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jewel of a television picture in color. It had deep vibrant color tones, every bit as good as the then-current Technicolor motion pictures. No wonder so many casual observers ran into the streets joining the cry, color television is here. Not so, really, because so many of its problems were being overlooked during those early euphoric moments. Here are some of them: 1. Whenever motion took place in a scene, there was inevitable color breakup. A worst-case example of this was a tennis match in which the moving white ball would cross the screen as a sequence of bright red, green, and blue balls. A person waving a hand rapidly would gain a fist full of colored hands. This fundamental problem had no solution. 2. The demonstration sites where viewers were taken (in) were always furnished with a direct, unlimited bandwidth, coaxial cable connection to the studio camera so no one ever saw what those pictures were going to look like when they would ultimately be broadcast through a 6 MHz radio channel regulated by the FCC. Furthermore, the sites were rather dimly lighted so that the ambient room light would not wash out the quite dim color display. After all, the only light available to form the picture came from a single white screen CRT viewed through color filters that blocked out two-thirds of its light to get the color effect. Furthermore, the color filters themselves were no more than 30% efficient, making only about 10% of the originating light available to reach the eye. 3. If the pictures could have been brighter, an enormous amount of flicker would have been noticed at the low refresh rate (frame rate) that was used to keep the video bandwidth anywhere near the established 6 MHz transmission channels. Picture resolution was down way below 300 lines and Peter Goldmark was grasping at straws when he introduced his crisping circuit to try to improve it. His circuit simply increased highfrequency gain (and noise) in the receiver to give the illusion of a slightly wider video passband. 4. The rotating color filter wheel always inserted its presence. Small pieces of dirt or blemishes on the filters were visible as a dirty window effect after the initial favorable impression of the picture had worn off and the viewer grew more critical. Another disagreeable feature of those pictures was the narrow viewing angle that limited the number of viewers that could
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A large number of manufacturers now offer muxes that enable data to be sent over voice lines and voice to be sent over data lines. A digital data circuit, for example, also can accommodate voice (for which it was not intended) through the use of a special mux that digitizes the voice signal and transmits it; the reverse process takes place at the receiving end. The voice and data conversations share the same circuit sequentially, rather than simultaneously. Bandwidth is allocated as appropriate, with priority provided to the delay-sensitive voice traf c. This approach enables the user to take advantage of excess capacity on a dedicated data circuit. It also can support both voice and data communications over a single circuit-switched analog circuit. There is, of course, an investment required in the multiplexing equipment, although such equipment is quite affordable. A number of manufacturers have developed muxes and routers that enable voice to share excess capacity on a Frame Relay network. While the quality of Voice over
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SolidWorks is able to create any type of view that you need. If you can define what the view should look like, then SolidWorks can create it. The only limit is your creativity.
Figure 17-23: Constrained netbook screens will make it hard to use certain applications and windows.
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