TM

Composite Video Separation Techniques

Application Note October 1996 AN9644

Author: Stephen G. LaJeunesse

Introduction
The most fundamental job of a video decoder is to separate The three analog elements of a composite video signal carry
the color from the black and white information for video com- all the information necessary to display a two dimensional
posite signals. This task has been achieved many ways since picture on a cathode ray tube (CRT) television.
the introduction of color television over 50 years ago. Many
different separation methods have been used through the Luminance (a B&W World)
years. With the availability of new cost effective technologies, The luminance signal carries the black and white parts of the
the consumer has been seeing a gradual improvement in picture. This component of the composite video signal
picture quality and detail. Advances in display tube technol- requires the most bandwidth (typically to 5MHz), and signal
ogy and semiconductor processes have pushed the techno- integrity, to convey sharp and clear images. Edge informa-
logical envelope providing sharper, more robust video. But tion, brightness, and contrast of the image are entirely con-
separating the chrominance from the luminance information is tained in the luminance portion of the signal. Until 1947 the
especially challenging due to the fact that the signals overlap broadcast video signal was only black and white. To maintain
each other in the frequency spectrum. How do you separate compatibility with the installed equipment of the time, color or
them, while minimizing display artifacts? chrominance information was added to the luminance signal
Composite Signal Construction to create the color composite signal as we know it today. Fig-
ure 1 shows the specified bandwidths for NTSC and PAL.
The composite video signal is constructed with 3 basic elements:
- Luminance Information from DC to 5.5MHz (B&W Detail)
- Chrominance Information modulated onto a carrier (at
3.58MHz or 4.43MHz)
- Synchronization Information (Horizontal and Vertical Sync)

3.58MHz
COLOR SUB-CARRIER

Q I Y
I Q Y

1 2 3 4 5
1 2 3 4 5
FREQUENCY (MHz)
FREQUENCY (MHz)

FIGURE 1A. Y-I, Q SIGNAL BANDWIDTHS (NTSC) FIGURE 1B. NTSC COMPOSITE SPECTRUM

4.43MHz
COLOR SUB-CARRIER

U, V Y
U, V Y

1 2 3 4 5 6
1 2 3 4 5 6
FREQUENCY (MHz)
FREQUENCY (MHz)

FIGURE 1C. Y-U, V SIGNAL BANDWIDTHS (PAL) FIGURE 1D. PAL COMPOSITE SPECTRUM
FIGURE 1. COMPOSITE VIDEO SIGNAL BANDWIDTHS

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 Application Note 9644

Chrominance (an Add-On) color TV was first available. To extract luminance (Y) informa-
tion a low pass filter with a cutoff around 2MHz to 2.5MHz is
The chrominance information is quadrature modulated onto
used. A high pass filter with a bandpass characteristic of
the luminance information. The chrominance is interleaved
2.5MHz to 5MHz is used to pass the chrominance (C) infor-
into the video signal bandwidth between luminance spectra.
mation. This method works because the C information is cen-
The chrominance modulation scheme utilizes an I, Q (U, V
tered around 3.5MHz (4.43MHz for PAL) and extends down to
for PAL) coordinate system where hue and saturation is in
2.5MHz. Figure 3 shows a typical frequency plot of this tech-
vector format. A camera sensor captures light in Red, Green,
nique. The drawback of this technique is loss of detail. High
and Blue (RGB) format. The RGB signal is converted into Y
frequency luminance information is removed from the signal
(luminance signal) and I, Q (Color Difference signal) format
and as a result much detail is lost. Edges of objects in a scene
along with the synchronization information. The I, Q (com-
contain very high frequency information, loss of these fre-
monly referred to as C) color information occupies a smaller
quencies blur the picture. Some other artifacts from using this
bandwidth than the Y signal. C bandwidths typically range
technique are high frequency luminance crosstalk and serious
from 0.6MHz to 1.3MHz. The chrominance signal is modu-
cross-color effects. This method, although low in cost, pro-
lated onto a carrier. The carrier resides at 3.58MHz for
duces poor quality video, subsequently this technique is used
NTSC signals and 4.43MHz for PAL signals. The chroma
only on very low cost VCRs these days.
information must be separated out of the video signal to
demodulate it to baseband. This is difficult because lumi-
nance information that resides from 2MHz to 5MHz cannot COMPOSITE LOW PASS LUMINANCE SIGNAL
be differentiated from chroma information. Several tech- VIDEO FILTER
niques have been tried over the years to improve separating
Y and C, each increasing in complexity and performance. HIGH PASS CHROMINANCE SIGNAL
FILTER
Don’t Forget the Sync
Y/C FREQUENCY SPECTRUM
The synchronization information is also imbedded in the
composite video signal and occupies precious amplitude
Y C
range of the video signal. Horizontal Sync, Vertical Sync LOW PASS HIGH PASS
(also know as Vertical retrace) and the Color Reference
Bursts are embedded in the composite waveform. Figure 2
shows a typical composite signal. 1 2 3 4 5
FREQUENCY (MHz)
CHROMINANCE
HUE AND FIGURE 3. LOW PASS FILTER TECHNIQUE SPECTRUM
SATURATION

