by Steve Anderson » Sun Jul 01, 2012 4:37 pm
Fine patterns on clothing and other closely-spaced near vertical objects were avoided as much as possible, the effect is called cross-colour. It comes about where the luminance frequency is high enough that it confuses the simpler PAL and NTSC decoders used in most TVs.
In the days of test-cards the higher frequency part of the frequency gratings often produced the same effect.
I used to have a JVC S-VHS machine and this had a comb filter in the decoder, YUV into the TV produced no off-air cross-colour. These filters were/are generally used in the larger and more expensive TV products.
Often this effect went unnoticed in the studio as the banks of monitors used in the gallery were professional with comb filter decoders. Propped up in the corner was usually a domestic-grade TV known not to have a comb-filter decoder for checking this wasn't occurring.
Unfortunately directors/producers can't control what clothing a guest may be wearing, by the time they arrive at the studio it's too late. The answer was for the cameraman to re-frame the shot and/or zoom in or out slightly, thereby changing the frequency of the interference.
Steve A.
As an analogue stop-gap Super-PAL or PAL+ (I can't exactly recall the proper name) was dreamed up for this and several other reasons. The sub-carrier was shifted to twice the normal frequency at 8.86MHz. This meant that luminance frequencies around 4.4MHz didn't produce cross-colour, But its life was short and it didn't really catch on.
Later..In fact it was called Extended PAL and was more complex than just shifting the sub-carrier frequency. It was developed by the BBC for DTH satellite transmission in 1982.
Last edited by
Steve Anderson on Sat Jul 07, 2012 1:20 pm, edited 1 time in total.