The RGB color model is based on the YoungHelmholtz theory of trichromatic color vision, developed by Thomas Young and

Hermann Helmholtz, in the early to mid nineteenth century, and on James Clerk Maxwell's color triangle that elaborated that theory (circa 1860).

Early color photographs.

The first permanent color photograph, taken by J.C. Maxwell in 1861 using three filters, specifically red, green, and violet-blue.

A photograph of Mohammed Alim Khan (18801944), Emir of Bukhara, taken in 1911 by Sergei Mikhailovich Prokudin-Gorskii using three exposures with red, green, and blue filters.

[edit] Photography

First experiments with RGB in early color photography were made in 1861 by Maxwell himself, and involved the process of three color-filtered separate takes.[4] To reproduce the color photograph, three matching projections over a screen in a dark room were necessary. The additive RGB model and variants such as orangegreenviolet were also used in the Autochrome Lumire color plates and other screen-plate technologies such as the Joly color screen and the Paget process in the early twentieth century. Color photography by taking three separate plates was used by other pioneers, such as Russian Sergey ProkudinGorsky in the period 1909 through 1915.[5] Such methods last until about 1960 using the expensive and extremely complex tri-color carbro Autotype process.[6] When employed, the reproduction of prints from three-plate photos was done by dyes or pigments using the complementary CMY model, by simply using the negative plates of the filtered takes: reverse red gives the cyan plate, and so on.

[edit] Television
Before the development of practical electronic TV, there were patents on mechanically scanned color systems as early as 1889 in Russia. The color TV pioneer John Logie Baird demonstrated the world's first RGB color transmission in 1928, and also the world's first color broadcast in 1938, in London. In his experiments, scanning and display were done mechanically by spinning colorized wheels.[7][8] The Columbia Broadcasting System (CBS) began an experimental RGB field-sequential color system in 1940. Images were scanned electrically, but the system still used a moving part: the transparent RGB color wheel rotating at above 1,200 rpm in synchronism with the vertical scan. The camera and the cathode-ray tube (CRT) were both monochromatic. Color was provided by color wheels in the camera and the receiver. [9][10][11] More recently, color wheels have been used in field-sequential projection TV receivers based on the Texas Instruments monochrome DLP imager. The modern RGB shadow mask technology for color CRT displays was patented by Werner Flechsig in Germany in 1938.[12]

[edit] Personal computers

Early personal computers of the late 1970s and early 1980s, such as those from Apple, Atari and Commodore, did not use RGB as their main method to manage colors, but rather composite video. IBM introduced a 16-color scheme (one bit each for RGB and Intensity) with the Color Graphics Adapter (CGA) for its first IBM PC (1981), later improved with the Enhanced Graphics Adapter (EGA) in 1984. The first manufacturer of a truecolor graphic card for PCs (the TARGA) was Truevision in 1987, but it was not until the arrival of the Video Graphics Array (VGA) in 1987 that RGB became popular, mainly due to the analog signals in the connection between the adapter and the monitor which allowed a very wide range of RGB colors.

[edit] RGB devices

3. Color Spotlights
Suppose you had three colored spotlights, one each red, green, and blue, shining on the wall of a darkened room. If you partially overlap the three spotlight beams, you get the pattern shown on the left. When all three spotlights overlap, you get white light! That's because white light consists of all colors. When only the red and blue spotlights overlap, you get magenta light. When only the green and blue spotlights overlap, you get cyan light. When only the green and red spotlights overlap, you get yellow light. With no spotlights on, you get black. (Click the figure and try dragging the color squares). Colored spotlights are often used for stage lighting at music concerts and plays. If you look up at the ceiling of the theater you may be able to see the individual lights. Colored filters are used to get the colors. Sometimes red, green, and blue colored spotlights are combined to get white light. Why don't they simply use white lights when they want white light, rather than combining red, green, and blue colored spotlights? One reason is that the lighting manager can adjust the tint of the stage light gradually by changing the brightness of the colored lights. For example, they could make a warm, pink-tinted light, to suggest a romantic or happy mood, by using slightly more red brighness that the other colors. Or they could make cool, blue-tinted light, to suggest a cold, spooky mood, by using slightly more blue brighness that the other colors. Another reason for using colored spotlights is that the combination of colored lights gives interesting colored shadows and more colorful sparkling highlights from stage jewelry (sequins and fake diamonds) and metal props.

1. Color Vision
Human color vision relies on special cells in the retina of the eye called cones. There are three types of cones. "Red" cones are sensitive to red light, "green" cones are sensitive to green light, and "blue" cones are sensitive to blue light. When we look at a beam of light that stimulates only the red cones, but not the green or blue cones, we see pure red. Light that stimulates only the green cones, but not the red or blue cones, is pure green. Light that stimulates only the blue cones, but not the green or red cones, is pure blue.

