RU2711121C1 - Complex of four-color digital television full colours - Google Patents

Abstract

FIELD: physics.SUBSTANCE: invention relates to colour television systems. Result is achieved by the fact that on the transmitting side the system for transmitting a full colour television signal comprises on the transmitting side a colour digital video camera with sensors of purple, blue, yellow and red light of a light-receiving device, for example a multi-signal CCD array, and on receiving side colour digital television, with four-color light-emitting pixel, consisting of micro emitters of red, yellow, blue and violet light, information between a digital video camera and a digital television is broadcast using a DTS by converting a colour video camera and brightness in combination of three interconnected signals, which consists of red-blue colour difference signal RΔC, yellow-violet colour difference signal YΔV and lightness coefficient signal KΔS, which through a multiplexer of the video camera are successively included in the composition of the DTS. DTS on receiving side is received by television, in which the DTS demultiplex from the DTS signal restores said colour difference signals RΔC, YΔV and lightness coefficient KΔS, from which saturation signals are calculated, where Nr is the red saturation, Ny is the yellow saturation, Nc is the blue saturation, Nv is the violet saturation, wherein N = Nr + Ny + Nc + Nv, and brightness signals, which determine the luminescence brightness of each of the four television signal emitters of the television display pixel, which are calculated by formulas for red micro-emitter (Nr + (1-N)/4) * KΔS, for the yellow micro-emitter Ny + (1-N)/4) * KΔS , for the blue micro-emitter Nc + (1-N)/4) * KΔS, for the violet micro-emitter Nv + (1-N)/4) * KΔS, wherein pixel colour is reflected in orthogonal coordinate system as follows: positive direction of light axis R coincides with positive direction of axis X of three-dimensional Cartesian coordinate system (hereinafter CCS); positive direction of light axis Y coincides with positive direction of Y-axis CCS; positive direction of light axis C coincides with negative direction of X-axis CCS; positive direction of light axis V coincides with negative direction of Y axis of CCS; positive direction of the axis of light Gr coincides with the positive direction of the Z axis of the CCS. Pixel of television display consists of micro emitters of red, yellow, blue and violet light.EFFECT: providing a system for transmitting a full colour television signal.11 cl, 28 dwg

Description

The technical field to which the invention relates.

The present invention relates to the field of color digital television and can be used to transmit and receive television signals of broadcast and applied television, and can also become a new way to output, broadcast, process and store video information in computers, gadgets, robotics, digital photography, medicine, scientific and astronomical observations.

State of the art

Analogs of the present invention include analogue color television systems NTSC, PAL, SECAM and digital television systems having the general principle of converting color into color difference signals and the general principle of reproducing color from the obtained color difference signals.

It is known that the spectrum of a sunbeam is decomposed by a trihedral prism 1 and is projected on a screen 2, as shown in FIG. 1, in seven colors: red (hereinafter R [from the English Red]], orange (hereinafter O [from the English Orange]), yellow (hereinafter Y [from the English Yellow]), green (hereinafter G [from the English Green]), blue (hereinafter C [from the English. Cyan]), blue (hereinafter B [from the English Blue]) and purple (hereinafter V [from the English Violet]). For reference, in the table of FIG. Figure 1 shows the generally accepted wavelengths of each color, for example, blue is light radiation with a wavelength of 485 to 500 nm. Purple color (hereinafter P [from the English. Purple]) in the sunlight is absent, but it is synthesized by mixing red light with violet light.

It is known that there are six colors in the English rainbow, because blue and blue have the same name “Blue”. In the experiment shown in the figure of FIG. 1, Isaac Newton found seven colors in the sunlight, but called blue the blue, blue the violet, and the violet called indigo, which is given in Appendix 1. At present, the Russian name “blue” can roughly correspond to the English words Cyan, Sky blue , Light blue, Light sky blue or Aqua. Under the name of blue in the section "Disclosure of the invention" the English word "Cyan" is used, which is translated from English as a blue-green color, that is, lying between the green and blue spectrum of a seven-color rainbow.

Perceived by a person’s vision as a sensation of pure red, it actually consists of a mixture of the red spectrum of the rainbow with a small addition of the blue spectrum, which was published by R.W. Burnham, C.J. Barleson in “Color: A Guide to Basic Fasts and Concepts” New York; Jon Wiley 1953. p. 53. Under the red color in the section "Disclosure of the invention" means the spectrum of radiation lying between the orange and infrared spectrum of the figure of FIG. 1, without adding a blue spectrum.

All colors are divided into spectral, which are listed in the table in FIG. 1, and non-spectral colors, which include magenta, achromatic colors with different gray brightness, for example, white, as well as semi-chromatic colors in which the spectral (monochromatic) color is mixed with achromatic color. The real scenes of video shooting are mainly semi-chromatic.

Achromatic colors white (hereinafter Wt [from White]) and gray (hereinafter Gr [from English Gray]) is a complex optical mixture of light waves of various lengths. Achromatic light is synthesized by the balanced application of one or more pairs of opponent colors. In the color wheel of the drawing of FIG. 2 opponent colors are located against each other. Examples of pairs of opponent colors are green and magenta, red and cyan, yellow and violet.

Known optical law of physics "The total brightness of a mixture of colors is equal to the sum of the brightnesses of the components of the mixture.

The absence of visible light radiation from an object is perceived by a person’s vision as black (hereinafter Bk [from the English Black]).

It is known that the range of brightness of real shooting scenes varies from several lumens of moonlight to 1,000,000 lumens on the beach, while the number of gradations of brightness distinguished by the human eye does not exceed 10.

It is known that the hypotheses of color vision of a person over the centuries have been contradictory changed, which is disclosed in Appendix 1.

The basis of the modern three-component theory of color vision and three-color television were the assumptions of M.V. Lomonosov, Thomas Jung, Helmholtz, Walraven. There must be three types of receivers in the retina that are sensitive to the narrow parts of the spectrum of red, green, and blue, which is confirmed by experiments. At present, most scientists adhere to this hypothesis. However, the morphology of the eye, the structure of the retina and histology of cones are well understood. In the human retina, there are no cones with individual specialization in different colors,

There are various ways of visualizing color, for example, in the form of a locus, ball, cube, cylinder, cone, graphic representations of the color models HSB, HLS or, for example, a hardware-independent Lab model in which color is determined by brightness and two chromatic components: parameter A varying from green to red and parameter B varying from blue to yellow.

In digital color television, the image is divided into points called pixels (pixel - picture element), each of which is individually characterized by saturation, lightness and color tone, where

Saturation (Chroma) (according to Mark D. Ferschild) is the ratio of the color completeness of the viewing area to the subjective brightness of a similar illuminated area, perceived as white or highly transparent, where

fullness of color (Colorfulness) is an attribute of visual sensation, according to which the viewing area is perceived as more or less chromatic,

subjective brightness (Brightness) is an attribute of visual sensation, according to which the viewing area is perceived as emitting more or less light

or saturation (according to S. Kravkov) is the degree to which the chromatic color differs from the achromatic (gray) color equal to it in lightness. Otherwise, saturation refers to the apparent degree of noticeability of the color tone in a given chromatic color. With a decrease in saturation, each chromatic color approaches gray,

or R. Evens believes that saturation can best be defined as the percentage of hue in a color. “In everyday speech,” he writes, “the saturation of a given color is described by the words“ dim, ”“ pale, ”“ weak, ”or“ strong ”in conjunction with the name of the color tone.”

or saturation (color theory) (English colorfulness, chroma, saturation) is the intensity of a particular tone, that is, the degree of visual difference between the chromatic color and the achromatic (gray) color equal in lightness,

or saturation is the degree to which color is removed from gray of the same lightness.

The most saturated color (monochromatic) is formed when there is a radiation peak at the same wavelength, while radiation that is more uniform in spectrum will be perceived as a less saturated color.

In the section "Disclosure of the invention" saturation is classified and evaluated in the following words:

Lightness (according to Mark D. Ferschild) is the subjective brightness of viewing, evaluated relative to the subjective brightness of a similarly illuminated surface, perceived as white or highly transparent

or lightness is the degree to which a given color differs from black, usually measured by the number of thresholds for the difference from a given color to black

or lightness is the ratio of the brightness of the light flux reflected (or transmitted) by the body to the brightness of the light flux incident on the body.

or lightness is the aperture of color, characterized by the words "dark" or "light",

or lightness - a quality inherent in both chromatic and achromatic colors. Achromatic colors are characterized only by lightness. For achromatic colors, the maximum lightness is white, and the minimum lightness is black. Any chromatic color can be matched in lightness with achromatic color. With a decrease in lightness, any color gradually approaches black.

The brightness in the section "Disclosure of the invention" is classified by words and evaluated as a percentage of the maximum brightness of the display pixel:

“Bright” or “bright” (lightness about 100%),

“Light” or “light” (lightness about 75%),

"Middle" or "middle-" (lightness of about 50%) [from English middle]

“Dark” or “dark” (lightness about 25%),

“Black” (achromatic) (lightness about 0%).

Color tone (Hue) gives the name color, this is an attribute of visual sensation, due to which the viewing area is perceived as one of eight colors

or hue is the color quality determined by the light wavelength λ in nanometers. Conventional ranges of λ are listed in the table of FIG. 1),

The color tone in the section "Disclosure of the invention" is classified by the following words and evaluated by the following angles of the color tone γ of the vector M (Fig. 10) in degrees, which corresponds to the wavelength λ in nanometers:

“Red” (γ = 0, λ about 700),

“Orange” (γ = 45, λ about 610),

“Yellow” (γ = 90, λ about 580),

“Green” (γ = 135, λ about 530),

“Blue” (γ = 180, λ about 490),

“Blue” (γ = 225, λ about 460),

“Purple” (γ = 270, λ about 410),

“Purple” (γ = 0 plus γ = 315, λ about 700 plus λ about 410),

Achromatic color has no color tone.

Brightness determines the intensity of the light emitted by a unit area of a luminous surface perpendicular to the direction of light. Measured in candelas per square meter.

It is known that the existing RGB and color television systems are based on the RGB color model shown in the figure of FIG. 3, with methods for synthesizing yellow by mixing red and green light, synthesizing blue by mixing green and blue light, and synthesizing magenta by mixing blue and red light.

