An

Industrial Training Report

DOORDARSHAN KENDRA
Bhopal
(11.07.2011-05.08.2011)

Submitted in Partial fulfillment of the Requirement for the award of

Bachelor of Engineering in Electronics & Communication

Submitted to:

RAJIV GANDHI PROUDYOGIKI VISHWAVIDYALAYA,

BHOPAL (M.P.)
Submitted By:

Shubhankar Chanda
0191EC081079
Under the Supervision of

Mr. P.K.Pati

Superintendent Engineer
Doordarshan, Bhopal

Session: 2011-2012

TECHNOCRATS INSTITUTE OF TECHNOLOGY (EXCELLENCE)

BHOPAL (M.P.)

TECHNOCRATS INSTITUTE OF TECHNOLOGY (EXCELLENCE)

BHOPAL (M.P.)
CERTIFICATE
This is to certify that the major training done in Doordarshan Kendra Bhopal by
Shubhankar Chanda student of final year is the bonafide of the work done by him as a part of
the partial fulfillment of the requirement for the award of Bachelor of Engineering in
ELECTRONICS & COMMUNICATION ENGINEERING of Rajiv Gandhi Proudyogiki
Vishwavidyalaya during the academic year 2011-12.

Assct. Prof. Hema Singh

HEAD OF DEPARTMENT

ACKNOWLEDGEMENT
It takes an immense gratitude to thank the member
staff involved in the vocational training done from the
Doordarshan Kendra, Bhopal.
I would like to thank Mr.P.K. Pati without whom the
completion of the training would not have been possible. a
humble gratitude towards all of the team members who
gave us an opportunity to explore the world of microwaves
and satellite communication.
Shubhankar Chanda
0191EC081079

Doordarshan Kendra Bhopal

An Overview
Doordarshan
Kendra,
Bhopal
was
inaugurated
on
20th October 1992 by then President of India Honble late
Shri Shankar Dayal Sharma since than Doordarshan Kendra,
Bhopal is serving to the people of Madhya Pradesh.
It has two studios where in house programmes produces and
it covers 76.4% of land area of the State and 77.1% of population
watches the programmes. The total coverage area is about 70 Kms
radius and approximate viewership is 61.76 lacs.
The telecast timings generally are 4.00 PM to 8.00 PM on
Monday to Saturday and 6.30 PM to 8.00 PM on Sunday at an
average. The total programme telecast duration in a week is 26.5
hours, which includes sponsored programmes.
Doordarshan Kendra consists of distinct units, which can be
described as follows:
1) Programme wing
2) Engineering wing
3) Administrative & Finance wing
4) News wing
5) Audience Research unit
6) Rajbhasha (Hindi) Unit
The Director is the head of the Kendra. Being a major
Doordarshan Kendra one chief Producer, two Deputy Director of
Programme, one Executive Producer and four Assistant Station
Director who look after various aspects of programme work.
Similarly, there are Sr. Administrative officer and Administrative
officer to look after Administration and Accounts work.
The Assistant Station Directors are assisted by Programme
Executive, Transmission Executive and other programme staff, and
some clerical staff. The Administrative officer/Senior Administrative
officers are assisted by Accountant/Assistant, UDC, and LDC &
Telephone Attendants.

The main function of Doordarshan Kendra Bhopal is to plan

and telecast programmes to viewers all over the Madhya Pradesh
State.

TV Scenario in M.P.:

As per the 2001 census there are 60,385,118(5.5 million)

households in M.P., 74.9 per cent of them are in the rural sector
(44, 42550) the remaining 25.1 per cent (13, 52656) are in the
Urban sector.
In 2001, 38.8 per cent of the households owned TV sets. Of
these 62.3 per cent were in rural areas and the remaining 37.7 per
cent in urban areas. Even if we estimate 10 15 per cent growth
per annum. Of these estimated 3 million TV households 40 45 per
cent is estimated to have cable connection i.e., 1.3 million and the
remaining 1.7 million are without cable connection, and totally
depend on DDK Bhopal for their TV viewing.
The introduction of DTH, DD Direct Plus has considerably
increased DD viewership in MP. From the available sales estimates
of set top boxes and receivers it is estimated that MP has 3 to 4
lakhs DTH households.

Technical Information:

Doordarshan Kendra, Bhopal is equipped with studio, two

terrestrial transmitters and one digital up-link station. The two
terrestrial transmitters are of 10 KW power each. One is for DDNational and the other is for DD-News telecasting.
DD-NEWS: CH #31 (VHF-Band-III) Pictures IF: 551.25 MHz,
Sound IF: 556.75 MHz.

TECHNICAL BRIEF
Latitude Co-ordinates

23 1425 ( North )

Longitude Co-ordinates

77 2320 ( East)

Main Sea Level

550 Mtrs.

Antenna Height

110 Mtrs.

Effective height of the antenna above sea level

660 Mtrs.

Peak power (Both DD-I & DD-II)

10 KW each

Black power

06 KW each

Antenna gain Art Direction

12.3 Db wide band,

Jampro Antenna.

FREQUENCY OF OPERATION
Band

DD-I

DD-II

Band

III

III

Channel

Video carrier

175.2396
MHz

189.25 MHz

Audio carrier

180.7396
MHz

194.75 MHz

Primary coverage

70 KMs.

DD-I HPT 10 KW Commissioned

24th October,1984

Bhopal Studios Commissioned

20th October,1992

DD-II (NEWS) HPT 10 KW Dedicated on

12th May, 2001

Coverage ( Population-wise)

61-76 Lakhs

Coverage ( Percentage-wise)

77.1%

Coverage ( Area-wise in percentage)

76.4%

EARTH STATION COMMISSIONED

Analogue

19th November , 1993

Digital Earth Station (2+1)

19th January, 2005

Uplink Frequency

U/L 6174.5 MHz ( H )

Downlink Frequency

D/L 3949.5 MHz ( V )

Satellite

INSAT-3A

Transponder

C-6

Digital Satellite News gathering Band

C-cum-KU

(DSNG)VAN MOBILE UPLINKING

November 2002.

