Quote:
Originally Posted by cbenham
This thread began as a discussion of the process by which B&W kinescopes made from Pal colour video could be processed electronically to recover the
color information and restore the program to full colour.
This is only possible because both the PAL video system and the kinescope camera operate at 25 frames per second. Thus each frame of the resulting B&W film includes all of the video frames and fields, and more importantly the 8 field PAL colour sequence which is the key to the colour restoration process. Without the 8 field colour sequence recovery of the original colour program can not be done
In NTSC B&W kinescopes, the 4 field color sequence is lost because 12 video fields per second are not captured in the 30 to 24 frame per second conversion process thus breaking the color sequence and making recovery of the 4 field color sequence impossible.
If the original NTSC kinescope process had used a film camera operating at 30 frames per second then recovery of the 4 field color sequence would be possible and just as in the Pal kinescope method, the 30 fps NTSC kinescopes containing all the complete frames and fields, and more importantly, the 4 field color sequence could be processed to successfully recover the color signal.
Not being able to recover the 4 field color sequence from 24 frame kinescopes is the stumbling block in NTSC.
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Well, not to put too fine a point on it, I think that the lack of color patterning on most NTSC kinescopes would be a much larger obstacle to the use of Richard's CR system... his telerecordings were created in a way that allowed the color signal to display itself as chroma patterning on top of the B&W luma signal-- ours (by and large-- there **are** exceptions) were not.
(But it's really a moot point anyway-- first you have to find US intellectual property owners that would actually pay for the upgraded [and necessary] HD transfers of their kinescoped materials in the first place... and believe me, **that's** probably not going to happen!)
-Kevin