Each sensor only records the information on a light color. Then just saving and restoring the three RGB components of a color monitor that supports three RGB inputs: there are three signals instead of one. Not only should they triple all cable connections between devices, but also triple the recording tracks on a VCR, triple all online videos and games production equipment.
The easiest solution would have been accelerating the scan rate, but this also required to increase the frame rate, which was expensive. A more clever solution was to miss a row in each image, thus doubling the scan rate while keeping the same bandwidth. Thus, a first pass displays all the odd lines in half the time for a whole image and a second pass shows missing line pairs: this is called interlacing. We obtain the same number of scan lines to an image, and twice flushed the screen to display a single image.
The cameras, which function as an inverted TV also adopted this interlacing scan. As regards, the first half of an image, a 1st shot defines all the odd lines, and one half frame, a second shooting defines the even lines. The important thing to understand here is that two shots are distant in time (half image).
And even if these two shots are complementary to a spatial point of view (the two scans complement inside the frame), these two shots do not display the same content! If a subject moves in a field, it will have a different position on each of two fields: one then has a zigzag effect on each frame.
This problem is partially solved by means of a birefringent crystal blades that spread out the details by splitting light rays. This results in a loss of definition, which gives the PAL and SECAM systems vertical resolution multiplied by 0.7 (Kell factor), which is not actually that of approximately 400 lines. When the display is not interlaced, the term progressive applies.
This is the shooting mode selected for films shot in HD TV or D cinema to be transferred and projected on 35mm. 25 progressive (25p) then give the camera an exposure time of 1/25 of second, which is too long in terms of temporal resolution. Preference is given limited integration frames 1:50 s (electronic shutter) time.
An encoded signal of the kind is stated in a composite video signal, because it contains several different types of sources. Video standards use the composite range from U-MATIC / U-MATIC SP HSV through the 8mm or Video 8, Betamax, the VCR or the V2000. In view of damage caused by coding, it became urgent to absolve production. In the early 1980s, Sony devised a video format with separate components consisting of several distinct signals conveyed by separate cables: Betacam / Betacam SP.
When color television was first introduced it took b/w TVs to render an image, the luminance signal has been preserved and added a signal that the black and white TV would not know and therefore not appear even as a parasite signal with backward compatibility. So two color differences R'-Y and B'-Y (the 'means were added so that signals underwent own correction to a gamma curve to overcome, at the time, a problem of non-linearity restitution CRTs). By combining with luminance, it is possible to extract green.
The easiest solution would have been accelerating the scan rate, but this also required to increase the frame rate, which was expensive. A more clever solution was to miss a row in each image, thus doubling the scan rate while keeping the same bandwidth. Thus, a first pass displays all the odd lines in half the time for a whole image and a second pass shows missing line pairs: this is called interlacing. We obtain the same number of scan lines to an image, and twice flushed the screen to display a single image.
The cameras, which function as an inverted TV also adopted this interlacing scan. As regards, the first half of an image, a 1st shot defines all the odd lines, and one half frame, a second shooting defines the even lines. The important thing to understand here is that two shots are distant in time (half image).
And even if these two shots are complementary to a spatial point of view (the two scans complement inside the frame), these two shots do not display the same content! If a subject moves in a field, it will have a different position on each of two fields: one then has a zigzag effect on each frame.
This problem is partially solved by means of a birefringent crystal blades that spread out the details by splitting light rays. This results in a loss of definition, which gives the PAL and SECAM systems vertical resolution multiplied by 0.7 (Kell factor), which is not actually that of approximately 400 lines. When the display is not interlaced, the term progressive applies.
This is the shooting mode selected for films shot in HD TV or D cinema to be transferred and projected on 35mm. 25 progressive (25p) then give the camera an exposure time of 1/25 of second, which is too long in terms of temporal resolution. Preference is given limited integration frames 1:50 s (electronic shutter) time.
An encoded signal of the kind is stated in a composite video signal, because it contains several different types of sources. Video standards use the composite range from U-MATIC / U-MATIC SP HSV through the 8mm or Video 8, Betamax, the VCR or the V2000. In view of damage caused by coding, it became urgent to absolve production. In the early 1980s, Sony devised a video format with separate components consisting of several distinct signals conveyed by separate cables: Betacam / Betacam SP.
When color television was first introduced it took b/w TVs to render an image, the luminance signal has been preserved and added a signal that the black and white TV would not know and therefore not appear even as a parasite signal with backward compatibility. So two color differences R'-Y and B'-Y (the 'means were added so that signals underwent own correction to a gamma curve to overcome, at the time, a problem of non-linearity restitution CRTs). By combining with luminance, it is possible to extract green.
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