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Colour
Television

12/27/16

By: VRK

Compatibility
It is necessary that a colour TV should

produce black and white picture and a black

and white TV should be able to process colour
signal to extract the black white scene
information
This feature is known as compatibility of video
signal
Here we can not transmit Vr, Vg, Vb
separately because of limitation of 5.5 MHZ
bandwidth
To solve this problem colour difference signals

Colour camera tube

Generation of colur signal

Colour receiver

Receiver controls
The hold control is used to get a steady

picture in case it rolls up or down

The volume and tone controls form part of the
audio amplifier in sound section, and are used
for setting volume and tonal quality of the
sound output from the loudspeaker
In colour receivers there is an additional
control called colour or saturation control
It is used to vary the intensity or amount of
colours in the reproduced picture

Luminance
This is the amount of light perceived by the

eye regardless of the colour

In monochrome television, more lighted parts
of images have more luminance
In colour TV, colours also have their own
intensities which can be resolved by
luminance on a monochrome TV

HUE
This is the predominant spectral colour of the

received light
The colour of any object is distinguished by its
hue
Different hues result from different
wavelengths of spectral radiation

Example of hue

Saturation
This is the spectral purity of the coloured light
Single hue colours alone occur rarely in

nature
Thus saturation may be taken as an indication
of how little the colour is diluted by white
A fully saturated colour has no white
Hue and saturation, when put togather,
known as chrominance

Improvement of
saturation

Original
image

Image with 50 %
increase of

Perception of brightness and colour

All objects that we observe are focused

sharply by the lens system of the eye on its

retina
The retina which is located at the back side of
the eye has light sensitive organs which
measure the visual sensations
The retina is connected with the optic nerve
which conducts the light stimuli as sensed by
the organs to the optical centre of the brain

Perception of brightness and colour

The light sensitive organs are of two typesrods

and cones
The rods provide brightness sensation and thus
perceive objects only in various shades of grey
from black to white
The cones that are sensitive to colour are broadly
in three different group
One set of cones detects the presence of blue
colour in the object focused on the retina, the
second set perceives red colour and the third is
sensitive to the green range

Perception of eye for different

colours

Additive colour mixing

In additive mixing which forms the basis of colour

television, light from two or more colours

obtained either from independent sources or
through filters can create a combined sensation
of a different colour
Thus different colours are created by mixing pure
colours and not by subtracting parts from white
The impression of white light can also be created
by choosing suitable intensities of these colours
Red, green and blue are called primary colours.
These are used as basic colours in television

Additive colour mixing

By pairwise additive mixing of the primary

colours the following complementary colours

are produced:
Red + Green = Yellow
Red + Blue = Magenta (purplish red shade)
Blue + Green = Cyan (greenish blue shade

Additive colour mixing

Additive colour mixing

Additive colour mixing

The brightness (luminance) impression

created by the combined light source is

numerically equal to the sum of the
brightnesses (luminances) of the three
primaries
This property of the eye of producing a
response which depends on the algebraic sum
of the red, green and blue inputs is known as
Grassmans Law
100% White = 30% Red + 59% Green + 11%
Blue

Delta-gun colour picture tube

(a) guns viewed from the base (b) electron beams, shadow mask and
dot-triad phosphor screen (c) showing application of Y and colour
difference signals
20
BY VRK between the cathodes and control grids

The

screen has a number of

phosphorus that will be
fluorescent when exposed to
fire electrons produced by
electron gun.

This

electron beam be turned

by magnetic field that
controlled by vertical spool
and horizontal (spool yoke).
Magnified view of a shadow
mask 0f color CRT

21

BY VRK

PRECISION-IN-LINE (P.I.L.) COLOUR PICTURE TUBE

(a) in-line guns (b) electron beams, aperture grille and striped three
colour phosphor screen(c) mountings on neck and bowl of the tube.
22

BY VRK

 Electron

at shoot off and will hit

dots phosphor will produce
bright light and can be seen in
the screen.