Digital television is based on the principles of color conversion copied from tri-color analog television NTSC, PAL and SECAM.

Known signal conditioners:

- ADC - an analog-to-digital converter from the original analog signal generates a corresponding digital signal,

- DAC - a digital-to-analog converter from the original digital signal generates the corresponding analog signal,

- INVERTER - reverses the polarity of the analog signal or the sign of the digital signal.

A known block diagram of generating a digital television signal in a digital RGB digital video camera is shown in the block diagram of FIG. 4, which corresponds to the second variant of ITU-R BT 601 recommendation. Usually, the light-to-signal converter is a light-sensing device, which consists of a set of color-separating pixels 3. Pixels are laid out in lines, and lines in frames. Three sensors 4 pixels 3, for example, a multi-signal device with surface-charge communication (hereinafter CCD), are photosensitive to all colors. But sensors are protected by individual filters that transmit red, green or blue light, respectively. The filter determines the name of the sensor. For example, a sensor protected by a red filter is called an R-sensor. The signals from the sensors 4 are digitized by a three-channel analog-to-digital converter 5 (hereinafter ADC) into the signals R, G, B, which in the adder 6 are added to the brightness signal (hereinafter ΣL). The red color difference signal (hereinafter R_ΣL) is calculated in the subtractor 7, where the luminance signal ΣL is taken from the signal R of the red sensor. Similarly, the blue color-difference signal (hereinafter B_ΣL) is calculated in the subtractor 8 according to the formula “B_ΣL = B-ΣL”. The received signals ΣL, R_ΣL and B_ΣL are received in the DSP 10 signal multiplexer, which sequentially generates a digital television signal (hereinafter DTC). The clock generator 9 (hereinafter GTI) creates a set of synchronizing pulses of Si, which are necessary, in particular, for line-by-line "sampling" of pixels from the CCD. Si digital pulses are added to the PZT.

It is known that on the receiving side the signal-to-light converter of color TVs, computers and smartphones is a display, the screen of which consists of multi-colored dots emitting light, grouped into pixels. Each RGB pixel includes red, green, and blue micro-emitters. A red pixel light is obtained by activating a red micro-emitter. Similarly emitted green and blue. Yellow with an admixture of gray is obtained by simultaneously activating red and green micro-emitters according to the formula "Y = R + G". Blue color with an admixture of gray with simultaneous activation of green and blue micro-emitters according to the formula "C = G + B". Magenta color with simultaneous activation of blue and red micro-emitters according to the formula "P = B + R".

Digital RGB color televisions are known that operate on the principle of color recovery of analog NTSC, PAL or SECAM systems, as shown in the block diagram of FIG. 5. The DTC demultiplexer 11 reconstructs a red color difference signal R_ΣL, a blue color difference signal B_ΣL, a luminance signal ΣL of each pixel and synchronizing pulses Si from a digital television signal. The signal R_ΣL in the adder 12 is added to the signal ΣL. The received red signal R is fed through a digital-to-analog converter 15 (hereinafter, the DAC) to the red microradiator 18 of the pixel 17 of the display 16. Similarly, the signal B_ΣL in the adder 13 is added to the signal ΣL. The obtained blue signal B, calculated by the formula B = B_ΣL + ΣL, is supplied through the DAC to the blue micro-emitter 19. The luminous intensity of the green micro-emitter 20 is determined in matrix 14 by the empirical formula "G = (1-0.51 * R-0.19 * B)" .

Analog systems NTSC, PAL, SECAM differ in methods of transmitting color-difference signals and methods of color synchronization. For example, NTSC uses the method of phase quadrature modulation of one subcarrier frequency simultaneously with two color difference signals, and in SECAM the method of frequency modulation of one subcarrier frequency with alternately red or blue color difference signals.

In analog television, the luminance and color difference signals are broadcast in parallel by inserting color-difference signals into the spectrum of the luminance signal, and in digital television, a PZT broadcasts in which the red color-difference signal, blue color-difference signal and luminance signals alternate.

According to the recommendations of ITU-R BT 601, there are two options for digital RGB video cameras. In the first embodiment, analog color-difference signals R_ΣL, B_ΣL and an analog luminance signal ΣL are generated from the analog signals of the pixel sensors, which are fed to the ADC and then to the DSP multiplexer.

In the second embodiment, the signals from the pixel sensors are immediately digitized by the ADC and then processed digitally, but with the same principle of color conversion as the first option.

Si synchronizing pulses according to ITU-R BT 601 recommendation are located at the zero and maximum level of the DSP. Between these levels and the internal levels that contain video information, reserve zones are created that are necessary in case the output of irregular transmitted video signals falls outside the nominal range. Reserve zones, as a rule, are empty, but for them it is necessary to expand the bandwidth of the central heating system, which is not economically viable.

Existing RGB color television complexes are called tri-color, but are actually four-color. As the fourth color, a purple color is synthesized on the TV by adding the light of the red and blue micro-emitters. The magenta is opposed to green and is needed to produce white. If we take into account that green color occupies a large part of the spectrum and is not transmitted through the communication channel, but is calculated in the matrix 14 of the flowchart of FIG. 5, the difficulty of balancing white becomes clear. For example, at low brightness, the gray color on the display screen tends to acquire a greenish tint.

After the rejection of cathode ray tubes and the introduction of microprocessors in the design of televisions, hardware compatibility with prototypes has lost its relevance.

A review of the existing RGB color television systems allows us to conclude that there is little promise in the further development of color digital television on the ideas of color analog. The economically disadvantageous variety of television complexes, which also differ in frame rate, number of lines per frame, and many other incompatible features inherited from regional prototypes of analog black-and-white and color television, puts off the prospect of switching to a unified television standard. When transcoding from one system to another, effects of the second kind begin to appear. The benefits of one system cannot be transferred and used in another.

But the main and fundamentally incorrigible shortcomings of RGB color television systems include the absence of FIG. 3 violet color, which, according to psychologists, has a strong effect on a person’s spiritual state, replacing a set of natural red color spectra with a fixed imitation of red color, as well as the impossibility of obtaining saturated orange, yellow and blue colors. Because of this, the color sensation of shooting scenes is distorted on the TV screen. Human consciousness is forced to speculate colors such as blue sky. Currently, the European DVB digital television system, American ATSC, Japanese ISDB, Chinese and Korean DMB with many options are being operated, which indicates the lack of perfection of each of them.

In modern technology, such as the Texas Instruments, the traditional red, green, and blue channels are complemented by three more: cyan, magenta, and yellow. Mitsubishi and Samsung use this technology on some televisions to expand the range of colors displayed. Sharp introduced Quattron technology, which expands its familiar RGB pixel components with a fourth yellow subpixel.

The closest analogue is the SECAM system.

Disclosure of the invention

The Full Color Four-color Digital Television Complex (hereinafter referred to as the Full Colors Complex) is based on the unpublished hypothesis of the author Noskova A.G. (hereinafter referred to as the hypothesis) on the four-color spectral sensitivity of the human retinal cone. According to this hypothesis, each retinal cone has four receivers that distinguish red, yellow, blue and violet, with the blue receiver opposing the red receiver and the violet receiver opposing the yellow receiver. Additive (optional) colors are felt while activating two non-opponent receivers. Orange is felt when excited by red and yellow receivers. Green when excited yellow and blue receivers. Blue color when excited blue and violet receivers. Magenta when excited by red and violet receivers. As a result, orange is opposed to blue, and green is opposed to magenta. White color is the result of balanced excitation of one or two pairs of opponent receivers.

The color synthesis is shown in the Full Colors color model of FIG. 6, where at the places of overlapping light spots of the spotlights of red 21, yellow 23, cyan 25 and violet 27 colors, additive orange 22, green 24, blue 26 and magenta 28 colors are synthesized, and white 29 is synthesized at the place of addition of the light of the four spotlights.

With an alternative method for synthesizing colors, the spotlights of the spotlights are reduced to one place, but the brightness of the red R, yellow Y, cyan C and purple V spotlights is modulated in accordance with the color synthesis table of FIG. 7. Formulas for modulating spotlights in color synthesis: “Red = (R * 1 + Y * 0 + C * 0 + V * 0) * 100%”, “Orange = (R * 0.5 + Y * 0.5 + C * 0 + V * 0) * 100% "," Yellow = (R * 0 + Y * 1 + C * 0 + V * 0) * 100% "," Green = (R * 0 + Y * 0.5 + C * 0.5 + V * 0) * 100% "," Blue = (R * 0 + Y * 0 + C * 1 + V * 0) * 100% "," Blue = (R * 0 + Y * 0 + C * 0.5 + V * 0.5) * 100% ”,“ Purple = (R * 0 + Y * 0 + C * 0 + V * 1) * 100% ”,“ Purple = (R * 0.5 + Y * 0 + C * 0 + V * 0.5) * 100% "," White = (R * 0.25 + Y * 0.25 + C * 0.25 + V * 0.25) * 100%. "

These formulas, in accordance with the physical law of the brightness of a mixture of colors, ensure the same brightness of the color spot in all synthesized colors.

In the graph of FIG. Figure 8 shows the unpublished concept "Saw of the colors of human vision" (hereinafter referred to as the concept) (by A. Noskov), which predicts the amplitude-wave photosensitivity of the four receivers of the eye cone. The concept is the physical basis of the principle of color separation of the Full Colors Complex. Violet light is perceived by the light receiver 30 with a signal level equal to 100% at a wavelength matching the peak 27. Similarly, signals with an amplitude of 100% at the corresponding vertices 25, 23 and 21 are perceived by the blue 31, yellow 32, and red 33 light receivers. Sensation blue occurs at point 26, at which the graphics of the violet light receiver 30 and the blue light receiver 31 intersect at a level of 50%. A green sensation occurs at point 24, at which the graphics of the blue light receiver 31 and yellow light 32 intersect at 50%. The orange sensation arises at point 22, at which the graphics of the receiver of yellow light 32 and red light 33 intersect at a level of 50%.

