Analog video

Analog video is a video signal transferred by an analog signal

(any continuous signal for which the time varying feature (variable) of the signal is a representation of
some other time varying quantity, i.e., analogous to another time varying signal. For example, in an
analog audio signal, the instantaneous voltage of the signal varies continuously with the pressure of the
sound waves. It differs from a digital signal, in which the continuous quantity is a representation of a
sequence of discrete values which can only take on one of a finite number of values).

An analog-to-digital converter (ADC, A/D, or A to D) is a device that converts a

continuous physical quantity (usually voltage) to a digital number that represents the
quantity's amplitude. The conversion involves quantization of the input, so it
necessarily introduces a small amount of error. The result is a sequence of digital
values that have been converted from a continuous-time and continuousamplitude analog signal to a discrete-time and discrete-amplitude digital signal.
An analog-to-digital converter is defined by its bandwidth (the range of
frequencies it can measure) and its signal to noise ratio (how accurately it can
measure a signal relative to the noise it introduces). The actual bandwidth of an
analog-to-digital converter is characterized primarily by its sampling rate, and
to a lesser extent by how it handles errors such as aliasing.
An analog color video signal contains luminance, brightness (Y)
and chrominance (chroma or C for short) is the signal used in video systems to convey the color
information of the picture, separately from the accompanying luma signal (or Y for short). Chrominance
is usually represented as two color-difference components: U = B Y (blue luma) and V = R Y
(red luma). In composite video signals, the U and V signals modulate a color subcarrier signal, and the
result is referred to as the chrominance signal; the phase and amplitude of this modulated chrominance
signal correspond approximately to the hue and saturation of the color.)

Luminance only, Chrominance only, and full color image.

Because of this compatibility requirement, color standards added a second
signal to the basic monochrome signal, which carries the color information. The color
information is called chrominance or C for short, while the black-and-white
information is called the luminance or Y for short. Monochrome television receivers
only display the luminance, while color receivers process both signals.
Additionally, for compatibility, it is required to use no more bandwidth than the monochrome
signal alone; the color signal has to be somehow inserted into the monochrome signal, without
disturbing it. This insertion is possible because the spectrum of the monochrome TV signal is not
continuous (for most typical video content), hence empty space exists which can be utilized. This typical
lack of continuity results from the discrete nature of the signal, which is divided into frames and lines.
(Strictly speaking, monochrome video does use the full spectrum, if arbitrary and unconstrained
movement of subjects and/or cameras is permitted. Therefore, all of these color systems compromise
luma quality to some extent in exchange for the addition of colori.e. all of these color signals look
worse at some time or other than they would if the color signal were absent.) Analog color systems differ
by the way in which infrequently used space in the frequency band of the signal is used. In all cases, the
color signal is inserted at the end of the spectrum of the monochrome signal, where it causes
less visual distortion (only affecting fine detail) in the uncommon case that the monochrome signal had
significant frequency components overlapping the color signal.
In order to be able to separate the color signal from the monochrome one in the receiver, a fixed
frequency sub carrier is used, this sub carrier being modulated by the color signal.

Spectrum of a television channel with PAL color

The color space is three-dimensional by the nature of the human vision, so
after subtracting the luminance, which is carried by the base signal, the color sub
carrier still has to carry a two-dimensional signal. Typically the red (R) and the
blue (B) information are carried because their signal difference with
luminance (R-Y and B-Y) is stronger than that of green (G-Y).
SECAM differs from the other color systems by the way the R-Y and B-Y signals
are carried.
The color difference signals in SECAM are actually calculated in the YPbPr color
space, which is a scaled version of the YUV color space. This encoding is better
suited to the transmission of only one signal at a time.

YUV
YUV is a color space typically used as part of a color image pipeline. It encodes
a color image or video taking human perception into account, allowing reduced
bandwidth for chrominance components, thereby typically enabling transmission
errors or compression artifacts to be more efficiently masked by the human
perception than using a "direct" RGB-representation.
Y'UV was invented when engineers wanted color television in a black-andwhite infrastructure.They needed a signal transmission method that was compatible
with black-and-white (B&W) TV while being able to add color. The luma component
already existed as the black and white signal; they added the UV signal to this as a
solution.
The UV representation of chrominance was chosen over straight R and B
signals because U and V are color difference signals. This meant that in a black and
white scene the U and V signals would be zero and only the Y' signal would need to
be transmitted. If R and B were to have been used, these would have non-zero values
even in a B&W scene, requiring all three data-carrying signals.

