No it is not!
A transparency is a subtractive process. An lcd is additive.
Each pixel in a film transparency has three filter layers each of which can absorb a colour.
Each pixel on an lcd is made from three different colour subpixels. The subpixels each have a colour filter behind them to make them RGorB.
It's not a bad analogy.
LCD backlights are usually chosen to have a pretty good spectral response.
But then different makes of transparencies give different results...
How about LCD projectors?
--
*Why is it that to stop Windows 95, you have to click on "Start"?
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
Is anyone making grade one CRT monitors or hi spec CRT's still?...
-- Tony Sayer
indeed, but you'd have to have a huge mismatch between backlight CCT and displayed image CCT for that problem to occur. A 15,000K backlight with a 5000K display works just fine.
yes that happens with film, but nothing like it happens with an LCD display. What happens is that if your image is far removed from the backlight in terms of CCT, then one of the RGB LCD colour channels operates over part of its potential range, not the full range. So for example on this display the B pixels might never exceed 50% light transmission. It doesnt cause a problem.
of course
NT
I cant conclude anything, but I know 2 things:
And fwiw, IIUC PAL rendered colours are designed to alternate the error line after line rather than get each line colour correct, so like many such measures it usually solves the problem, but not always.
isnt that just an adjustment thing? And yes, I agree many wont go dim enough, but some do.
NT
and
I don't have the time to discuss this at length, but NTSC's unfortunate reverse-acronym was the result of poor studio standards, and is not inherent in the system. PAL incorporated phase alternation to partly compensate for transmission problems (non-linear group delay) in Europe.
Correct. That's why color errors roughly cancelled out, at the expense of loss of satruation.
In article , William Sommerwerck scribeth thus
Wasn't something done to either the NTSC transmission spec or the sets that largely alleviated that .. sometime after the original system started?..
Simple PAL and de luxe PAL IIRC but it was a long time ago now;)..
-- Tony Sayer
No transparency can show a spectral section that isn't in the spectrum of the illuminant.
Which is why monochromatic backlights or projector light sources are not used.
I challenge you to e.g. produce a natural colour with a sodium lamp..no matter how you tweak the color dyes.
Think again.
I've not heard of pixels with respect to film before. Make it up as we go along?
Which amounts to the same thing in practice.
50% on two colors and 0 on another in film = LCD primary.As far as the eye is concerned. The issue being that the colours in all cases are relatively broad spectrum colours. You cant get monochromatic colour with either system if you want overall balance. You are not mixing pure red, pure blue and pure green any more than you are notching out everything BUT pure magenta pure cyan or pure yellow..
And transparencies are usually used for top quality magazine prints not 'projected onto a screen' anyway.
It is. Multipath effects caused unacceptable phase and color shifts.
NTSC worked fine on cable, but never as a medium for over air transmissin with any HINT of multipath.
PAL incorporated phase alternation to partly compensate for
sorry, that's a factor of ANY RF tranmission where more than one path to teh receiver exists.
? huh?
>
I have, you are still wrong.
No it does not.
You need different spectra for an additive system and a subtractive system.
I'm told they are - but not the small sizes which also run off batteries for location use.
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*One nice thing about egotists: they don\'t talk about other people.
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
And are adjusted as part of the printing process.
--
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Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
IIRC, nowt to do with studios, but the transmission process. Hence the tint control on NTSC sets which is absent on PAL ones.
If I remember my BBC training correctly, NTSC gives theoretically better 'studio' pictures than PAL. Obviously ignoring line and frame frequency. PAL best for VTR recording, and SECAM the best for transmission.
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*Pentium wise, pen and paper foolish *
Dave Plowman dave@davenoise.co.uk London SW
To e-mail, change noise into sound.
Wasn't it the improved standards in receivers following the introduction of solid state technology? The transistorised sets didn't drift as much.
-- B Thumbs Change lycos to yahoo to reply
This is like saying that the design of eggs is fundamentally flawed, because if you drop them, they break.
The implication of "never twice the same color" was that there was something inherently unstable in the system.
The US had high-quality microwave transmission systems with excellent timing and group delay characteristics. Europe did not.
To those in the US... When was the last time you adjusted the hue control on your analog TV?
Yes, because it has wider chroma bandwidth. Other than that, they are essentially the same system.
unfortunate
Europe.
that
of
No, tube sets were stable. Remember, the demodulator is locked to the burst signal.
In article , William Sommerwerck scribeth thus
Are you referring to the studio to transmitter links?...
-- Tony Sayer
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