It is proposed to reflect the brightness of the searchlights according to modulation formulas or signal levels of the concept receivers in the orthogonal four-dimensional coordinate system “color cross” of FIG. 9 (hereinafter 4KZ), in which all four axes lie in the same plane. The 4KC is similar to the cardinal directions of the compass and has four positive directions.

In the center of 4KC there is a zero point 35 (achromatic) in black.

To the "east" from the center 35 the red axis "Light R" is directed, on which there is a point 21 of red color with a brightness of 100%.

To the “north” from the center of 35 is the yellow axis “Light Y”, on which there is a yellow point 23 with a brightness of 100%.

To the “west” from the center of 35 is the blue axis “Light C”, on which there is a point 25 of blue color with a brightness of 100%.

To the "south" from the center of 35 is the violet axis "Light V", on which there is a point 27 of violet color with a brightness of 100%.

The straight lines connecting points 21, 23, 25, and 27 form a Full Colors rhombus 34 of FIG. 9 (hereinafter referred to as a rhombus). The perimeter of a rhombus is a geometric location of color points with a constant saturation equal to, for this case, 100%.

In the middle of the rhombus side 21, 23 of FIG. 9 is point 22 in orange. In the middle of the side 23, 25 is a point 24 of green color. In the middle of side 25, 27 is a point 26 of blue. In the middle of side 27, 21 is a purple dot 28.

When moving around the perimeter of the rhombus, the colors change smoothly. Intermediate colors exist between the primary and secondary colors, for example, between green and blue colors there is a green-blue color, called a sea wave, and between yellow and green colors there is a yellow-green color, called light green.

Obviously, for accurate color reproduction it is necessary to take into account the above features of color vision of a person. Therefore, the rhombus 34 of FIG. 10 The Full Colors complex is similar to the rhombus 34 of FIG. 9, but points 21, 23, 25 and 27 have values of one unit.

The color point 37 of FIG. 10 of the current pixel lying on the perimeter of rhombus 34, is described by a vector M directed from the center of the 4QCC (point 35) to point 37. The angle γ 36 determines the color tone of point 37 in accordance with the table of FIG. 11. For example, the red color of point 21 corresponds to the angle of hue γ equal to zero, and the green color of point 24 corresponds to the angle of hue γ equal to 135 degrees.

The direct translation of the vector module and the vector angle of each pixel requires the introduction of a converter from a four-dimensional coordinate system 4KZ to polar, and in the TV reverse conversion from a polar system to four-dimensional 4KZ. The disadvantage of this method is a significant increase in the amount of computation, both in the camcorder and in the TV. For this and other reasons, this method is not further considered.

Next, a method for transmitting color characteristics by broadcasting projections of the color point 37 of FIG. 10 on two of the four axes of 4KZ, which is the most compact. The values of the saturation projections Nr, Ny, Nc and Nv for color tones are shown in the table of FIG. 11, where the absence of the projection of point 37 from a given 4KZ quadrant onto the corresponding axis is indicated by zero. Any color point lying on the perimeter of rhombus 34 obeys the formula “Nr + Ny + Nc + Nv = 1”, where the projection values Nr, Ny, Nc, and Nv associated with the rhombus vary from zero to plus 1 unit inclusive. In strong (maximally saturated and belonging to the perimeter of the rhombus 34) colors, after substituting the values of Nr, Ny, Nc, Nv from the table of FIG. 11, the formula will take the form, for example, for red “1 + 0 + 0 + 0 = 1”, for orange “0.5 + 0.5 + 0 + 0 = 1”, for yellow “0 + 1 + 0 + 0 = 1 , for green “0 + 0.5 + 0.5 + 0 = 1”, for blue “0 + 0 + 1 + 0 = 1”, for blue “0 + 0 + 0.5 + 0.5 = 1”, for purple “ 0 + 0 + 0 + 1 = 1 ", for the purple color" 0 + 0 + 0.5 + 0.5 = 1 ", for the" green "yellow-green color" 0 + 0.75 + 0.25 + 0 = 1 "and for green-blue colors "sea wave" "0 + 0.25 + 0.75 + 0 = 1".

Rhombus has the following property. The sum of the projections of the color point 37 on the horizontal axis and the vertical axis of 4KZ is always equal to a constant number. For example, for a rhombus 34, reflecting the most saturated color, a constant number is 1 unit. For diamond 38, reflecting half the saturation, a constant number is 0.5 units. For the black dot 35, the constant number of degenerate rhombus is zero. The indicated constant rhombus number is hereinafter referred to as saturation N.

Further, the Full Color saturation formula means the expression N = Nr + Nc + Ny + Nv. Saturation N varies from zero for point 35 of achromatic color in the center of 4KC to one unit for point 37 if it is located anywhere on the perimeter of rhombus 34 of FIG. 10.

In the Full Colors Complex, the saturation, lightness and color tone of the point 37 of FIG. 10 is transmitted by the red-blue color-difference signal RΔC and the yellow-violet color-difference signal YΔV, calculated by the formulas "RΔC = Nr-Nc" and "YΔV = Ny-Nv". The signals RΔC and YΔV contain information about the color characteristics in an implicit form. For example, RΔC and YΔV for any achromatic color, for example, white, gray or black, are zero. For red, RΔС = 1 and YΔV = 0. For orange, RΔС = 0.5 and YΔV = 0.5. For yellow, RΔС = 0 and YΔV = 1. For green (RΔС = -0.5) and YΔV = 0.5. For blue (RΔС = -1) and YΔV = 0. For blue (RΔС = -0.5) and (YΔV = -0.5). For the violet color, RΔС = 0 and (YΔV = -1). For magenta, RΔС = 0.5 and (YΔV = -0.5). Examples of input data and calculated values of RΔC and YΔV for strong colors are shown in the table of FIG. 11. Negative values of color-difference signals are necessary for the unambiguity of the translation of the color tone of the color.

Brightness for human vision is dominant. In the Full Colors Complex, instead of the brightness of each pixel, the lightness coefficient (hereinafter referred to as KΔS), calculated by the formula "KΔS = ΣL / PikL", is transmitted, where:

ΣL is the sum of the signals of the four pixel sensors,

PikL is the value fixing the peak (maximum) value ΣL of the previous frame.

In the Full Colors Complex, the sequence of the red-blue color-difference signal RΔC, the yellow-violet color-difference signal YΔV and the signal of the coefficient of lightness KΔS is called the Full Colors color triad (hereinafter color triad)

In FIG. 12 is a block diagram of a Full Colors video camera in which four signals from a color-separating video pixel 3 (hereinafter the video pixel) of the light-signal light-receiving converter are converted to a color triad. Next, the DSP 10 multiplexer from the color triad and synchronizing pulses of Si from the GTI 9 forms a digital television signal.

The principle of operation of the video pixel 3 of FIG. 12 is considered using an example of a CCD pixel consisting of four broadband sensors protected by individual filters. The filters have light transmission characteristics similar to the sensitivity graphs of red 30, yellow 31, cyan 32 and violet 33 of the concept receivers, as shown in FIG. 8.

The R-sensor 40 of the red light of the video pixel is protected by a filter that is transparent to red and orange light, the remaining colors are cut off.

The C-sensor 41 of blue light is protected by a filter that is transparent to green, blue and blue light, the remaining colors are cut off.

The Y-sensor 42 of yellow light is protected by a filter that is transparent to orange, yellow and green light, the remaining colors are cut off.

V-sensor 43 of violet light is protected by a filter that is transparent to blue and violet light, the remaining colors are cut off.

As a result of light exposure in the video pixel:

from red light, signals are generated in the R-sensor 40.

from orange light, signals are generated in the R-sensor 40 and in the Y-sensor 42.

from yellow light, signals are generated in the Y-sensor 42.

from green light, signals are generated in the C-sensor 41 and in the Y-sensor 42.

from blue light, signals are generated in the C-sensor 41.

from blue light, signals are generated in the C-sensor 41 in the V-sensor 43.

from violet light, signals are generated in the V-sensor 43,

from purple light, signals are generated in the R-sensor 40 and in the V-sensor 43.

From white (sunlight) signals are generated simultaneously in four sensors.

The four-channel ADC 44 converts the analog signals from the video pixel sensors to the corresponding digital signals Sr red, Sy yellow, Sc blue and Sv purple. The presence of signals in the channels is reflected in the table of FIG. thirteen.

The signals in the channels vary over a wide range and are limited by the level of illumination of shooting scenes, aperture ratio, sensitivity of the video pixel sensors and ADC characteristics.

In order to adapt the real brightness of objects to the peculiarities of human vision at the output of the adder of channels 45 of FIG. 12, a signal is generated according to the formula “ΣL = Sr + Sy + Sc + Sc + Sv”. The signal ΣL branches out to the input of the peak brightness detector 48, to the input “divider” of the shaper 49 of the red-blue color-difference signal RΔC, to the input “divider” of the shaper 50 of the yellow-violet color-difference signal YΔV and to the input of the “dividend” brightness normalizer 51.

In the RC subtractor 46, the blue channel signal Sc is taken from the red channel signal Sr and the RC signal is generated. Similarly, in the YV subtractor 47, the output signal is calculated by the formula “YV = Sy-Sv”. The output signals of the RC-subtractor 46 and the YV-subtractor 47 are sent to the input "dividend", respectively, of the shaper 49 of the red-blue color-difference signal RΔC and the shaper 50 of the yellow-violet color-difference signal YΔV, in which the color-difference signals of the color triad are calculated by the formulas

"RΔC = RC / ΣL" and "YΔV = YV / ΣL".

In the block diagram of the video camera of FIG. 12 The brightness of shooting scenes is analyzed independently of the processing of color signals. In the peak brightness detector 48, the PikL value changes with the frame rate as a result of frame-by-frame analysis of the peak (maximum) ΣL values of each pixel of the previous frame (or several previous frames).

The image analysis algorithm distinguishes and bypasses small very bright objects, for example, car headlights, street lamps, the sun and, conversely, for astronomical observations it is tied to the brightness of the observed star. The output signal PikL changes before the start of the frame and remains unchanged until the end of the current frame.

If in the camcorder due to the peculiarities of the video from frame to frame, the PikL signal starts to randomly change, then on the TV screen, the brightness of the frame will “blink”. To combat the effect of an annoying change in the brightness of the frame, in the peak brightness detector 48, the peak PikL values of several previous frames are integrated (added) and divided by the number of integrated frames, for example, in a time period of 100 frames.