HORIZONTAL
Figure 5A shows a picture of the multiburst pattern after it
SYNC has been processed through the Low Pass/High Pass filter
technique. Notice the attenuation of frequencies at 2MHz
continuing up through the color subcarrier frequency, and up
COLOR LUMINANCE to 5.0MHz. Figure 5B demonstrates how severe the video
REFERENCE PEDESTAL
multiburst line is altered by this technique.
BURST

FIGURE 2. AN EXAMPLE OF A COMPOSITE VIDEO LINE

Determining the Separation Method

To determine what separation method is being used it is best
to start with an ideal test signal that contains frequency
based information like the Multiburst. Figure 4A contains a
picture of a Luminance Multiburst with vertical bars from
0.5MHz to 5.0MHz. The 6 groups of bars are increasing
frequency bursts of 0.5, 1.0, 2.0, 3.0, 3.58, and 5.0MHz.
Figure 4B shows a VM700 scope trace of one line of the
multiburst video pattern. Depending on the Y/C separation
method used, the multiburst will illuminate the effects.

Method #1: Low Pass/High Pass Filter Separation

Technique
One of the initial separation techniques used was the Low
Pass/High Pass Filter technique to separate the luminance
and chrominance signals from the composite video signal.
The was the simplest and least costly to implement when

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 Application Note 9644

0.5 1.0 2.0 3.0 3.58 5.0

(MHz)

FIGURE 4A. MULTIBURST FROM VIDEO GENERATOR

FIGURE 4B. IDEAL MULTIBURST WAVEFORM FROM VIDEO GENERATOR

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 Application Note 9644

0.5 1.0 2.0 3.0 3.58 5.0

(MHz)

FIGURE 5A. MULTIBURST HIGH PASS/LOW PASS

FIGURE 5B. MULTIBURST WAVEFORM FROM HIGH PASS/LOW PASS

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 Application Note 9644

Method #2: Color Trap Filter Separation Technique The comb filter relies on the fact that in NTSC the chrominance
Another technique to separate Y and C is the color trap filter phase is inverted from line to line. This is because the chromi-
method. A notch filter centered at the color subcarrier frequency nance information was interleaved into the luminance signal at
1/2 line offsets. When the present line and the previous line are
is used to extract C information from 2.5MHz to 4.5MHz. Figure
added together the inversion in chrominance phase cancels out
6 shows the frequency plot of this technique. This method has
chrominance information and full bandwidth luminance data is
two drawbacks to it. First, it limits the C bandwidth (which
stripped of chroma. The chrominance data is created by adding
extends to 2.1MHz) cutting out fine color detail. Second, lumi-
the present line and the inverted previous line to yield a double
nance information in the notch frequency range contaminates
sized chroma amplitude signal. The comb filter has the benefit
the C signal and generates unwanted color or rainbows. This is
of producing full bandwidth, sharp luminance and low cross
most noticeable with pictures that contain closely spaced black color products. The comb filter method was employed because
and white lines, like when a person wearing a herringbone of the advent of graphic overlays appearing in television broad-
jacket is recorded. The high frequency luminance will produce casts, which require all the luminance bandwidth available to
rainbows of colors due to the cross color effects. produce a crisp image. The comb filter, however is not without
COMPOSITE it’s flaws. When a sharp vertical transition is encountered, then
NOTCH LUMINANCE SIGNAL
VIDEO FILTER a pattern known as hanging dots is produced by high frequency
alias products. Hanging dots look like small black and white
BAND PASS alternating dots that appear at the vertical transition. In a still
CHROMINANCE SIGNAL
FILTER picture these are very noticeable but in moving pictures they
are not visually perceivable.
Y/C FREQUENCY SPECTRUM
Figure 10A shows a picture of the multiburst pattern after it
Y C
Y
has been processed through the Comb filter of the
BAND
NOTCH FILTER
PASS NOTCH FILTER HMP8112 video decoder. Notice that all of the bursts are
intact all the way out to 5MHz. Figure 10B plot shows how
much information is available up to 5MHz.
1 2 3 4 5
FREQUENCY (MHz) For the Phase Alternating Line (PAL) video standard a 2 line
comb is not adequate enough to separate luma and chroma. In
FIGURE 6. TRAP FILTER SEPARATION TECHNIQUE
the PAL system the chrominance information is interleaved
Figure 9A shows a picture of the multiburst pattern after it at 1/4 line offsets into the video composite signal. The comb fil-
has been processed through the Trap filter technique. Notice ter technique does a simple subtraction or addition of two lines
the attenuation of frequencies at 3.58MHz color subcarrier of video to separate the composite signal into luma and chroma
frequency continuing up through the color subcarrier fre- components. Due to the 1/4 line offset and the phase alterna-
quency, and up to 5.0MHz. Figure 9B demonstrates how tion of the V component of the chroma a 2 line comb is not
severe the video multiburst line is altered by this technique. enough. A “correction” factor must be applied to the chroma
signal to move the information to a 1/2 line spectral spacing.
Comb Filter Separation Technique Only then can the comb filter start to do an adequate job of sep-
Early implementations of this technique used analog storage aration. Notice in Figure 8B the close proximity of luminance
elements such as glass delay lines and CCD arrays. The and chrominance data in the spectral domain. Figure 8C shows
Digital Comb filter uses a line store memory. The comb filter how the comb filter cannot remove all of the chrominance infor-
takes advantage of the 1/2 line spacing of the spectral mation from the luma signal. The leftover chrominance signal
details of the composite signal. Figure 7 shows the overall will cause cross luma (color interpreted as luminance) effects
spectrum of the comb filter processing technique. that will look like moving dots in the picture.

