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PAL was sometimes called "Peace At Last" in the UK.
NTSC is good system but with 1960s technology, let alone 1950s, it was very hard to maintain good colour accuracy through the broadcast chain. Ideas of using phase alternation were first tried at Hazeltine Labs in the late 1940s (I think I've got that right). Henri de France's SECAM and Bruch's PAL were both solutions to the colour accuracy problem. SECAM is utterly different to NTSC except for the use of colour difference signals. It's also a horror story for anything byond simple cuts in the studio. Even a fade requires horrible processes that degrade the picture. PAL used the idea of phase alternation to stop phase errors giving wrong colours. Line by line alternation depended on having a low cost 1 line delay line in the receiver. PAL receivers without one "Simple PAL" didn't give very good results and were never marketed. AFAIK. There was no need for Sony to reverse engineer PAL. The PAL system was described in the Bruch/Telefunken patents. What Sony did was treat PAL as a sort of NTSC to navigate round the patents. Hence these Sony sets needed a hue control which true PAL sets did not. Commercially these sets were a great success and paved the way for Japanes dominance of the UK TV market. The likes of Sony and Toshiba made good reliable sets which the UK industry couldn't match until a few years later. Last edited by ppppenguin; 07-23-2014 at 03:05 AM. |
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Various notes
Just had the leisure to check out this thread, and perhaps some collected notes could be of interest also months later:
Another one, I don't know where it originated: "Pay for Additional Luxury". Quote:
But in practice more and more PAL gear came into use also at SECAM stations. Inavoidable result was at least a final PAL-SECAM conversion, and also cascades of SECAM-PAL-SECAM or even more steps were not uncommon. It is my impression that this did much more harm to the picture quality than the specific weaknesses of the SECAM system (which appear to be overemphasized thanks to clever PAL marketing, just as it is the case with NTSC). Quote:
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"SECAM-capable" TV sets were common in West Germany, but I understand that this was just good for East German TV (and French forces TV in Berlin) while only real, expensive multinorm sets (usually also being capable of NTSC-M, put on air in Germany by AFN) could receive the crazy French "L" system. This led to a rather widespread misbelief that "French SECAM" is different from "East Bloc SECAM". Of course it was the same SECAM III B, and I know a TV engineer who liked to provide evidence of this to surprised layman by tuning into an analogue satellite signal from France and hooking an old Staßfurt set to the modulator output of the receiver. Quote:
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I.e. what is being transmit in Brazil. That's something I'm wondering about for a long time. And the same goes for the approach of Paraguay and Uruguay to modulate 625/50 video as if it were 525/60, i.e. with 4.2 MHz bandwith. |
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When I visited the UK and Ireland in 2000, that was what I noticed right away-the flicker on 50 Hz CRT sets. It was very strong to me, as I was only used to 60 Hz CRT displays here in the USA.
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Chris Quote from another forum: "(Antique TV collecting) always seemed to me to be a fringe hobby that only weirdos did." |
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Romania was the only country in the Soviet Bloc that dind't use S.E.C.A.M. The reason where politicall too! The tv sets for Romania had decoders for both P.A.L. and S.E.A.C.A.M., 'cause all countries sorrounding Romania (except former Yugoslavia) used S.E.C.A.M. Oh, and Romania and former Yugoslavia where the only countries in Eastern-Europe that subtitled the movies (nowdays, some movies broadcasted on the Bulgarian televisions are subtitled and in Hungary from time to time movies broadcasted on tv are subtitled).
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