But can see many more colors than just red, green, and blue. How can we see other colors? All the other colors that we see result from the stimulation of combinations of red, green, and blue cones. For example, if we look at a beam of light that stimulates both the red and green cones equally, but not the blue cones, we see yellow. Light that stimulates the blue and green cones equally, but not the red cones, results in a blue-green color called cyan. Light that stimulates the blue and red cones equally, but not the green cones, results in a bluish-red color called magenta. Light that stimulates all three types of cones equally is white or gray. All of the thousands of colors that we can see are the simply the result of weaker or stronger stimulation of the red, green, and blue cones. These three colors red, green, and blue are called the primary colors for human color vision. (Primary colors are any set of colors from which all other colors may be derived).

2. Color Television and Computer Screens

Color television sets and computer monitors use these same three primary colors to produce all the other colors. Use a small magnifying glass or the Flexcam to look closely at the screen of a television set or computer monitor and you can see tiny dots or bars of red, green, and blue. These colors were chosen to match the three types of cones in the human retina. Notice that there are no yellow dots, so how does the TV make yellow? And what about purple and brown and pink and other colors? All of the thousands of colors that a color TV can display are the simply the result of different brightness of the red, green, and blue dots. The color dots are so tiny we can see them individually; they blend Blanking Pulse
a voltage pulse, usually of rectangular form, fed to the control electrode of a cathode tube to quench the beam on the retrace of a sweep (as it returns to the start). In a television picture signal the peak of the blanking pulse is at the black level and also serves as a base for the synchronizing pulses of the line and frame scans.

into the colors we see. You can experiment with making colors on your computer screen. Launch the freeware application RGBtoHEX.exe. The three sliders at the top of the windows allow you to control the brightness of the red, green, and blue primary colors individually. The resulting color mix is shown in the box to the right center. Each slider has a range from zero (fully to the left) to 255 (fully to the right). With all three sliders at zero, the resulting color is black. Now, move each slider indivdually to the right, while the other two sliders are left at zero. Use the magnifying glass or microscope to inspect the computer monitor screen inside the color box so you can see the color dots or bars change in brightness as you adjust the sliders.

How many different colors could you make if you limit yourself to only two values for each primary color - off (zero) or fully on (255)? Two values each of three colors gives 2 x 2 x 2 combinations (23). (The conventional name for the color made with red + blue (but no green) is magenta, which some people confuse with red but which is not quite the same as pure red. The conventional name for the color made with green + blue (but no red) is cyan, which some people confuse with blue but which is not quite the same as pure blue).

3. Color Spotlights
From Wikipedia, the free encyclopedia

Jump to: navigation, search This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009) The vertical blanking interval (VBI), also known as the vertical interval or VBLANK, is the time difference between the last line of one frame or field of a raster display, and the beginning of the first line of the next frame. It is present in analog television, VGA, DVI and other signals. During the VBI the incoming data stream is not displayed on the screen. In raster cathode ray tube displays the beam is blanked to avoid displaying the retrace line; see raster scan for details. The VBI was originally needed because of the inductive inertia of the magnetic coils which deflect the electron beam vertically in a CRT; the magnetic field, and hence the position being drawn, cannot change instantly. For horizontal deflection, there is also a pause between successive lines, to allow the beam to return from right to left, called the horizontal retrace or horizontal blanking interval. While modern digital equipment does not require a long blanking time, it must be designed to retain compatibility with the broadcast standards intended for older equipment. In analog television systems the vertical blanking interval can be used for datacasting (to carry digital data), since nothing sent during the VBI is displayed on the screen; various test signals, time codes, closed captioning, teletext, CGMS-A copy-protection indicators, and various data encoded by the XDS protocol (e.g., the content ratings for V-chip use) and other digital data can be sent during this time period. The pause between sending video data is used in real time computer graphics to perform various operations on the back buffer before copying it to the front buffer instead of just switching both pointers, or to provide a time reference for when switching such pointers is safe. In video game systems the vertical blanking pulses are extensively used for timing, as they occur at an accurately known frequency. Most graphics operations on consoles up to and including the 16-bit era could be performed only during the VBI (which programmers

generally referred to as the VBLANK), requiring programs to do all graphics processing rigidly within it. The need to synchronise game code this way made early video game systems such as the Atari 2600 difficult to program. Special raster techniques on the Atari 2600, Nintendo Entertainment System, and other consoles allowed extending this interval at the cost of some blank scanlines at the top or bottom of the screen, which may or may not end up in the overscan area. The use of double buffering in modern graphics hardware has rendered these techniques obsolete. Most consumer VCRs use the known black level of the vertical blanking pulse to set their recording levels. The Macrovision copy protection scheme inserts pulses in the VBI, where the recorder expects a constant level, to disrupt
From Wikipedia, the free encyclopedia