The scope of the terms Y'UV, YUV, YCbCr, YPbPr, etc.,

is sometimes ambiguous and overlapping. Historically, the
terms YUV and Y'UV were used for a specific analog
encoding of color information in television systems, while
YCbCr was used for digital encoding of color information
suited for video and still-image compression and
transmission such as MPEG and JPEG. Today, the term YUV is
commonly used in the computer industry to describe fileformats that are encoded using YCbCr.
The Y'UV model defines a color space in
terms of one luma (Y') and two chrominance (UV)
components. The Y'UV color model is used in
the PAL and SECAM composite color video standards.
Previous black-and-white systems used only luma (Y')
information. Color information (U and V) was added
separately via a sub-carrier so that a black-and-white
receiver would still be able to receive and display a color
picture transmission in the receiver's native black-andwhite format.

An image along with

its Y', U, and V
components

Y' stands for the luma component (the

brightness) and U and V are the chrominance (color)
components; luminance is denoted by Y and luma by Y' the
prime symbols (') denote gamma compression, with
"luminance" meaning perceptual (color science)
brightness, while "luma" is electronic (voltage of
display) brightness.

Example of U-V color plane, Y'

value = 0.5, represented
within RGB

YPBP

The YPbPr color model used in

analog component video and its digital version YCbCr
used in digital video are more or less derived from it,
and are sometimes called Y'UV. (CB/PB and
CR/PR are deviations from grey on blueyellow
and redcyan axes, whereas U and V are blue
luminance and redluminance differences.)
The Y'IQ color space used in the
analog NTSC television broadcasting system is related
to it, although in a more complex way.
As for etymology, Y, Y', U, and V are not
abbreviations. The use of the letter Y for luminance
can be traced back to the choice of X Y Z primaries.
This lends itself naturally to the usage of the same
letter in luma (Y'), which approximates a perceptually
uniform correlate of luminance. Likewise, U and V
were chosen to differentiate the U and V axes
from those in other spaces, such as the x and y
chromaticity space.

YPBPR is a color space used in video electronics, in particular in reference to

component video cables. YPBPR is the analog version of the YCBCR color space;
the two are numerically equivalent, but YPBPR is designed for use in analog systems
whereas YCBCR is intended for digital video.
YPBPR is commonly called "component
video" by manufacturers, but this is imprecise, as
there are many other types of component video, most of
which are some form of RGB.
YPBPR is the analog video signal carried by
component video cable in consumer electronics. The
green cable carries Y, the blue cable carries PB
and the red cable carries PR.
YPBPR is converted from the RGB video signal, which is split into three components:
Y, PB, and PR.
Y carries luma (brightness or luminance) and synchronization (sync) information. Y =
0.2126 R + 0.7152 G + 0.0722 B. Before the advent of color television, the Y axis on
an oscilloscope display of a video waveform represented the intensity of the scan
line. With color, Y still represents intensity but it is a composite of the component
colors.
PB carries the difference between blue and luma (B Y).
PR carries the difference between red and luma (R Y).
Sending a green signal would be redundant, as it can be derived using the blue, red
and luma information.
When color signals were first added to NTSC-encoded black and white video standard,
the hue was represented by a phase shift of a color reference sub-carrier. P for phase
information or phase shift has carried through to represent color information even in
the case where there is no longer a phase shift used to represent hue. Thus, the Y
PB PR nomenclature derives from engineering metrics developed for the NTSC color
standard
Signals that use YPBPR offer enough separation that no color multiplexing is needed,
so the quality of the extracted image is nearly identical to the signal before
encoding. S-Videoand composite video mix the signals together by means of
electronic multiplexing; however, more often than not the signal is degraded at the
display end as the display is not able to separate the signals completely. It is possible
for their multiplexed counterparts to interfere with each other (see dot crawl).

Composite video
Video information is encoded on one channel (composite video), two channels (Svideo ) and the even higher-quality component video (three or more channels
component video formats as SCART, VGA, TRRC).

