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Apr 12 '17 at 16:06 answer supercat timeline score: 3
Apr 9 '17 at 21:37 answer Thomas timeline score: 19
Apr 4 '17 at 17:28 answer dirkt timeline score: 9
Apr 4 '17 at 15:08 comment added Brian H @dirkt Ok. I think it would be great to write that up as an answer. Especially the concepts that add to what is in the Wikipedia link at the top of the question.
Apr 4 '17 at 7:29 comment added dirkt Then you should specify exactly what artifacts you mean, the ones I mentioned are also "color artifacts". Also, I very much doubt it's due to "bandwidth limitations" - luma is bandwidth limited, but that's not the issue, and chroma is the phase of the color carrier, which is bandwidth limited by definition, but doesn't lead to artifacts. The point is that one can use changes in the video signal to affect the phase, more intentional (like in the Apple II) or less intentional (like in the 8088 MPH demo).
Apr 4 '17 at 4:44 answer Valentino Miazzo timeline score: 5
Apr 3 '17 at 22:41 comment added Brian H @dirkt The particular color artifacts in this question are due to bandwidth limitations that arise when demodulating the combined chroma+luma signal. So it's an artifact in the signal space, rather than in the "conversion-to-light" space.
Apr 3 '17 at 20:03 comment added dirkt @BrianH: You do have the "color fringes" (continous) on the LCD? You tried to compare a real analog TV to LCD with blending adjacent lines, are with the fast color swap trick used e.g. in the C64? There's a lot of different kinds of artifacts. And I wouldn't even call the basic Apple ][ colors "artifacts", if that's what you mean.
Apr 3 '17 at 16:25 comment added Brian H @dirkt My scan converter displays Apple ][ artifact color perfectly on my LCD with 48kHz scan. I don't think the actual display is much of a factor.
Apr 3 '17 at 15:37 comment added Brian H It feels a little pedantic to me to add a lot of verbiage to the question to help people understand that we are talking about a signal with color information. I did modify the last paragraph with "color" in hopes of discouraging the naive answer about lots of machines outputting mono via RCA.
Apr 3 '17 at 15:30 comment added Tommy @BrianH that's actually exactly what Acorn thought it meant; its machines — such as the Electron — with a composite RCA output use it for monochrome video (though the boards were designed to allow easy modification to composite colour). Colour is available on an unmodified machine only via RF or the RGB monitor port. But, yeah, not what's meant by this question.
Apr 3 '17 at 15:11 history edited Brian H CC BY-SA 3.0
added 96 characters in body
Apr 3 '17 at 15:06 history edited Brian H CC BY-SA 3.0
added 96 characters in body
Apr 3 '17 at 15:04 comment added Brian H @wizzwizz4 My assumption is that 'composite video' implies color. I suppose that the combination of mono and sync could also be referred to as 'composite video', but not for this question.
Apr 3 '17 at 11:45 history edited Chenmunka CC BY-SA 3.0
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Apr 3 '17 at 11:44 answer Tommy timeline score: 13
Apr 3 '17 at 10:25 comment added wizzwizz4 Do you mean "with colour NTSC output"?
Apr 3 '17 at 5:59 comment added dirkt You should keep in mind that the 'artefact color capability' is based mostly on how analog TVs handle color (it's encoded as the phase of the color carrier frequency), how the analog TV screen works (phosphor), and how the human eye perceives these things as color, even if changing spatially or intime. So to some degree, everything that uses an analog TV can produce such artefacts. To what degree, and to what degree these surpass the "in-built" color ability, depends heavily on the system.
Apr 3 '17 at 5:05 comment added Stephen Kitt It’s worth linking to Andrew Jenner’s explanation of the 1024 colour technique for more background information (and just general curiosity since it uses pretty much every CGA trick known so far and invents a few more).
Apr 3 '17 at 4:19 history asked Brian H CC BY-SA 3.0