Y I, Q Y

COMPOSITE
+ VIDEO
COMPOSITE LINE LUMINANCE
VIDEO STORE + SIGNAL
FREQUENCY
+ CLUSTERS
+ CHROMINANCE
+
- SIGNAL fH/2 fH/2
fH

FIGURE 7A. FIGURE 7B.

Y Y I, Q Y
I, Q Y
Y C
COMB FILTER COMB FILTER
RESPONSE RESPONSE

FREQUENCY FREQUENCY

FIGURE 7C. FIGURE 7D.

FIGURE 7. LINE COMB FILTER TECHNIQUE

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 Application Note 9644

For this reason to fully separate luma and chroma in a PAL is also a part of the PAL standard. The 25Hz offset was
system the additional use of a trap filter is needed to ensure employed by the designers of the PAL system to keep cross
low cross color and cross luma effects (see Figure 8A). color and cross luma effects moving in the picture which
Another reason for employing the help of a trap filter with the allows the human eye to filter out the moving dot patterns.
comb for the PAL system is because of the 25Hz offset that

Y V Y V
COMPOSITE U U
COMPOSITE
VIDEO VIDEO
FREQUENCY
CLUSTERS

LINE + + TRAP
+ LUMINANCE
+

STORE FILTER SIGNAL

PAL
MODIFIER - fH/4 fH/4
+ L.P. CHROMINANCE
+
FILTER SIGNAL fH

FIGURE 8A. PAL LINE COMB FILTER TECHNIQUE FIGURE 8B. COMPOSITE PAL INTERLEAVE SCHEME

PAL CORRECTION
FACTOR APPLIED

Y V Y V Y U, V Y U, V
U U U
Y C
COMB FILTER COMB FILTER
RESPONSE RESPONSE

FREQUENCY FREQUENCY

FIGURE 8C. Y COMB FILTER RESPONSE FIGURE 8D. C COMB FILTER RESPONSE

0.5 1.0 2.0 3.0 3.58 5.0

(MHz)

FIGURE 9A. COLOR TRAP FILTER

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 Application Note 9644

FIGURE 9B. MULTIBURST WAVEFORM FROM TRAP FILTER

Solving the Comb Filter Problems

There are a few ways to solve the comb filter “dots” problem. ment. Once the costs start dropping and the quality differ-
One method is the 3 line adaptive comb filter. This method ence is understood by the average user, hopefully things will
switches between the trap and comb filter methods. An edge migrate to the component type digital video.
detection circuit is employed and when a sharp vertical tran-
sition is detected then the comb is disabled and the trap is Summary
enabled. This method is gaining wide acceptance in the The Intersil HMP8112 employs an advanced 2 line comb
industry but carries a cost burden of more video storage processing technique, targeting noise sensitive applications
memory needed in 2 line stores versus 1. Another method is such as video compression and video in a window on a com-
to not work with composite sources but rather use compo- puter. The high bandwidth processing offered by the 2 line
nent sources like RGB, or YUV. These are not readily avail- comb yield sharper images with less cross color artifacts.
able to the commercial users and no standard has been
accepted by the market at large. The S-Video standard The comb filter provides full luminance bandwidth without
(Separate Luminance and Chrominance Analog Signals) is destroying precious high frequency information so important
gaining wide acceptance in the consumer ranks for higher for sharpness in an image. The comb also provides superior
video quality. The S-Video standard uses two analog signal separation of luma and chroma without creating spectral
lines, one for luminance, and one for chrominance, has no anomalies that are interpreted as valid information by a com-
need to be separated. This removes the concern for cross pression engine. So for compression and high image quality
color and luma effects generated by the separation process applications the comb filter has distinct advantages for the
of a decoder. But as this is still an analog standard and is consumer over traditional separation techniques.
prone to power line noise and thermal variations. Digital
video systems are debuting throughout the industry and are
challenging present day analog systems. They boast crystal
clear image quality, and high noise immunity but require high
bandwidth digital lines to be transmitted. A transition is hap-
pening in the professional and broadcast ranks but your
average consumer still has commercial composite equip-

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 Application Note 9644

0.5 1.0 2.0 3.0 3.58 5.0

(MHz)

FIGURE 10A. HMP8112 COMB FILTER

FIGURE 10B. MULTIBURST WAVEFORM FROM COMB FILTER

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