a lot of it being traceable to distortions that occurred in amplifiers along the way and were taken out of the burst but not the chroma when clean burst was reinserted. Also, tube sets generally had less accurate burst gating and could be more sensitive to ghost conditions, channel tilts, etc.
It is worth noting that differences in color vision among viewers with normal color discrimination can account for up to a +/- 20% difference in the ratio of red and green to get a yellow and therefore a corresponding difference in flesh tone matching. This probably should be corrected by an adjustment to white balance for each viewer, but has never been contemplated because:
1) you can't do this for different simultaneous viewers; and
2) you would never be able to teach non-technical viewers how to make this adjustment.
Even with the white adaptation that occurs in all viewers, they will still see differences in flesh tones, and a hue control lets at least one person in the room compensate the rendition for his/her vision.
See:
A study of the need for color controls on color TV receivers in a color TV system operating perfectly, Hirsch, Charles J. ; Radio Corporation of America, Princeton, N. J., Broadcast and Television Receivers, IEEE Transactions on (Volume:BTR-10 , Issue: 3), Nov. 1964, Page(s): 71 - 86