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Originally Posted by Pete Deksnis
No excusing necessary, or course, and welcome to the 'active' side of AudioKarma. Anything you might be able to share concerning the use of 1953 NTSC color would be appreciated. For example, is there anything today that can drive a '53-color-capable set to its full gamut capabilities?
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Oh-oh - time for a little more tutorial:
The signal specs for NTSC have never been changed, that is, the I,Q and Y signals have the same range they have had from the beginning. So, existing signals will drive a '53 color set to its full range. However, IF the camera has been matrixed for modern phosphors, it will drive the '53 set to full range on the wrong colors. Example 1: An NTSC-matrixed camera sees a yellowish green (the same as the modern phosphor) - it doesn't produce full G-Y drive,or full (negative) R-Y in the '53 receiver, since it knows the color should be reproduced with some NTSC red in it to make the yellowish-green. Example 2: An NTSC-matrixed camera sees an NTSC-green color - it produces a full strength G-Y and (negative) R-Y and (negative) B-Y, so that pure NTSC green is produced in the '53 receiver. Example 3: A camera matrixed for modern phosphors (essentially a HDTV or PAL camera) sees a yellowish green (equal to the modern phosphor). It produces full strength color difference signals in the '53 receiver, since it is expecting to produce pure yellowish green from the modern phosphor - but the '53 receiver is driven the same way, producing the (wrong) pure NTSC green.