The synchronizing pulses Si from the GTI 9 are used by a CCD video pixel 3, a peak brightness detector 48, and a DSP 10 multiplexer to organize their work.

In the brightness normalizer 51, the normalized brightness is calculated by the formula “KL = ΣL / PikL”.

In some cases, the normalized brightness KL can take increased values, for transmission of which in the trunk of the communication line an undesirable reserve of bandwidth is required. Therefore, in the brightness limiter 52, the signal KL is compared with the optimum level of limitation Uo. The brightness limiter 52 operates according to the logical formula "If KL is less than Uo, then KΔS = KL, otherwise KΔS = Uo." Thus, the output signal KΔS of the brightness limiter 52 does not exceed the optimal level of limitation Uo.

In the Full Colors Complex, the level of restriction Uo is taken equal to 1 unit. The limitation of the lightness coefficient KΔS does not distort the value of the saturation and color tone of the pixel on the TV display. For example, with a KΔS value equal to unity, the brightness of red, yellow, blue or violet micro-emitters reaches its maximum physical value. A further increase in the KΔS signal may result in color distortion.

When reproducing white, the brightness of each of the four microradiators does not exceed 0.25 of the physical maximum value, but the optical summation of the brightness ensures equal brightness of white and monochromatic colors.

In special cases, for example for astronomical observations, an increase in the optimal limit level to 2, inclusive, allows you to record particularly bright orange, green, blue and purple colors, and an increase in the optimal limit level to 4 inclusive, allows you to record dazzling white colors. But during playback or computer analysis of the recording, it is necessary to take into account possible color distortions in a person’s vision.

The generated color triad signals RΔC, YΔV and KΔS and the synchronizing pulses Si from the GTI 9 are fed to the input of the DSP 10 multiplexer of Fig. 12, which sequentially generates a digital television signal.

The color triad of the signals RΔC, YΔV and KΔS in FIG. 14 is shown in a three-dimensional Cartesian coordinate system. The bipolar rhombus 39 of FIG. 14 differs from rhombus 34 of FIG. 10 and a negative value of blue and purple.

The bipolar red-blue color difference signal RΔC is plotted on the red-blue “RC axis”, which changes from minus one unit inclusively for blue through zero for achromatic color to plus one unit inclusively for red.

The bipolar yellow-violet color difference signal YΔV is plotted on the yellow-violet “YV axis”, which changes from minus one unit inclusively for violet through zero for achromatic color to plus one unit inclusively for yellow.

On the vertical “axis Gr” (gray axis), the unipolar luminosity coefficient KΔS is plotted. When KΔS changes from zero for black to one unit for bright color, the bipolar rhombus 39, without changing its size and horizontal location, detaches from the plane “axis RC”, “axis YV” and rises to the position shown when KΔS is 1 unit. In this case, the achromatic point in the center of the bipolar rhombus changes its color from black (at point 35) through shades of gray to white (at point 29).

Examples of color difference signal values, depending on the color tone, are given in the columns RΔC and YΔV of the table of FIG. eleven.

In FIG. 15 shows an embodiment of a four-color emitting pixel of a Full Colors TV display. The display pixel consists of micro-emitters of red 53, yellow 54, blue 55 and purple 56 light. The final color of the pixel glow depends on the intensity of the micro-emitters.

When one red, yellow, blue or violet micro-emitter is activated, the corresponding pixel light is obtained.

When red and yellow micro-emitters are activated, the pixel light is orange.

When activating the yellow and blue micro-emitters, the pixel light is green.

When the blue and violet micro-emitters are activated, the pixel light is blue.

When violet and red micro-emitters are activated, the pixel light is magenta.

With the simultaneous activation of red, yellow, blue and violet micro-emitters, as well as red and blue or yellow and violet micro-emitters, the pixel light is achromatic white.

Deactivation of all pixel micro-emitters against the background of other luminous pixels is perceived as black. The dependence of the color of the display pixel on the brightness of the micro-emitters is shown in the table of FIG. 16.

The block diagram of the Full Colors TV (hereinafter referred to as the TV) is shown in FIG. 17. The television converts the DSP signal to the brightness of the micro-emitters of the pixel of the display 77 of the display 76 of FIG. 17, which is shown in FIG. fifteen.

The DSP demultiplexer 11 reconstructs from the DSP signals RΔC, YΔV and KΔS of the color triad and synchronizing pulses of Si.

The bipolar red-blue color-difference signal RΔC of the color triad branches to the red-blue signal demultiplexer 59 and to the red flag shaper 57. The output signal Fr of the flag shaper is set to Boolean "False" if the signal RΔC is less than zero, otherwise Fr is "True". When Fr is True, the signal RΔC is sent by the red-blue signal demultiplexer 59 to the output Nr of the red color saturation, otherwise the negative signal RΔC is switched to the input of the inverter blue 61. At the output of the inverter 61, Nc blue saturation is formed.

Similarly, the bipolar yellow-violet color difference signal YΔV of the color triad branches to the demultiplexer of yellow-violet signal 60 and to the yellow flag former Fy 58. The output signal Fy of the flag former is set to Boolean if false, YΔV is less than zero, otherwise Fy is True ". When Fy is True, the signal YΔV is sent by the demultiplexer of the yellow-violet signal 60 to the output Ny of the saturation of yellow, otherwise the negative signal YΔV switches to the input of the inverter of the violet 62. At the output of the inverter 62, the Nv of the saturation of the violet color is formed.

The signals of the inactive outputs of the demultiplexers 59 and 60 are always zero.

In the saturation matrix 63 of FIG. 17 by the saturation formula Full Colors "N = Nr + Ny + Nc + Nv" the saturation is calculated.

In the shaper of semi-chromatic red 64, semi-chromatic red is calculated by the formula “Rƒ = Nr + (1-N) / 4”.

In the semi-chromatic blue shaper 65, the semi-chromatic blue is calculated by the formula “Cƒ = Nc + (1-N) / 4”.

In the shaper of semi-chromatic yellow 66, semi-chromatic yellow is calculated by the formula "Yƒ = Ny + (1-N) / 4".

a semi-chromatic violet shaper 67 according to the formula “Vƒ = Nv + (1-N) / 4”, semi-chromatic violet is calculated.

The generated signals Rƒ, Cƒ, Yƒ and Vƒ are fed to the corresponding brightness modulators 68, 69, 70 and 71, in which the signals of semi-chromatic colors are multiplied by the lightness coefficient KΔS of the color triad according to the corresponding formulas “Rƒ * KΔS”, “Cƒ * KΔS”, “Yƒ * KΔS "and" Vƒ * KΔS ". The obtained modulated semi-chromatic signals through digital-to-analog converters 72, 73, 74 and 75 control the luminance of the respective micro-emitters of red 53, blue 55, yellow 54 and purple 56 pixels of the TV display 77.

Brief Description of the Drawings

FIG. 1. Decomposition of the spectrum of natural sunlight into seven constituent colors of a seven-color rainbow, where 1 is a light-refracting prism, 2 is a light-reflecting screen. The table shows the generally accepted wavelengths of colors in nanometers and the corresponding color names in English. Invisible infrared color has a wavelength of more than 740 nm.

FIG. 2. A color wheel consisting of eight color tones in which white light is synthesized by opposing opponent colors.

FIG. 3. The RGB color model of existing color television complexes, where the light spots of red [λ = 700 nm], green [λ = 546.1 nm] and blue [λ = 435.8 nm], pairwise mixed with each other, synthesize yellow , blue or purple, and when mixed in the center, they are perceived by the person’s vision as achromatic white. In square brackets are the wavelengths that the International Lighting Commission standardized in 1931 as primary colors.

FIG. 4. The block diagram of the RGB color digital video camera based on the principle of color and brightness conversion of analog systems NTSC, PAL or SECAM, where 3 is the color-separating pixel of the light-signal light-receiving transducer, 4 is red, green and blue pixel sensors, 5 - three-channel analog-to-digital converter, 6 - ΣL adder of signals of red R, green G and blue B, 7 - subtractor from red signal R of signal ΣL, 8 - subtractor from blue signal B of signal ΣL, 9 - clock generator, 10 - signal multiplexer PZT, ΣL - luminance signal, R_ΣL - red color-difference signal, B_ΣL - blue color-difference signal, Si - clock pulses, PZT - digital television signal.

FIG. 5. RGB block diagram of a color digital TV, where 11 is the DTC signal demultiplexer, 12 is the red channel adder, 13 is the blue channel adder, 14 is the green channel signal calculation matrix, 15 is the digital-to-analog converter, 16 is the display, 17 is a light-emitting RGB display pixel, 18 is a red light emitter, 19 is a blue light emitter, 20 is a green light emitter, ΣL is a luminance signal, R_ΣL is a red color difference signal, B_ΣL is a blue color difference signal, Si is a sync pulse, a DTC is a digital television signal ..

FIG. 6. Full Colors color model showing the result of a semi-combined superposition of light spots of red 21, yellow 23, cyan 25 and violet 27 spotlights, where the colors from the superposition of two spotlights: 22 - orange, 24 - green, 26 - blue, 28 - magenta, colors from the application of three spotlights: light purple, light blue, light yellow, light red and the color from the application of four spotlights: 29 - achromatic white. White color 29 is also synthesized by applying light of red 21 and cyan 25 floodlights or yellow 23 and violet 27 floodlights.

FIG. 7. The color synthesis table by the combined application of spotlights (converting four spotlights into one light spot) and modulating their brightness in order to reproduce monochromatic colors of the same brightness, where “Spotlight R” is a spotlight of red light, “Spotlight Y” is yellow light, “Spotlight C ”- blue light,“ Spotlight V ”- purple light, for which 100% corresponds to the maximum brightness, 50% - half brightness, 0% - the searchlight is off, in the column“ Colors ”after the color name in parentheses is the number of the color designation on ig. 6.

