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Re: Converting Between R'G'B' and 4:2:2 (The Impossibly Blue Sky)



In a message dated 98-08-04 12:52:17 EDT, Randy writes:

<< 	Although 160% blue sounds obscene, I contend that the resulting
 color IS predictable on the consumer sets that I have unscientifically
 tested. (some practice, no theory) >>

I'd be interested to know how you came to this conclusion.  If you mean
similar monitors directly fed a baseband video signal, then maybe.  But over
the air, cable, or on some distribution media like VHS or laserdisk??? There
are such things in the world of video as proc amps, not to mention practical
equipment limitations, that would turn 160% blue into something entirely
different by the time it gets to the consumers' sets.

<< then I can only refer you to commercial people who demand that the
envelope be pushed. >>

Video is not an artists' canvas on which anything that sticks is fair game.
If you're talking about a closed system like a video wall or a point-of-sale
display, then you can get away with more, but anything that has to be
broadcast or distributed over normal channels should be within spec to begin
with.  People who think they can "push the envelope" are kidding themselves.
Eventual disappointment is what results when the images on the home TV screen
don't look anything like they did in the studio, or when the tape gets bounced
back unaired because it is out of spec.

<< [...] For example, why is it that the ATSC did not address the fact that
NTSC red is actually reddish-orange in Kelley's color-designation regions on
the CIE chromaticity diagram. (and to my eyes) Since film dyes can occupy a
larger area on the diagram, wouldn't this be a perfect time (infancy of DTV)
to make up some of
the difference, [...] >>

The phosphors used in CRTs and elsewhere are compounded from natural rare
earth elements.  Not all colors in the rainbow are available in sufficient
quantities.  As CRTs are likely to be displaced in the not-too-distant future
by other types of displays which are not limited in this way, it ought to be
interesting to see what happens.  

Best regards,
Christopher Bacon

---
Thanks to Filmworkers Club Dallas for support in 1998.
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