Quote:
Originally Posted by Telecolor 3007
Holly smoke, what a complex machine!  And I thought a V.H.S. V.C.R. was a complex machine.
It's a low band or high band machine? |
see:
http://www.av-iq.com/avcat/images/do...20-%204611.pdf
All these formats used "color-under." The chroma signal was simply translated to a low frequency, and the FM modulated luma signal acted as the high-frequency bias for the QAM chroma signal.
The terms low band and high band do not really apply in the same way as for 2 inch and 1 inch formats, which recorded the color on the FM carrier as part of the composite signal, although Sony applied those terms when it raised the FM frequency in U-Matic SP.
Regarding red problems, there was really a problem with all saturated colors in all color-under systems, it was just more visible in red, especially in NTSC countries where TV sets were being built with increased R-Y gain to compensate for the contemporary yellowish green phosphors. PAL did the compensation in the cameras, so that excessive gain was not needed in receivers.
The different color-under systems differed somewhat in the noise and beat patterns that could occur in chroma due to the particular carrier frequencies chosen. All of them suffered from low chroma bandwidth compared to direct broadcast or tape formats that recorded the full composite signal on the FM carrier. The resulting chroma smear was most visible in reds, as you can see in the demo tape.