FIG. 8. The concept of “Sawing the colors of human vision,” reflecting the hypothesis of four-color spectral sensitivity of the human retina cone, where 30 is a sensitivity graph of a purple light receiver, 31 is a sensitivity graph of a blue light receiver, 32 is a sensitivity graph of a yellow light receiver, 33 is a sensitivity graph red light receiver

21 - point of red color with amplitudes [V = 0, C = 0, Y = 0, R = 100],

22 - point of orange color with amplitudes [V = 0, C = 0, Y = 50, R = 50],

23 - yellow point with amplitudes [V = 0, C = 0, Y = 100, R = 0],

24 is a green point with amplitudes [V = 0, C = 50, Y = 50, R = 0],

25 - blue point with amplitudes [V = 0, C = 100, Y = 0, R = 0],

26 - point of blue color with amplitudes [V = 50, C = 50, Y = 0, R = 0],

27 - point of violet color with amplitudes [V = 100, C = 0, Y = 0, R = 0],

Coordinate A - the amplitude of the signal of the light receiver in percent,

The coordinate λ is the wavelength in nm.

FIG. 9. The rhombus of saturation Full Colors in the orthogonal four-dimensional coordinates “color cross” with the axes of red, yellow, blue and violet light, located in the same plane, where

34 - diamond

21 - point of red light with a brightness of 100%,

22 - point of orange color with a brightness of red light of 50% and a brightness of yellow light of 50%,

23 - point of yellow light with a brightness of 100%,

24 - point additive green color with a brightness of yellow light of 50% and a brightness of blue light of 50%,

25 - point of blue light with a brightness of 100%,

26 - point additive blue with a brightness of blue light of 50% and a brightness of violet light of 50%,

27 - point with a brightness of violet light equal to 100%,

28 - point additive purple color with a brightness of red light of 50% and a brightness of violet light of 50%,

35 - point (achromatic) black with a brightness of zero%,

"Light R" is the axis of brightness of red light,

"Light Y" is the yellow axis of brightness,

"Light C" - the axis of brightness of blue light,

"Light V" is the axis of brightness of the violet light.

On the perimeter of diamond 34 there are color points with a saturation of 100%.

FIG. 10. Color points on the perimeter of rhombs with different saturation,

where the names of the points 21 to 28 correspond to FIG. 9, 34 - a rhombus with a saturation of 1 (100%), 35 - a point of achromatic black color, 36 - an angle of a color tone γ of a vector M, 37 - a color point pointed to by a vector M of color saturation, 38 - a rhombus with a saturation of 0.5 (50 %), light R is the axis of brightness of red, light Y is the axis of brightness of yellow, light C is the axis of brightness of blue, light V is the axis of brightness of purple,

Nr - the projection of the color point 37 on the axis of "light R", when the point 37 is in the first or fourth quadrant,

Ny - the projection of the color point 37 on the "light Y" axis, when the point 37 is in the first quadrant or second quadrant,

Nc is the projection of the color point on the axis of "light C" when the point 37 is in the second or third quadrant,

Nv is the projection of the color point onto the “light V” axis when the point 37 is in the third or fourth quadrant.

On the perimeter of rhombus 34 there are color points with a saturation of 1.

On the perimeter of rhombus 38 there are color points with a saturation of 0.5.

FIG. 11. The table of color points of the perimeter of the rhombus 38 of FIG. 10, where one unit on the 4KZ axis is equal to the maximum saturation of red 21, yellow 23, cyan 25 or violet 27 of the color of FIG. 10 where

Nr is the value of the projection of point 37 on the red axis,

Nc is the projection value of 37 on the blue axis,

Ny is the projection value of 37 on the yellow axis,

Nv - projection value of 37 on the violet axis

A zero value of Nr, Nc, Ny or Nv means the absence of projection on this axis.

N is the saturation value of the rhombus at which point 37 is located, which moves along the perimeter of rhombus 38.

Saturation is calculated by the formula "N = Nr + Ny + Nc + Nv",

γ is the angle of the color tone 36 of the vector M of the point 37 of FIG. 10,

RΔC is the color difference signal of the bipolar rhombus 39 of FIG. 14 according to the formula "Nr-Nc",

YΔV is the color difference signal of the bipolar rhombus 39 of FIG. 14 according to the formula "Ny-Nv".

FIG. 12. The block diagram of the Full Colors video camera, where 3 is a color-separating video pixel of a light-signal light-sensing converter (hereinafter video pixel), 9 is a clock pulse generator, 10 is a TsTS multiplexer, 40 is a red light R-sensor, 41 is a C-sensor blue light, 42 - yellow light Y-sensor, 43 - violet light V-sensor, 44 - four-channel analog-to-digital converter, 45 - channel adder, 46 - RC subtractor, 47 - YV subtractor, 48 - peak brightness detector, 49 - shaper of a red-blue color-difference signal RΔC, 50 - shaper yellow-f yolet color-difference signal YΔV, 51 - brightness normalizer, 52 - driver-limiter, Si - synchronizing pulses, Sr - digital signal of the red channel, Sc - digital signal of the blue channel, Sy - digital signal of the yellow channel, Sv - digital signal of the purple channel, ΣL is the arithmetic sum of the signals Sr, Sc, Sy, and Sy, PikL is the peak value of the signals ΣL of the previous frame, RΔC is the red-blue color difference signal, YΔV is the yellow-violet color difference signal, KL is the normalized brightness signal, KΔS is the signal for the lightness coefficient, DTC - digital television signal.

FIG. 13. The presence of Sr signals in red, Sy in yellow, Sc in blue and Sv in the violet channels of the video camera of FIG. 12 when illuminating the video pixel with the colors indicated in the rows of the table, where the plus sign indicates the fact of signal generation, otherwise the signal is zero.

FIG. 14. The Color Triad Full Colors, consisting of a bipolar red-blue color-difference signal RΔC, deposited on the red-blue "Axis RC", a bipolar yellow-violet color-difference signal YΔV, deposited on the yellow-violet "Axis YV" and a unipolar luminance factor KΔS, deferred on the gray “Axis Gr”, in a three-dimensional Cartesian coordinate system, where 35 is a black point, 39 is a bipolar rhombus at KΔS = 0, and the names of the color points 21 through 28 correspond to FIG. 10, but the signs and meanings of these points are shown in the columns RΔC and YΔV of the table of FIG. 11. When KΔS changes from zero to unity, the bipolar rhombus moves vertically along the “Gr axis” without changing its scale and horizontal position.

FIG. 15. An example of a light emitting pixel of a television display, where 53 is a red light micro-emitter with a maximum brightness value at a point 21 on the “Light R” axis of FIG. 9, 54 - yellow light micro-emitter, with a maximum brightness value at point 23 on the “Light Y” axis of FIG. 9, 55 - micro-emitter of blue light with a maximum brightness value at point 25 on the axis “Light C” of FIG. 9, 56 — a micro-emitter of violet light, with a maximum brightness value at point 27 on the “Light V” axis of FIG. 9.

FIG. 16. The color synthesis table of the micro-emitters of the light emitting pixel of the display of FIG. 15, where X denotes the off state of the microradiator, 50% is the half brightness of the microradiator, 100% is the maximum brightness of the glow of the microradiator.

FIG. 17. The block diagram of the Full Colors TV, where 11 is a DTC demultiplexer, 53 is a red light emitter, 54 is a yellow light emitter, 55 is a blue light emitter, 56 is a violet light emitter, 57 is a red flag shaper, 58 is a flag shaper yellow, 59 - a red-blue signal demultiplexer, 60 - a yellow-violet signal demultiplexer, 61 - a blue inverter, 62 - a violet inverter, 63 - a saturation matrix, 64 - a semi-chromatic red shaper, 65 - a semi-chromatic blue shaper, 6 6 - a shaper of semi-chromatic yellow, 67 - a shaper of semi-chromatic violet, 68 - a modulator of brightness of red, 69 - a modulator of brightness of blue, 70 - a modulator of brightness of yellow, 71 - a modulator of brightness of violet, 72 - DAC of red, 73 - DAC of blue, 74 - DAC of yellow and 75 - violet DAC, 76 - display, 77 - light-emitting pixel of the display, Si - synchronizing pulses, RΔC - red-blue color-difference signal, YΔV - yellow-violet color-difference signal, KΔS - lightness coefficient signal, Fr - red flag, Fy - yellow flag, Nr - si red saturation, Ny - yellow saturation signal, Nc - blue saturation signal, Nv - violet saturation signal, N - saturation signal, Rƒ - semi-chromatic red signal, Cƒ - semi-chromatic blue signal, Yƒ - semi-chromatic yellow signal, Vƒ - semi-chromatic violet signal .

FIG. 18. Full Color Complex Health Check Spreadsheet, on which signal conversion formulas were tested and worked out, where signals from red 40, blue 41, yellow 42 and violet 43 sensors of the video pixel 3 of the video camera (block diagram of Fig. 12) are simulated by manual input into cells E4, E5, E6 and E7,

the signal PikL of the peak brightness detector in cell E10 is either calculated automatically by the formula E10 = E9, or simulated by manually entering into cell E10,

the television receives a color triad from the video camera, consisting of a signal of the coefficient of lightness KΔS (per cell D17), a red-blue color-difference signal RΔC (per cell D19), a yellow-violet color-difference signal YΔV (per cell D20),

The saturation, lightness and color tone of a pixel on a TV display is determined by a combination of the brightness of the micro-emitters in percent:

for the yellow microradiator given in cell J16,

for the red microradiator given in cell K17,

for the blue microradiator given in cell I17,

for the violet microradiator given in cell J18.

The color saturation of a pixel is calculated in cell G18 and output to cell L20 as a percentage.

The lightness of the color of the pixel is displayed in cell L21 as a percentage.

The name of the color tone is displayed in cell L22.

Digital data of the video pixel sensors in the cells of the spreadsheet of FIG. 18 correspond to the lighting of the video pixel 3 of FIG. 12 monochrome green light.

FIG. 19 The cell formulas of the spreadsheet of FIG. 18.

