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Broadcast television system
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There are several broadcast television systems in use in the world today. An
analogue television system includes several components: a set of technical parameters
for the broadcast signal, a system for encoding color, and possibly a system
for encoding multi-channel audio. In digital television, all of these elements
are combined in a single digital transmission system.
Analogue television systems
All analogue television systems began life in monochrome. Each country, faced with local political, technical, and economic issues, adopted a color system which was effectively grafted on to an existing monochrome system, using gaps in the video spectrum (explained below) to allow the color information to fit in the channels allotted. In theory, any color system could be used with any monochrome video system, but in practice some of the original monochrome systems proved impractical to adapt to color and were abandoned when the switch to color broadcasting was made. All countries use one of three color systems: NTSC, SÉCAM, or PAL.
Frames
Ignoring color, all television systems work in essentially the same manner. The monochrome image seen by a camera (now, the luminance component of a color image) is divided into horizontal scan lines, some number of which make up a single image or frame. A monochrome image is theoretically continuous, and thus unlimited in horizontal resolution, but to make television practical a limit had to be placed on the bandwidth of the television signal, which puts an ultimate limit on the horizontal resolution possible. When color was introduced, this limit of necessity became fixed. All current television systems are interlaced; that is to say, alternate rows of the frame are transmitted in sequence, followed by the remaining rows in their sequence. Each half of the frame is called a field, and the rate at which fields are transmitted is one of the fundamental parameters of a video system. Usually it is closely related to the frequency at which the electric power grid operates, to avoid the appearance of a flicker resulting from the beat between the television screen and nearby electric lights.
In systems that use a 50 field / 25 frame rate, movies and other filmed material shot at 24 frames per second must be transferred to video at 25 frame/s in order to prevent severe motion judder effects. The resulting increase in speed is usually not noticeable to the eye, but there is also a distinct increase in the pitch of the soundtrack, although nowadays this is sometimes corrected using digital technology.
Since television was originally implemented using cathode-ray tubes, the physics of these devices necessarily intrudes on the format of the video they can be used to display. The image on a CRT is painted by a moving beam of electrons which hits a phosphor coating on the front of the tube. This electron beam is steered by a magnetic field generated by powerful electromagnets close to the source of the electron beam. In order to reorient this magnetic steering mechanism, a certain amount of time is required due to the inductance of the magnets; the greater the change, the greater the time it takes for the electron beam to settle in the new spot. For this reason, it is necessary to shut off the electron beam (corresponding to a video signal of zero luminance) during the time it takes to reorient the beam from the end of one line to the beginning of the next (horizontal retrace) and from the bottom of the screen to the top (vertical retrace or vertical blanking interval). The horizontal retrace is accounted for in the time allotted to each scan line, but the vertical retrace is accounted for as phantom lines which are never displayed but which are included in the number of lines per frame defined for each video system. Since the electron beam must be turned off in any case, the result is gaps in the television signal, which can be used to transmit other information, such as test signals or color identification signals. The temporal gaps translate into a comb-like frequency spectrum for the signal, where the teeth are spaced at line frequency and concentrate most of the energy; the space between the teeth can be used to insert a color subcarrier. Broadcasters later developed mechanisms to transmit digital information on the phantom lines, used mostly for teletext and closed captioning.
Another parameter of analogue television systems, minor by comparison, is the choice of whether vision modulation is positive or negative. In positive modulation, the maximum luminance value is represented by the maximum electrical signal; in negative modulation, the maximum luminance value is represented by a zero electrical signal. Most video systems were defined to use negative modulation to reduce the appearance of noise, on the theory that dark spots in the image would be less noticeable than bright white spots in the image, given a particularly common sort of noise.
Modulation
Given all of these parameters, the result is a mostly-continuous analogue signal which can be modulated onto a radio-frequency carrier and transmitted through an antenna. All analogue television systems use vestigial sideband modulation, a form of amplitude modulation in which the lower sideband is incompletely suppressed. This provides a small guard band between the actual video carrier and the bottom frequency in the channel, which helps to reduce interference between transmitters on adjoining channels at a receiver which receives strong signals from both. At the time television was developed, the vestigial sideband was easier to accomplish than true single-sideband modulation; with today's technology, there is no reason for it except to be compatible with existing technology.
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