Tube

also have mask color, to

place phosphor's dots so correct
electron beams.

There

3 circles phosphor that is

red, blue and green. when
described based on sequence
the colour, so seen to like
picture.

BY VRK

Magnified view of an aperture

grille color CRT

23

Trinitron colour picture tube

Video signals for colours

Colour

voltage
amplitudes:

Video signals for colours

Desaturated colours:
Any colour is said to be desaturated when
mixed with white
In a colour camera output signal, Red colour is
desaturated to a small amount, then the Vg and
Vb have lower values
But as desaturation of red increases, Vg and Vb
values are increased
For 100% desaturation Vr = Vg =Vb

Video signals for colours

Colour video Frequencies:
When the scene is not dominated by one or few
colours the information to be transmitted
occupies more frequency spectrum
It is discovered that colour frequencies need 1.5
Mhz band in order to transmit finest details of a
scene
The luminance signal frequency range is up to 5
Mhz

Luminance signal Y
Luminance refers to the brightness of scene
It is formed by adding the three camera

outputs in the ratio, Y = 0.3 R + 0.59 G + 0.11

B
These percentages correspond to the relative
brightness of the three primary colours
Therefore a scene reproduced in black and
white by the Y signal looks the same as
when it is televised in monochrome

Luminance signal Y

Colour difference signal

Colour difference voltages are derived by

subtracting the luminance voltage from the

colour voltages
Only (R Y) and (B Y) are produced
It is only necessary to transmit two of the
three colour difference signals since the third
may be derived from the other two
The circuit for getting colour difference
signals is as follows

Colour difference signal

Colour difference signal

Here by definition we have
Y = 0.3R + 0.59G + 0.11B
Therefore,
(R Y) = 0.7R 0.59G 0.11B
(B Y) = 0.89B 0.59G 0.3R.

The colour difference signals equal zero when

white or grey shades are being transmitted

On peak whites let R = G = B = 1 volt
Then Y = 0.59G + 0.3R + 0.11B = 0.59 + 0.3 +
0.11 = 1 (volt)
(R Y) = 1 1 = 0, volt and (B Y) = 1 1 = 0 volt

Colour difference signal

On any grey shade let R = G = B = v volts (v

< 1)
Then Y = 0.59v + 0.3v + 0.11v = v
(R Y) = v v = 0 volt and (B Y) = v v = 0

volt

Thus it is seen that colour difference signals

during the white or grey content of a colour

scene of during the monochrome transmission
completely disappear and this is an aid to
compatibility in colour TV systems

Colour difference signal

Consider we have a desaturated magenta(Purple)

colour to transmit
Suppose R = 0.7, G = 0.2 and B = 0.6 volts
The white content is represented by equal
quantities of the three primaries and the actual
amount must be indicated by the smallest
voltage of the three, that is, by the magnitude of
G
Thus white is due to 0.2 R, 0.2 G and 0.2 B. The
remaining, 0.5 R and 0.4 B together represent the
magenta hue

Colour difference signal

(i) The luminance signal Y = 0.3 R + 0.59 G +

0.11 B
Substituting the values of R, G, and B we get Y =

0.3 (0.7) + 0.59 (0.2) + 0.11(0.6) = 0.394 (volts)

(ii) The colour difference signals are:

(R Y) = 0.7 0.394 = + 0.306 (volts)
(B Y) = 0.6 0.394 = + 0.206 (volts)

(iii) Reception at the colour receiverAt the

receiver after demodulation, the signals, Y,

(B Y) and (R Y), become available

Colour difference signal

Then by a process of matrixing the voltages

B and R are obtained as:

R = (R Y) + Y = 0.306 + 0.394 = 0.7 V
B = (B Y) + Y = 0.206 + 0.394 = 0.6 V

(G Y) matrixThe missing signal (G Y)

that is not transmitted can be recovered by

using a suitable matrix based on the
explanation given below:
Y = 0.3 R + 0.59G + 0.11B
also (0.3 + 0.59 + 0.11)Y = 0.3R + 0.59G + 0.11B