Jump to: navigation, search Horizontal blanking interval refers to a part of the process of displaying images on a computer monitor or television screen via raster scanning. CRT screens display images by moving beams of electrons very quickly back and forth from the left to right side of the screen. However, the beams are positively-charged during part of the trip: once the beam of the monitor has reached the right edge of the screen, it is quickly moved back to the left side of the screen. As the beam is being retraced (directed back), it is negatively-charged, and this part of the display process is the Horizontal Blank.[1][2] Phosphors only react to positive charge. Switching the line output transformer on and off during the horizontal scanning will result in some undesirable side-effects on the picture and greatly reduce the reliability of the line output transformer, which is unreliable enough as it is! In detail, the Horizontal blanking interval consists of: front porch blank while still moving right, past the end of the scanline, sync pulse blank while rapidly moving left; in terms of amplitude, "blacker than black". back porch blank while moving right again, before the start of the next scanline. Colorburst occurs during the back porch, and unblanking happens at the end of the back porch.

In the PAL television standard, the blanking level corresponds to the black level, whilst other standards, most notably NTSC, set the black level slightly above the blanking level on a 'pedestal'. Some graphics systems can count horizontal blanks and change how the display is generated during this blank time in the signal; this is called a raster effect, of which an example are raster bars. In video games, the horizontal blanking interval was used to create some notable effects. Some methods of parallax scrolling use a raster effect to simulate depth in consoles that do not natively support multiple background layers or do not support enough background

layers to achieve the desired effect. One example of this is in the game Castlevania: Rondo of Blood, which was written for the PC Engine CD-ROM which does not support multiple background layers. The Super NES's Mode 7 used the horizontal blanking interval to vary the scaling and rotation of one background layer on a scanline by scanline basis to create many different effects. The most famous and hyped effect of Mode 7 was to turn the background layer into a planar texture map. In the (almost old school) NTSC broadcast
standard, there are two "flavors" of sync pulses in the TV signal: vertical and horizontal. Recall that the picture is painted on the screen one line at a time. There are 525 lines to paint, and all the odd ones are painted in one "field" and then all the even lines are painted on in another "field" to create the whole picture. The picture is painted on the screen by the electron beam (the "cathode ray"), and the beam needs to be told which line to paint and when to start painting that given line. The vertical sync pulse sets up the beam for a line, and the horizontal sync pulse tells the beam when to start "painting" that line. Then the next vertical sync pulse will "step the beam down" two lines (remember that it's skipping a line 'cause all odds then all evens are painted), and the horizontal sync pulse will cause the beam to begin its sweep for that line.

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Re: Which type of modulation is used in TV transmission? Answer In TV Transmission the use of # 6 FM is made for Audio

transmission and AM for Video transmission. Vestigial Sideband modulation (VSB) is used for the following reasons : 1. Video signal exhibits a large bandwidth and significant low-frequency content which suggests the use of VSB 2. The circuitry for demodulation in the receiver should be simple and therefore cheap. VSB demodulation uses a simple envelope detection. But the practical TV signals are not exactly VSB modulated due to the following reasons : I) The power at the transmitter

is very high and it would be expensive to rigidly control the filtering of sidebands. Instead, a VSB filter is inserted in the receiver where the powers are low. VSB i.e. Vestigal Sideband Modulation is usedfor TV transmission. Vestige means "PART". The part of side band is used to transmit the video signal and the remaining is In electronics, modulation
is the process of varying one or more properties of a high-frequency periodic waveform, called the carrier signal, with a modulating signal which typically contains information to be transmitted. This is done in a similar fashion to a musician modulating a tone (a periodic waveform) from a musical instrument by varying its volume, timing and pitch. The three key parameters of a periodic waveform are its amplitude ("volume"), its phase ("timing") and its frequency ("pitch"). Any of these properties can be modified in accordance with a low frequency signal to obtain the modulated signal. Typically a high-frequency sinusoid waveform is used as carrier signal, but a square wave pulse train may also be used.

used for transmitting the voice signal.

The aim of digital modulation is to transfer a digital bit stream over an analog bandpass channel, for example over the public switched telephone network (where a bandpass filter limits the frequency range to between 300 and 3400 Hz), or over a limited radio frequency band. The aim of analog modulation is to transfer an analog baseband (or lowpass) signal, for example an audio signal or TV signal, over an analog bandpass channel, for example a limited radio frequency band or a cable TV network channel. Analog and digital modulation facilitate frequency division multiplexing (FDM), where several low pass information signals are transferred simultaneously over the same shared physical medium, using separate passband channels. The aim of digital baseband modulation methods, also known as line coding, is to transfer a digital bit stream over a baseband channel, typically a non-filtered copper wire such as a serial bus or a wired local area network.

The aim of pulse modulation methods is to transfer a narrowband analog signal, for example a phone call over a wideband baseband channel or, in some of the schemes, as a bit stream over another digital transmission system. In music synthesizers, modulation may be used to synthesise waveforms with a desired overtone spectrum. In this case the carrier frequency is typically in the same order or much lower than the modulating waveform. See for example frequency modulation synthesis or ring modulation.