Composite
video

S-Video
(2-channel YC)

Component
video

(single channel
RCA)

(3-channel RGB)

Composite video is usually in standard formats such as NTSC (National Television

System Committee and used in most of the Americas, Burma, South Korea, Taiwan, Japan and
the Philippines. Color information was added to the black-and-white image by introducing a
color subcarrier of precisely 3.579545 MHz (nominally 3.58 MHz) chosen so that horizontal line-rate
modulation components of the chrominance signal would fall exactly in between the horizontal line-rate
modulation components of the luminance signal. Due to limitations of frequency divider circuits at the
time the color standard was promulgated, the color subcarrier frequency was constructed as composite
frequency assembled from small integers, in this case 579/(811) MHz.The horizontal line rate was
reduced to approximately 15,734 lines per second (3.5795452/455 MHz) from 15,750 lines per second,
and the frame rate was reduced to approximately 29.970 frames per second or 15,734 lines per
second/525 lines per frame using an an aspect ratio of 4:3, and frequency modulation (FM) for the sound
signal), PAL (Phase Alternating Line broadcasting at 625-line / 50 field per second or 50 hertz (25

frame) per second (576i). used by Western European countries To overcome NTSC's shortcomings
under poor transmission conditions, which became a major issue considering Europe's geographical
and weather-related particularities. Pal was developed at Telefunken in Hannover, Germany, later
bought by the French electronics manufacturer Thomson now called Technicolor SA, also owns
the RCA brand or Radio Corporation of America. PAL and NTSC are only the method of transmitting
color to the TV. ), and SECAM (Squentiel couleur avec mmoire,[1] French for "Sequential Color
with Memory used 819-line systems. Developed in France by Compagnie Franaise de
Tlvision later bought by Thomson, now Technicolor, later adopted by former French
and Belgian colonies, Greece, the Soviet Union and Eastern bloc countries (except
for Romania and Albania), and Middle Eastern countries and with the fall of communism later many
Eastern European countries decided to switch to PAL. Other countries, notably the United
Kingdom and Italy, briefly experimented with SECAM before opting for PAL.
instead of transmitting the red and blue information together, it only sends one of them at a time, and
uses the information about the other color from the preceding line. It uses an analog delay line, a
memory device, for storing one line of color information. This justifies the "Sequential, With Memory"
name.
Because SECAM transmits only one color at a time, it is free of the color artifacts present
in NTSC and PAL resulting from the combined transmission of both signals.
FM modulation of the color information allows SECAM to be completely free of the dot crawl problem
commonly encountered with the other analog standards.
Dot crawl patterns can be completely removed by connecting the display to the signal source through
a cable or signal format different from composite video (yellow RCA cable) or a coaxial cable, such
as S-Video, which carries the chroma signal in a separate band all its own, leaving the luma to use its
entire band, including the usually empty parts when they are needed.
Unlike PAL or NTSC, analog SECAM programming cannot easily be edited in its native analog form.
Because it uses frequency modulation, SECAM is not linear with respect to the input image (this is
also what protects it against signal distortion), so electrically mixing two (synchronized) SECAM
signals does not yield a valid SECAM signal, unlike with analog PAL or NTSC. For this reason, to mix
two SECAM signals, they must be demodulated, the demodulated signals mixed, and are remodulated
again. Hence, post-production is often done in PAL, or in component formats, with the result encoded
or transcoded into SECAM at the point of transmission.
Since late 2000s, SECAM is in the process of being phased out and replaced by DVB.) and is often
designated by the CVBS initialism, for color, video, blanking, and sync, or
simply as video.

PAL vs. NTSC

PAL usually has 576 visible lines compared with 480 lines with NTSC, meaning that PAL has a 20%
higher resolution. Most TV output for PAL and NTSC use interlaced frames meaning that even lines
update on one frame and odd lines update on the next frame. Interlacing frames gives a smoother
motion with half the frame rate, the downside is with scene changes. NTSC is used with a frame
rate of 60i or 30p whereas PAL generally uses 50i or 25p; both use a high enough frame rate to give
the illusion of fluid motion. This is due to the fact that NTSC is generally used in countries with a utility
frequency of 60 Hz and PAL in countries with 50 Hz, although there are many exceptions. Both PAL
and NTSC have a higher frame rate than film which uses 24 frames per second.
NTSC receivers have a tint control to perform colour correction manually. If this is not adjusted
correctly, the colours may be faulty. The PAL standard automatically cancels hue errors by phase
reversal, so a tint control is unnecessary. Chrominance phase errors in the PAL system are cancelled
out using a 1H delay line resulting in lower saturation, which is much less noticeable to the eye than
NTSC hue errors.

https://en.wikipedia.org/wiki/Composite_video
https://en.wikipedia.org/wiki/Component_video
https://en.wikipedia.org/wiki/YPbPr
https://en.wikipedia.org/wiki/Digital_Video_Broadcasting
https://en.wikipedia.org/wiki/DVB-C

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