FIG. 20. The digital values of the spreadsheet of FIG. 18 when simulating the lighting of a video pixel with light of achromatic colors of various lightnesses, where the R-sensor, C-sensor, Y-sensor, V-sensor are the cells into which the simulation values of the signals of the R-sensor of red light 40, C-sensor of blue light 41 are entered, Y-sensor of yellow light 42 and V-sensor of violet light 43 of the video pixel 3 of the video camera and PikL is a cell simulating the output signal of the peak brightness detector 48 of the block diagram of FIG. 12 calculated by the formula (PikL = “R-sensor” + “C-sensor” + “Y-sensor” + “V-sensor”), the color triad of FIG. 14, consisting of the signals RΔC, YΔV and KΔS, R is the brightness (on the “light R” axis) of the red microradiator [cell K17] of FIG. 18, C is the brightness (on the “light C” axis) of the blue micro-emitter [cell I17], Y is the brightness (on the “light Y” axis) of the yellow micro-emitter [cell J16] and V is the brightness (on the “light V” axis) of violet micro-emitter [cell J18] of the TV display pixel as a percentage of the maximum brightness of each micro-emitters, N — saturation in percent, S — lightness in percent, γ — color tone angle values 36 of FIG. 10, Graph - reference drawing in FIG. 23

FIG. 21 The digital values of the signals of the spreadsheet of FIG. 18 when simulating the lighting of a video pixel with light of monochromatic colors, where the column designations are similar to the designations of the columns of FIG. 20. Graph - reference drawing in FIG. 24.

FIG. 22. The digital values of the signals of the spreadsheet of FIG. 18 when simulating the lighting of a video pixel with light of semi-chromatic colors, consisting of a mixture of monochromatic and achromatic, where the column designations are similar to the designations of the columns of FIG. 20. Graph - reference drawing in FIG. 25.

FIG. 23. Graphs of achromatic colors, with zero saturation and different lightness S, where the brightness petals (thick lines) of four micro-emitters of the display pixel in 4K are shown in the drawings

a) achromatic bright color {S = 100} (white color), FIG. 23a)

when the illumination level of the video object is from 5 lighting units to 999999 conventional lighting units,

b) achromatic light color {S = 75} (light gray color), FIG. 23b)

c) achromatic middle color {S = 50} (gray color), FIG. 23c)

d) achromatic dark color {S = 25} (dark gray color). FIG. 23g)

An example of achromatic black {S = 0} is shown at 35 of FIG. 26.

The brightness values of the micro-emitters are shown in the table of FIG. 20 in columns R, Y, C, and V. The color name “middle” refers to the color of medium brightness.

FIG. 24 Graphs of monochromatic colors, with 100% saturation and 100% lightness and with different color tones, where the luminance petals (thick lines) of the four 4KC display pixel micro-emitters are shown in the drawings

a) a strong bright red color with a color tone angle of zero degrees,

b) a strong bright orange color with a color tone angle of 45 degrees,

c) strong bright yellow color with a color tone angle of 90 degrees,

d) a strong bright green color with a color tone angle of 135 degrees,

d) a strong bright blue color with a color tone angle of 180 degrees,

e) strong bright blue color with a color tone angle of 225 degrees,

g) strong bright purple color with a color tone angle of 270 degrees,

i) strong bright purple color with a color tone angle of 315 degrees.

The brightness values of the micro-emitters are shown in the table of FIG. 21 in columns R, Y, C and V.

FIG. 25 Charts of semi-chromatic colors, with N saturation in percent and color tone angle γ in degrees, where the luminance petals (thick lines) of the four micro-emitters of the display pixel in 4K are shown in the drawings

a) a weak bright bluish-green color (N = 75, S = 100, γ = 165),

b) weak light blue color (N = 75, S = 75, γ = 225),

c) weak middle yellow-green color (N = 75, S = 50, γ = 105),

d) a weak dark red color (N = 75, S = 25, γ = 0),

d) pale bright yellow color (N = 50, S = 100, γ = 90),

f) pale light orange color (N = 50, S = 75, γ = 45),

g) pale middle purple color (N = 50, S = 50, γ = 270),

i) a pale dark blue color (N = 50, S = 25, γ = 225),

The brightness values of the micro-emitters are shown in the table of FIG. 22 in columns R, Y, C and V.

FIG. 26 Full Color light pyramids in a five-dimensional 5KZ coordinate system with examples of brightness petals on the vertical “GR axis” (black, gray, and white axis) with N saturation in percent, lightness S in percent, and color tone angle γ in degrees, where

A) A pyramid with strong colors, based on a diamond 34, having a saturation of 100 percent. Colors vary in lightness and color tone angle, where

78 — strong bright red color {N = 100, S = 100, γ = 0}, FIG. 24 a)

79 - a strong light blue color {N = 100, S = 75, γ = 180},

80 - a strong middle green color {N = 100, S = 50, γ = 135},

81 - strong dark purple {N = 100, S = 25, γ = 315},

The brightness values of the micro-emitters are shown in the table of FIG. 22 in columns R, Y, C and V.

B) A pyramid with achromatic colors of different lightness and with a saturation of zero percent (i.e. with a degenerate rhombus at the base). The concept of hue angle γ for achromatic color does not exist. Lightness determines the color where

82 - achromatic bright (white) {N = 0, S = 100},

83 - achromatic light (light gray color) {N = 0, S = 75},

84 - achromatic middle (gray color) {N = 0, S = 50},

85 - achromatic dark (dark gray color) {N = 0, S = 25}.

The brightness values of the micro-emitters are obtained from the table of FIG. 20.

FIG. 27 Full Color light pyramids in a five-dimensional 5KZ coordinate system with examples of brightness petals on the vertical “GR axis” (black, gray, and white axis) with N saturation in percent, lightness S in percent, and color tone angle γ in degrees, where

A) A pyramid with weak colors, at the base of which lies a rhombus having a saturation of 75 percent. Colors vary in lightness and color tone angle, where

87 - weak bright bluish-green color {N = 75, S = 100, γ = 165}, FIG. 25a)

88 - weak light blue color {N = 75, S = 75, γ = 225}, FIG. 25b)

89 - weak middle yellow-green color {N = 75, S = 50, γ = 105}, FIG. 25c)

90 - weak dark red color {N = 75, S = 25, γ = 0}, FIG. 25g)

B) A pyramid with pale colors, at the base of which lies a rhombus having a saturation of 50 percent. Colors vary in lightness and color tone angle, where

87 - pale bright yellow color {N = 50, S = 100, γ = 90}, FIG. 25 d)

88 is a pale light orange color {N = 50, S = 75, γ = 45}, FIG. 25e)

89 - pale middle-violet color {N = 50, S = 50, γ = 270}, FIG. 25g)

90 is a pale dark blue color {N = 05, S = 25, γ = 225}, FIG. 25i)

Part of the color name “mid-” indicates a color with medium brightness.

The color characteristics of the micro-emitters are obtained from the table of FIG. 22.

FIG. 28. Mutual color matching table of the micro-emitters of the light-emitting tri-color pixel 17 of the TV display according to the block diagram of FIG. 5 of the NTSC, PAL and SECAM systems and the color of the luminescence of the micro-emitters of the four-color light-emitting pixel of the display of the Full Color TV complex 77 according to the block diagram of FIG. 17, where the plus sign indicates the activation of the corresponding micro-emitter of the display pixel.

The implementation of the invention

The interaction of the video camera according to the block diagram of FIG. 12 and a television according to the block diagram of FIG. 17 of the Full Colors complex through the color triad of FIG. 14 is examined in the full-color Complex Health Check Spreadsheet of FIG. 18. The cell formulas of the spreadsheet are listed in FIG. 19. This information is sufficient for independent reproduction of the operation of the spreadsheet of FIG. 18.

In a video camera made according to the flowchart of FIG. 12, the original signals simulating the operation of sensors 40, 41, 42, and 43 are manually entered [into cells E4, E5, E6, and E7]. The value PikL [in cell E9] is calculated automatically for colors with 100% lightness according to the formula PikL = ΣL or for simulating colors with lower lightness is entered manually. The signals of the video pixel sensors are converted into a color triad [in cells P4, P6 and P8], consisting of the signals RΔC, YΔV and KΔS of FIG. 14.

In a television set according to the flowchart of FIG. 17, the brightness of the micro-emitters 53, 54, 55 and 56 pixels of FIG. 15 and the display pixel 76 of FIG. 17 [cells K17, J16, I17 and J18] is controlled by an input color triad consisting of the lightness coefficient KΔS [in cell D17], the red-blue color-difference signal RΔC [in cell D19] and the yellow-violet color-difference signal YΔV [in cell D20]) obtained from the “camera” of the spreadsheet of FIG. 17.

The saturation, lightness, and color tone of a pixel on a TV display is determined by the combination of the brightness of its micro-emitters in percentages given:

for red microradiator [in cell K17],

for a yellow microradiator [in cell J16],

for blue microradiator [in cell I17],

for the violet microradiator [in cell J20].

 Background information about the lightness [in cell L21] and the total brightness of the pixel [in cell L20] is calculated as a percentage. The name of the automatically calculated color tone (color name) is given in cell L22.

The results of simulating arbitrary signals from video pixel sensors are systematized in the tables of FIG. 20, 21 and 22.

In the table of FIG. 20 summarizes achromatic colors of different lightness, having zero saturation and not having a color tone.

The results are reproduced in the graphs of FIG. 23 in the form of “flower petals” (thick lines on the 4KZ axes), reflecting the brightness of the glow of micro-emitters. In an achromatic color, four petals have the same length. As the length of the “flower petals” increases, the brightness of the gray color increases from black to white.

In the table of FIG. 21 monochromatic colors with color tones corresponding to the seven colors of the rainbow and the purple color. Monochromatic colors have maximum saturation and maximum lightness.

The results are reproduced in the graphs of FIG. 24 in the form of "flower petals." Primary colors (red, yellow, blue and purple) have one petal. The remaining colors (orange, green, blue and magenta) have two petals of the same length, but each of the petals is half shorter.

In the table of FIG. 22 semi-chromatic colors with color tones corresponding to some colors of the rainbow, as well as the color “sea wave” (faint bright bluish-green, line “graph a)” and “light green” color (weak middle yellow-green, line “graph in ) »Having various saturation and lightness.

The results are reproduced in the graphs of FIG. 25 in the form of "flower petals." Semi-chromatic colors have four petals that reproduce any complex colors.