Colour difference signal

Rearranging the above expression we get:
0.59(G Y) = 0.3 (R Y) 0.11 (B Y)

Substituting the values of (R Y) and (B Y)

(G Y) = (0.51 0.306) 0.186(0.206) =

0.15606 0.038216 = 0.194

G = (G Y) + Y = 0.194 + 0.394 = 0.2

Colour difference signal

Unsuitability of (G Y) Signal for Transmission:
The proportion of G in Y is relatively

large(59%) in most cases, the amplitude of (G

Y) is small
The smaller amplitude together with the need
for gain in the matrix would make S/N ratio
problems more difficult then when (R Y) and
(B Y) are chosen for transmission

Encoding of colour difference

signals
The problem of transmitting (B-Y) and (R-Y) video

signals simultaneously with one carrier

frequency is solved by creating two carrier
frequencies from the same colour subcarrier
without any change in its numerical value
Two separate modulators are used, one for the
(B-Y) and the other for the (R-Y) signal
However, the carrier frequency fed to one
modulator is given a relative phase shift of 90
with respect to the other before applying it to
the modulator

Encoding of colour difference

signals

Encoding of colour difference signals

Encoding of colour difference

signals
The horizontal scanning frequency of camera

beam is 15625 Hz
Therefore, the video frequencies generated on
scanning any scene are multiples of this
frequency
So video information can be shown as below

Encoding of colour difference

signals
Here the chrominance signal is fitted into the

gaps of Y signal frequencies

Encoding of colour difference

signals

Encoding of colour difference

signals
The transmitted signal does not contain the

subcarrier frequency but it is necessary to

generate it in the receiver with correct
frequency and phase relationship for proper
detection of the colour sidebands
To ensure this, a short sample of the colour
subcarrier oscillator (8 to 11 cycles) called the
colour burst is sent to the receiver along with
sync signals
This is located in the back porch of the
horizontal blanking pedestal

Encoding of colour difference

signals

Formation of chrominance signal

The chroma signal has magnitude and phase

angle as shown below

Formation of chrominance signal

Consider that we need to transmit red colour
For a pure red, R = 1v, G = 0v, B = 0v
We know that
(R Y) = 0.7R 0.59G 0.11B
(B Y) = 0.89B 0.59G 0.3R.
Putting values for Red colour we have,
(R Y) = 0.7(1) 0.59(0) 0.11(0) = 0.7v
(B Y) = 0.89(0) 0.59(0) 0.3(1) = -0.3v

Formation of chrominance signal

Magnitude of chroma signal can be found as

below:
((B - Y) 2 (R - Y) 2 ) ((-0.3)2 (0.7) 2 ) 0.76
And the phase of chroma signal with respect to

(B-Y) can found as below

1 ( R Y )
1 (0.7)
tan
tan
104
(B Y )
(0.3)
Thus for pure red colour , the chroma signal falls

in second quadrant

Formation of chrominance signal

For cyan(Blue +Green) R = 0v, G = 1v, B = 1v
Putting values for cyan we have,
(R Y) = 0.7(0) 0.59(1) 0.11(1) = -0.7v
(B Y) = 0.89(1) 0.59(1) 0.3(0) = 0.3v

Magnitude of chroma signal can be found as below:

((B - Y) 2 (R - Y) 2 ) ((0.3) 2 (-0.7)2 ) 0.76

And the phase of chroma signal with respect to (B-

Y) can found as below

1 ( 0.7)

1 ( R Y )

tan

284

180

104
tan
(0.3)
(B Y )

Formation of chrominance signal

From previous analysis we can say that as

cyan is a complementary colour of red it has

the same magnitude but exactly opposite
angle
In a natural scene we have many combination
of colours in a single horizontal line of an
image or video
Therefore, for a natural scene the chroma
signal has different magnitude and phase
angle for each horizontal line
The chroma signal decides the hue and