Color TV uses RGB. All colors together are white - no added color is black. Analog TV had 3 guns? to combine colors received.
Printers use CMYK. You have to calibrate both screen and printer to get what you see. CMYK also uses very fine dots to combine the inks and fool the eye. All colors together make a muddy brown, so black is added.
Understanding Color
Years ago on dialup, the graphic would come in line by line. Deinterlacing smooths the whole thing out, and reduces size. Transparent animated GIFs were great. You also had to reduce the size of the graphic. 640X480@72DPI was common. Old monitors had 72DPI resolution (Apple) and 96DPI (Windows).
I know how to lay out screens for the old 4 color printing method.
I'm also pretty sure you would recognize HTML as something to do with the internet NOT an STD.
Seeing as how I built one of the first web servers for the Department of Energy, if not the first, from European sources that I modified for my platform and then launched the first page serving research test data on it, just like CERN shortly after they unveiled, yes, I recognize what HTML is and I have an excuse for having the affliction.
Your description of deinterlacing is completely incorrect.
Interlaced television frames means that for each update, half of the scan lines on the TV are produced - the odd, then even, then odd, and repeating.
Until the advent of progressive displays in the HDTV era and the transcoding from DVDs to computers, there was no such thing as deinterlacing in consumer products.
Your application of the term to early web picture rendering is not correct. Some web rendering was done in iteration, similar to interlacing, because of how jpeg data are stored and the display algorithms at the time. That's not deinterlacing.
Interlacing began for mechanical reasons and was maintained for legacy reasons.
We never discussed frames per second before progressive displays because it took two field updates to create an equivalent frame - theoretically, a 60 Hz NTSC TV (read: USA) created 30 fps, but only because of your brain reconstructing the information into perceived smooth motion pictures.
Each 60th of a second, only half of the screen was being painted.
The bare minimum for surpassing the human flicker fusion threshold is 48 images per second. Movie theaters show 24 fps films passed through a 48 Hz shutter - and even that seems jerky to some.
Interlacing allowed TV to surpass the flicker fusion threshold for most people while still making transmission possible with available bandwidth and broadcasting technologies. (And many people need a higher rate for their flicker fusion threshold to be satisfied.)
Interlacing is the act of transmitting and processing one-half of a full screen subframe at every electrical power cycle.
I asked how color TV worked, you narrowed that to how color is produced.
Ok, looking at that, the RGB model was experimented with in 1929 for TV and is how modern color monitors work (not the original ones).
So, different question, how do you get color on a color TV?
Color television however was based on the luminance model, not RGB. There you have a total luminance, and then the value of luminance off of yellow for blue and again for red. You may recall having component connections on your entertainment equipment labeled YPbPr prior to the advent of digital DVI or HDMI connections, or YCbCr where P or C means percentage or chroma.
Today we have the ATSC digital standard that's replaced the NTSC analog one. The reference RGB map is still sent but MPEG-2 broadcast or transmission, that's still cast against the stream values for YCbCr.
In analog TV, there was no final color decoding electronically. The electron guns simply excited red, green and blue phosphorus paints on the back of the TV glass to various luminance levels. Plasma TV still uses the phosphor paints on the back of the glass to achieve color.
With LCDs, the screen doesn't produce light, like phosphor paints do. Each subpixel is a shutter, aperture if you will, that opens or closes to allow the white backlight to pass. In front of that are color filters and polarizers to define each subpixel as red, green or blue.
On a DLP - digital light processor - you have either a program-controlled micromirror matrix reflecting white light through a very high speed spinning color wheel to the projection surface, or three micromirror arrays reflecting through separate color filters. Both are used in many projection TVs.
Yes, at the end, color TVs have always displayed red, green and blue and our perception machines in our skulls create a wider gamut from that.
But I didn't ask how our visual cortexes work - I asked how color television did.
How color television works: it's a YCbCr luminance engine.
Knowing that red, green and blue comes out without knowing that YCbCr went in is at the same level as knowing that a URL goes in to a web browser without knowing that HTML comes out of the web server.
You can watch color TV without knowing it's a YCbCr luminance engine and you can surf the web without knowing that your browser is an HTML engine.
Neither YCbCr nor HTML are basic knowledge metrics, they're both advanced.
Sorry - you didn't get much closer than answering the two TV questions as STDs.
Understanding technology is fun but I don't accept that it's a requirement for being a well-rounded, educated person.
PS - to some people, programming, even simple HTML, is as hard as color TV and knowing what HTML stands for is as arcane as knowing what YCbCr stands for.
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(just funnin' ya)