The relationship between saturation and lightness of color is shown in FIG. 26 and FIG. 27 in a five-dimensional coordinate system (hereinafter 5KC). At the base of the 5KZ lies a horizontal four-dimensional coordinate system 4KZ with the axes of red “Light R”, yellow “Light Y”, blue “Light C” and purple “Light V” color and with a vertical fifth axis of gray color “Axis Gr”. The values of all coordinates vary from zero in the center of coordinates (35 black points) to 100 percent. In 5KC there is a tetrahedral pyramid, the vertex of which coincides with the origin. At the base of the pyramid (hereinafter referred to as the light pyramid) lies the Full Color saturation rhombus, which is located in a horizontal plane at a height of the Gr axis equal to 100%. The distance from the center of the Full Colors saturation rhombus to any of its vertices is equal to the value of N color saturation. Inside the light pyramid at a height equal to the lightness of the color (in percent), there are “color petals” that show the saturation, lightness and color tone of the color. The names of the colors and their characteristics are given in the brief description of FIG. 26 and FIG. 27.

Based on the layout results, the following conclusions about the full color four-color digital television complex are defined in the spreadsheet:

1) the tables demonstrate the simplicity, clarity and performance of the Full Colors Complex.

2) the full colors color triad of FIG. 14 of the Complex Full Colors, information is transmitted without distortion on the saturation, lightness and color tone of the pixel color,

3) on the TV screen of the Full Colors Complex, all colors of the rainbow with 100% saturation are reproduced, including purple, blue, yellow and orange,

4) the Full Colors video camera without the use of an exposure meter by processing signals from the video pixel itself adapts to changing the brightness of shooting scenes in a wide light range, which resembles the work of human vision,

5) white balance and color accuracy are not violated when the real brightness of shooting scenes changes in the simulation range from moonlight to bright sunlight (without taking into account the non-linearity of the video pixel sensors and ADC characteristics),

6) the reproduction of saturation, lightness and color tone on the TV display depends only on the mutual ratio of the signals of the red, yellow, blue and purple sensors of the video pixel of the camera and does not depend on the brightness of the lighting of the “subject”

7) the increase in the signal PikL (in cell E10 of the spreadsheet of Fig. 18) turns the gray color into black, and the monochromatic and semi-chromatic colors in the TV darken to black,

8) a decrease in the PikL signal (in cell E10 of Fig. 18) turns gray into white, and monochromatic and semi-chromatic colors in a TV increase their brightness, degenerating into white,

9) the use of a shaper-limiter in a video camera, for example, turns a dazzling sun disk into a white disk.

10) in the saturation matrix of the TV, the saturation of each pixel of the display is calculated adequately for the color saturation of the video object,

11) the bipolar color difference signals RΔC, YΔV and the unipolar signal of lightness coefficient KΔS of the video camera of FIG. 12 are close to the bipolar color difference signals R_ΣL, B_ΣL and the unipolar luminance signal ΣL of the RGB video camera of FIG. 3, what ensures the transfer of them as part of the DTN via the existing trunks of communication lines, including satellite relay,

12) by normalizing to one unit the signals RΔC, YΔV and KΔS of the Full Colors color triad of FIG. 14 reduces the frequency band of the digital television signal, which facilitates the storage of video information and its broadcast,

13) the simplicity of calculations in the Full Colors Complex, shown in the table of FIG. 19, allows the use of low-cost digital platforms,

14) the “flower petals” of the semi-chromatic main light are shaped as shown at 91 in FIG. 27B), which coincides with the church symbol “Cross”, and the “flower petals” of achromatic light, as shown at 82 in FIG. 26B), coincides with the church symbol "St. Andrew's Cross", which is in tune with the statement of Konstantin Eduardovich Tsiolkovsky: "All life on Earth is created by the Light form of life."

Annex 1

The list of hypotheses of color vision of a person

According to Empedocles (V century BC), the main colors are white, black, yellow and red.

Democritus considered the main colors black, white, red and dark green.

Leonardo da Vinci (in the XVI century) considered the main colors white, black, yellow, green, blue and red.

According to Newton’s theory of light and color, the names of the seven colors of the rainbow are proposed for the first time as primary colors: red, orange, yellow, green, blue, violet and indigo. (Similar to seven tones)

According to the hypothesis of M.V. Lomonosov on color vision, the number of primary colors is reduced to three: red, yellow, blue. According to Lomonosov, green is a mixture of blue and yellow.

In Thomas Young's theory, 3 colors are recognized as primary colors: red, green and purple.

G. Helmholtz later suggested that in the human retina there should be three types of cones sensitive to red, green, and blue.

Goering postulates the presence of three types of opposite pairs of reaction processes to black and white, yellow and blue, red and green.

Gurevich and Jameson developed Goering's theory to an opponent theory. It retains three receptor systems: red-green, yellow-blue and black-and-white.

The above hypotheses, models and theories of past centuries are most often not consistent, and often contradict each other

The “polychromatic" hypothesis of G. Hartridge believed that in addition to the three main, primary receptors (orange, green and blue-green), there should be four or five other additional receptors, including the yellow and blue pair, acting as a whole. G. Hartridge's model covered almost the entire gamut of existing colors.

The Dutch scientist P. Walraven suggested that three types of cones should be present in the human retina, and the signals of the “red” and “green” cones are divided into three, and the “blue” into two parts.

Later, the same color perception model was described by David H. Hubel and Torsten N. Wiesel, who received the Nobel Prize. They suggested that the brain, perhaps, can receive information not about red (R), green (G) and blue (B) colors (Jung-Helmholtz theory), but about the difference in brightness of white (Ymax) and black (Ymin), the difference between green and red colors (GR), the difference between blue and yellow colors (B - Y), while yellow (yellow = R + G) is the sum of red and green colors, and R, G and B are the brightness of the color components - red, green, and blue.

According to the spherical model of color vision (Sokolov, Izmailov), colors are located on the sphere. The geodesic color mixing line is defined by a large circle of a sphere in the Euclidean metric.

The basis of the modern three-component theory of color vision and three-color television were the assumptions of M.V. Lomonosov, Thomas Jung, Helmholtz, Walraven.

According to the generally accepted hypothesis, there must be three types of receivers in the retina that are sensitive to the narrow parts of the spectrum of red, green, and blue, which is confirmed by experiments. At present, most scientists adhere to this hypothesis. Therefore, this hypothesis, taking into account the assumptions of David Hubble and Thorsten Weisel, is implemented in the existing color television.

Claims (122)

