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TV Standards


Basic Monochrome Video Standards.
 Standard:  EIA  CCIR
 Lines / field  262.5  312.5
 fields / sec  59.94  50
 Line frequency  15734 Hz  15625 Hz
 Line period  63.55ms  64ms
 Active line period  52.6ms  52ms
 Active lines / field  241  287
 Active lines / frame  482  574
 Aspect ratio w : h  4:3  4:3
 Optimum bandwidth  6.11 MHz  7.36 MHz
 Transmitted bandwidth  4.2 MHz  ~5 MHz

Active periods: Only part of each line carries picture information, and not all of the lines are used for picture information. The dead-times are called the blanking intervals, and are used to transmit synchronising pulses, black level reference, colour reference burst, and (nowadays) test signals and data. Thus a "625" line picture really only has 574 lines, and "525" has 482.

Video bandwidth: There are no hard and fast rules regarding video bandwidth but, for a given line standard, there is a point above which the law of diminishing returns sets in, and below which horizontal blurring starts to occur. Nowadays we might call this point the 'square pixel bandwidth', and work it out by determining what is needed to display the same number of pixels per unit length in both the horizontal and vertical directions. Taking the CCIR system as an example, there are 574 lines, and the aspect ratio is 4:3, which gives equal H and V resolution if the number of horizontal pixels is 765.3. Those 765 pixels must be transmitted in 52ms, and the highest frequency video component corresponds to the case when adjacent pixels are turned on and off alternately. Thus the worst case signal must change polarity 302.7 times in 52ms, i.e., it is 7.36 MHz.

Note that in the EIA case, the 'ideal' number of pixels is 643 x 482. In practice, no information is carried right at the edges of the picture, so this reduces to a practical 640 x 480, which you may recognise as the basic resolution of a Personal Computer.

TV resolution is sometimes quoted in lines. To display vertical lines, you must turn adjacent pixels on and off, so 765 pixels gives 383 lines of horizontal resolution, 574 TV lines gives apparent sharpness equivalent to 287 lines of vertical resolution (neglecting aliasing effects).

All of the broadcast TV standards have slightly sub-optimal video bandwidth, because the founding fathers were worried about the visibility of the TV line structure and the problem of aliasing. The point is that for a given bandwidth, you can trade horizontal resolution for vertical resolution (horizontal resolution is the ability to display vertical lines, and vice versa).The problem with TV is that the horizontal and vertical sampling methods are not equivalent; i.e., you can put a change in brightness anywhere you like as you move horizontally in the picture, but as you move vertically, the positions where brightness changes can occur are constrained by the line structure. Thus, if you put up a test card of horizontal lines of spacing close to the system resolution, the lines do not display properly, and have superimposed on them an undulation in brightness at the difference in spatial frequency between the test card and the TV raster. The problem is called aliasing, and is exactly the same as that encountered in digital sampling. Nowadays we would say that the TV has no protection against vertical spatial frequencies which exceed the Nyquist limit, and the pragmatic solution is to use more lines than the available bandwidth would appear to merit. By further convoluted argument, we get to the fact that the broadcast video bandwidth used is approximately equal to the 'square pixel' bandwidth divided by Ö2 (i.e., 5.2MHz for 625/50, 4.3MHz for 525/60) . For closed circuit video work, there is usually not much point in increasing the video bandwidth beyond the square pixel bandwidth multiplied by Ö2.

Why the peculiar numbers of lines?
An interlaced picture must always have an odd number of lines per frame, because a field must have a half-integer number of lines in order for the lines of one field to lie halfway between the lines of the next. It also follows that the line and field frequencies must be derived from a common reference in order for this exact relationship to be maintained. The common reference is twice the line frequency (2fH) which is divided by 2 to get the line sync, and by the line number (N) to get the field sync. The development work on electronic TV was done in the 1930s (interlacing was invented in 1932), and the circuits used had to be as simple as possible to avoid the need for enormous numbers of valves (vacuum tubes). Division by 2 was reliably accomplished by using the Eccles-Jordan circuit (flip-flop) as it is today, but division by an arbitrary integer had to be done by means of a critically adjusted non-retriggerable monostable multivibrator. If the monostable's operating parameters drifted, the circuit was likely to jump to a new division ratio, so the early system designers liked to stick to schemes which depended on divisions by low numbers, i.e., 3, 5, or 7, which allowed for considerable drift without risk of jumping. Thus the preferred TV standards (in approximate historical order) came out like this:
 Line number  Division scheme  
 243  3 x 3 x 3 x 3 x 3 UK Experimental 1936
 405  3 x 3 x 3 x 3 x 5 UK Experimental 1936. UK, Eire, 1939 - 1984.
 441  3 x 3 x 7 x 7 Germany 1939, USA (Empire state) 1939.
 525  3 x 5 x 5 x 7 USA
 625  5 x 5 x 5 x 5 Europe
 819  7 x 9 x 13 France (now obsolete)

Field rate: Interlaced TV systems were never locked to the mains, as is claimed by numerous sources. Field rates were however chosen to be the same as the nominal mains frequency so that any 'hum bar' on the picture (due to bad power supply smoothing) remained approximately stationary. This, unfortunately, results in a rather low overall refresh rate in 50Hz countries, and forces flicker sensitive individuals to stare at the screen to avoid being irritated by it. A solution to this problem has only recently arrived; in the form of TV sets which perform an internal standards conversion to 100 fields/sec.

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