Requisite Color Bandwidth for Simultaneous Color-Television Systems

McIlwain, Knox

doi:10.1109/jrproc.1952.274097

Cited by 12 publications

(1 citation statement)

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“…A year later, Knox McIlwain (1952: 910) echoed Fink’s conclusion: ‘certainly it is wasteful to transmit information which the eye cannot see.’ Although Fink attributes his orientation to color photography, this line of thinking almost exactly echoes Bell Labs’ attitudes toward speech transmission developed during the 1910s. Bell pursued basic research into hearing to understand the minimum amount of signal the phone system had to pass in order for speech to be intelligible at the other end.…”

Section: Perceptual Technics and Televisionmentioning

confidence: 97%

The Low Acuity for Blue: Perceptual Technics and American Color Television

Sterne¹,

Mulvin²

2014

Journal of Visual Culture

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This article offers a perceptual history of American color television through a study of the making of the National Television Systems Committee’s 1953 color standard. Rather than seeking out an ideal representation of color, the NTSC standard asked what the minimally acceptable level of color transmission might be for home audiences. While exploiting psychophysical research that suggested that normal eyes tended to have a lower acuity for blue, the NTSC also set their aesthetic standards according to rough measures of everyday life. The NTSC thus mobilized a conception of vision essential for modern commercial culture. The authors consider the perceptual engineering of color TV as a path into a neglected but crucial dimension of 20th-century visuality: compression. The history of color TV shows the centrality of compression to the look of many 20th-century visual media – analog and digital – and to the cultures of looking in which they circulated.

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Section: Perceptual Technics and Televisionmentioning

confidence: 97%