1. A complex of four-color digital television Full Colors (hereinafter referred to as the Complex), which includes a digital video camera with a multiplexer, which generates a digital television signal (hereinafter DTC) using synchronizing pulses of Si, and a digital TV with a demultiplexer DTC at the input, characterized in that contains on the transmitting side a color digital video camera (hereinafter video camera) with sensors of a light-receiving device: - violet light (hereinafter V-sensor), which has a maximum photosensitivity to violet light, but is half as sensitive to blue light; - blue light (hereinafter C-sensor), which has a maximum photosensitivity to blue light, but is half as sensitive to blue and / or green light; - yellow light (hereinafter Y-sensor), which has a maximum photosensitivity to yellow light, but is half as sensitive to green and / or orange light; - red light (hereinafter R-sensor), which has a maximum photosensitivity to red light, but is half as sensitive to orange light, for example, in a multi-signal CCD, and on the receiving side is a color digital television (hereinafter referred to as a television), with a four-color light-emitting pixel (hereinafter referred to as a display pixel), information between which is transmitted using a DTS by converting color and brightness into a video camera in a combination of three interconnected signals, which consists of a red-blue color-difference signal RΔC, the yellow-violet color-difference signal YΔV and the signal of the coefficient of lightness KΔS, calculated by four formulas: ΣL = R + Y + C + V; RΔC = (R-C) / ΣL; YΔV = (Y-V) / ΣL; KΔS = ΣL / PikL, or alternative four formulas: ΣL = R + Y + C + V; RΔC = R / ΣL-C / ΣL; YΔV = Y / ΣL-V / ΣL; KΔS = ΣL / PikL, where ΣL is the sum of the signals of the four sensors, R - red signal from the R-sensor Y - yellow from the Y-sensor C - blue signal from the C-sensor, V - purple from the V-sensor, PikL - peak ΣL during the period of the previous frame or several previous frames, moreover, the signal intervals fit: - for color difference RΔC in the range from plus one unit inclusively for red, through zero for achromatic color and to minus one unit inclusively for blue; - for color difference YΔV in the range from plus one unit inclusively for yellow, through zero for achromatic color and to minus one unit inclusively for purple; - the luminosity coefficient KΔS in the range from zero for black with the restriction to plus one unit inclusive for bright color, further, the combination of the signals RΔC, YΔV and KΔS through the multiplexer of the video camera are sequentially included in the DTC, further the DTC is broadcast or recorded, Further, the DSP is received by the TV, in which the DTC demultiplexer restores the color difference signals RΔC, YΔV and the lightness coefficient KΔS from the DSP signal, from which the signals are calculated in the TV: Nr is the saturation of red, Ny is the saturation of yellow, Nc is the saturation of blue, N ν is the saturation of purple, using logical expressions: "Nr is zero if RΔC is negative, otherwise Nr is RΔC"; "Ny is zero if YΔV is negative, otherwise Ny is YΔV"; “Nc is minus RΔC if RΔC is negative, otherwise Nc is zero”; "N ν is equal to minus YA V if YΔV is negative, otherwise N ν is zero", and also the saturation N is calculated on the TV by the formula "N = Nr + Ny + Nc + N ν ", Further, the brightness of each of the four micro-emitters of the pixel of the TV display is controlled by individual signals, which are calculated by the formulas: for red microradiator "(Nr + (1-N) / 4) * KΔS"; for yellow microradiator "Ny + (1-N) / 4) * KΔS"; for blue micro-emitter "Nc + (1-N) / 4) * KΔS"; for violet microradiator "N ν + (1-N) / 4) * KΔS", where the pixel color is reflected in the orthogonal five-dimensional coordinate system as follows: - the positive direction of the red axis of the light R, on which the positive value of RΔC is plotted (if RΔC> 0), coincides with the positive direction of the X axis of the three-dimensional Cartesian coordinate system (hereinafter referred to as DSC); - the positive direction of the yellow axis of the light Y, on which the positive value YΔV (if YΔV> 0) is plotted, coincides with the positive direction of the Y axis of the DSC; - the positive direction of the blue axis of light C, on which the inverted value of RΔC is plotted (if RΔC <0), coincides with the negative direction of the X axis of the DSC; - the positive direction of the violet axis of light V, on which the inverted value of YΔV (if YΔV <0) is plotted, coincides with the negative direction of the Y axis of the DSC; - the positive direction of the gray axis of the light Gr, on which the positive KΔS value is always deposited, coincides with the positive direction of the Z axis of the DSC. 2. The complex according to claim 1, in which a block diagram of a video camera includes: - a multi-signal CCD matrix consisting of an R-sensor of red light, a Y-sensor of yellow light, a C-sensor of blue light and a V-sensor of violet light, the analog signals of which are digitized by the ADC in the corresponding signals Sr of the red channel, Sy of the yellow channel, Sc of the blue channel and Sν of the violet channel; - adder channels with the formula for the output signal "ΣL = Sr + Sc + Sy + S ν ", - RC-subtractor with the output signal formula "RC = Sr-Sc"; - YV-subtractor with the output signal formula "YV = Sy-S ν "; - a peak brightness detector in which the magnitude of the output signal PikL is determined based on the information of one or more previous frames and is fixed for the period of the current frame; - shaper red-blue color-difference signal RΔC with the formula of the output signal "RΔC = RC / ΣL"; - shaper of yellow-violet color-difference signal YΔV with the formula of the output signal "YΔV = YV / ΣL"; - brightness normalizer with the output signal formula "KL = ΣL / PikL" where KL is the signal of normalized brightness; - shaper-limiter with the logical formula of the output signal "KΔS = KL if KL is less than Uo, otherwise KΔS = Uo", where KΔS is the lightness coefficient, Uo is the set limit level, and also a PZT multiplexer, which from a combination of RΔC, YΔV and KΔS signals and synchronizing pulses Si sequentially generates a digital television signal similar to the PZT of an existing digital television, but without creating reserve zones in it. 3. The complex according to claim 1, in which four sensors in the camcorder are equally photosensitive in the entire visible range of light, but individually protected by violet, blue, yellow or red filters, moreover, the optical characteristics of each of the four filters are as close as possible to the deltoid form (hereinafter Δ-form), where the peak of the Δ-shape of each filter (in which the transparency of the filter is maximum): - for a V-sensor violet filter matches the wavelength of violet light; - for the blue light filter of the C-sensor coincides with the wavelength of blue light; - for the yellow filter of the Y-sensor coincides with the wavelength of yellow light; - for the red filter of the R-sensor matches the wavelength of red light, and the vertices of the two remaining angles at the base of the Δ-shape of each filter (in which and beyond which the transparency of the filter is zero): - for the V-sensor violet filter, they coincide with the wavelength of blue light and with the border between the violet and ultraviolet colors; - for the blue light filter of the C-sensor coincide with the wavelength of yellow light and with the wavelength of violet light; - for a yellow light filter, the Y-sensor matches the wavelength of blue and the wavelength of red; - for the red filter of the R-sensor coincide with the yellow wavelength and with the border between the red and infrared colors, as a result, when exposed to monochromatic: - red light signal of the R-sensor is equal to 100%, and the signals of the Y-sensor, C-sensor and V-sensor are equal to zero; - orange light signals of the R-sensor and Y-sensor are equal to 50%, and the signals of the C-sensor and V-sensor are equal to zero; - yellow light signal of the Y-sensor is 100%, and the signals of the R-sensor, C-sensor and V-sensor are equal to zero; - green light signals of the Y-sensor and C-sensor are equal to 50%, and the signals of the R-sensor and V-sensor are equal to zero; - blue light signal of the C-sensor is equal to 100%, and the signals of the R-sensor of the Y-sensor and the V-sensor are equal to zero; - blue light signals of the C-sensor and V-sensor are equal to 50%, and the signals of the R-sensor and Y-sensor are zero, - the violet light signal of the V-sensor is 100%, and the signals of the R-sensor, Y-sensor and C-sensor are equal to zero, - magenta light, the signals of the R-sensor and V-sensor are equal to 50%, and the signals of the Y-sensor and C-sensor are equal to zero. 4. The complex according to claim 1, in which, with the aim of generating signals Sr of the red channel, Sy of the yellow channel, Sc of the blue channel and S ν of the purple channel, devices with different physical principles of dividing light into four channels with amplitude-wave characteristics similar to p. 3, for example, a device of dichroic filters and four single-signal CCD arrays with ADC. 5. The complex according to claim 1, in which, in order to determine and fix the output signal PikL of the peak brightness detector, the values of the input signal ΣL of each pixel of the current frame and the peak (maximum) value of the signal ΣL are stored, for example, in Lmax, and the time period between the end of the current frame and the beginning of the next frame sets a new value of the signal PikL according to the formula "PikL = Lmax". 6. The complex according to claim 1, in which, in order to eliminate the effect of the flashing brightness of the frames of the TV display that appears when the PikL signal of the camera changes rapidly, an integrator is built into the peak brightness detector, which ensures a smooth change in the magnitude of the PikL signal, for example, by dividing the sum Lmax signals of the last 240 frames by 240, and the integration depth (in this example, the number of frames to be integrated) is fixed or manually changed by a switch or changes automatically, for example, when analysis of the speed of the video camera or when analyzing the first (hidden frame) and subsequent frames to achieve the required integration depth. 7. The complex according to claim 1, in which in the peak brightness detector of the video camera in order to adapt to lighting features, the algorithm of the ΣL signal analysis program changes depending on the shooting scene, for example, from the analysis of ΣL signals of the current frame, the dazzling white light of the car headlights is excluded or drive of the sun. 8. The complex according to claim 1, in which, in order to normalize the PZT bandwidth and eliminate color distortions, the set level of restriction Uo is equal to one unit, but to ensure application purposes, such as astronomical research, the set level of restriction Uo can take a larger value, but up to 4 units inclusive. 9. The complex of claim 1, wherein in the video camera, in order to form a combination of the signals RΔC, YΔV and KΔS from the signals Sr, Sy, Sc and S ν channels, a microprocessor is used with a program algorithm based on the block diagram of the video camera and / or using the corresponding formulas p. 1. 10. The complex according to claim 1, in which the TV block to control the brightness of the red, yellow, blue and violet micro-emitters of the display pixel, the block diagram of the TV includes: - a DTC demultiplexer, in which a combination of RΔC, YΔV and KΔS signals is sequentially restored from a DSP; - a red flag former, the output signal Fr of which is set to the Boolean value "False" with a negative signal RΔC, otherwise Fr is equal to "True"; - a yellow flag former whose output signal Fy is set to the Boolean value “False” with a negative signal YΔV, otherwise Fy is “True”; - a red-blue signal demultiplexer, which when Fr is “True”, the input signal RΔC is sent to the output “red saturation signal Nr”, otherwise (when Fr is “False”), a negative signal RΔC is switched by the demultiplexer to the blue inverter input, at the output of which “Nc blue saturation signal”; - a yellow-violet signal demultiplexer, which with Fy is “True”, the input signal YΔV is sent to the output “yellow saturation signal Ny”, otherwise (with Fy is “False”), a negative signal YΔV is switched by the demultiplexer to the violet inverter input, at the output of which "Signal N ν saturation of violet"; - a saturation matrix in which the saturation N is calculated by the formula "N = Nr + Nc + Ny + N ν "; - shaper of semi-chromatic red with the formula "Rƒ = (Nr + (1-N) / 4)"; - semi-chromatic blue shaper with the formula “Cƒ = (Nc + (1-N) / 4)”; - a semi-chromatic yellow shaper with the formula "Yƒ = (Ny + (1-N) / 4)"; - shaper of semi-chromatic violet with the formula "Vƒ = (N ν + (1-N) / 4)"; - a red brightness modulator with the formula “Rƒ * KΔS”, which, through the red DAC, controls the red light micro-emitter of the display pixel; - a blue brightness modulator with the formula “Сƒ * KΔS”, which, through the blue DAC, controls the blue light micro-emitter of the display pixel; - a yellow brightness modulator with the formula "Yƒ * KΔS", which, through the yellow DAC, controls the yellow light micro-emitter of the display pixel; - violet brightness modulator with the formula "Vƒ * KΔS", which through the violet DAC controls the micro-emitter of violet light of the display pixel, moreover, achromatic colors are reproduced by the method of the same (simultaneous and equal to each other) activation of four microradiators, for example: - bright (white) - activation of microradiators is equal to 25%; - light (light gray) - activation of microradiators is equal to 18.75%; - gray (medium gray) - activation of microradiators is equal to 12.5%; - dark (dark gray) - activation of microradiators is equal to 6.25%; - black (black) - activation of microradiators is 0%, where under the activation of the micro-emitter is meant a percentage of its maximum brightness, provided that the brightness of the radiation of the micro-emitters is balanced, and monochromatic colors are reproduced by individually changing the brightness of the micro-emitters of the display pixel, for example: - red - by activating one microradiator of red light; - orange - the same activation of the microradiator of red and yellow light; - yellow - by activating one micro-emitter of yellow light; - green - the same activation of the microradiator of yellow and blue light; - blue - activation of one micro-emitter of blue light; - blue - the same activation of the microradiator of blue and violet light; - violet - by activating one microradiator of violet light; - purple - by the same activation of the microradiator of violet and red light, and semi-chromatic colors are reproduced by activating micro-emitters by superimposing achromatic color signals on a monochromatic color signal, for example: - lime - by activating micro-emitters of red light 3%, yellow light 33%, blue light 11% and violet light 3%; - sea wave - activation of micro-emitters of red light 6%, yellow light 22%, blue light 66% and purple light 6%. 11. The complex according to claim 1, in which a microprocessor is used with a program algorithm based on the corresponding formulas in paragraph 1 and / or a block diagram to convert RΔC, YΔV, and KΔS signals into DAC input signals of red, blue, yellow, and purple TV.

Images