Fundamental of monochrome and colour TV system:-

Picture formation:-

A picture can be considered to contain a number of small

elementary areas of light or shade which are called Picture
Elements. The elements thus contain the visual image of the scene.
In the case of a TV camera the scene is focused on the
photosensitive surface of pick up device and a optical image is
formed.
The photoelectric properties of the pickup device convert the
optical image to a electric charge image depending on the light and
shade of the scene (picture elements).
Now it is necessary to pick up this information and transmit it.
For this purpose scanning is employed. Electron beam scans the
charge image and produces optical image.

The electron beam scans the image line by line and field by
field to provide signal variations in a successive order.
The scanning is both in horizontal and vertical direction
simultaneously. The horizontal scanning frequency is 15,625 Hertz.
The vertical scanning frequency is 50 Hz.
The frame is divided in two fields. Odd lines are scanned first
and then the even lines. The odd and even lines are interlaced.
Since the frame is divided into 2 fields the flicker reduces. The field
rate is 50 Hertz.
The frame rate is 25 Hertz (Field rate is the same as power
supply frequency).
Number of TV Lines per Frame:If the number of TV lines is high larger bandwidth of video and
hence larger R.F. channel width is required. If we go for larger RF
channel width the number of channels in the R.F. spectrum will be
reduced.
However, with more no. of TV lines on the screen the clarity of
the picture i.e. resolution improves. With lesser number of TV lines
per frame the clarity (quality) is poor.

The capability of the system to resolve maximum number of

picture elements along scanning lines determines the horizontal
resolution. It means how many alternate black and white elements
can be there in a line.
Let us also take another factor. It is realistic to aim at equal
vertical and horizontal resolution. Therefore, the number of
alternate black and white dots on line can be 575 x 0.69 x 4/3
which is equal to 528. It means there are 528 divided by 2 cyclic
changes i.e. 264 cycles. These 264 cycles are there during 52 micro
seconds. Hence the highest frequency is 5 MHz.
Therefore the horizontal resolution of the system is 5 MHz. A
similar calculation for 525 lines system limits the highest frequency

to 4 MHz and hence the horizontal resolution of same value. In view

of the above the horizontal bandwidth of signal in 625 lines system
is 5 MHz.

The PAL Colour Television System:-

The Colour Television:It is possible to obtain any desired colour by mixing three
primary colours i.e. Red, Blue and green in a suitable proportion.
Additive Colour Mixing the figure shows the effect of projecting red,
green, blue beams of light so that they overlap on screen.
Y= 0.3 Red + 0.59 Green + 0.11 Blue

Fig. Additive Colour Mixing

It is possible to obtain any desired colour by mixing three

primary colours i.e., red, blue and green in suitable proportion.
Thus it is only required to convert optical information of these three
colours to electrical signals and transmit it on different carriers to
be decoded by the receiver.
This can then be converted back to the optical image at the
picture tube. The phosphors for all the three colours i.e. R, G and B
are easily available to the manufacturers of the picture tube. So the
pick up from the cameras and output for the picture tube should
consist of three signals i.e. R, G and B.
It is only in between the camera and the picture tube of the
receiver we need a system to transmit this information. Colour
television has the constraint of compatibility and reverse
compatibility with the monochrome television system which makes
it slightly complicated.
Compatibility means that when colour TV signal is radiated
the monochrome TV sets should also display Black & White
pictures. This is achieved by sending Y as monochrome information
along with the chroma signal. Y is obtained by mixing R, G & B as
per the well known equation:
Y = 0.3 R + 0.59 G + 0.11 B
Reverse compatibility means that when Black & White TV
signal is radiated the colour TV sets should display the Black &
White pictures. If we transmit R, G, B, the reverse compatibility
cannot be achieved. Let us see how: If we transmit Y, R & B and
derive G then:
Since, Y = 0.3R + 0.59G + 0.11 B
G = 1.7Y - 0.51 R - 0.19 B.

In such a case what happens with a colour TV set when we

transmit black and white signal. R and B are zero, but G gun gets
1.7 Y. The net result is black & white pictures on a colour TV screen
appear as Green pictures. So reverse compatibility is not achieved.

Colour Difference Signals:

To achieve reverse compatibility, when we transmit Y, R-Y and

B-Y instead of Y, R & B, we do not take G-Y as this will always be
much lower than R-Y and B-Y and hence will needs more
amplification and will cause more noise into the system. G-Y can be
derived electronically in the TV receiver. In the previous paragraph
we have seen that,
G = 1.7 Y - 0.51 R - 0.19 B
So, G-Y = -0.51 (R-Y) - 0.19 (B-Y)
Thus, colour difference signals fulfil the compatibility and
reverse compatibility. Because in this case the colour difference
signals are zero if the original signal is monochrome (i.e. R = B = G)
So, if we take R - Y
R - Y = R - (0.3 R + 0.59 R + 0.11 R) = 0
Similarly,
B-Y=0
As such colour difference signals are zero for white or any
shade of gray whereas, Y carries the entire Luminance information.
It is to be noted while R, G, B signals always have positive value
R-Y, B-Y and G-Y signals can either be positive or negative or even
zero.
The R-Y and B - Y chrominance signals may be recovered at
the television receiver by suitable synchronous demodulation. But
sub-carrier is to be generated by a local oscillator.

This generated sub-carrier in the receiver must have same

frequency as that of transmitted sub-carrier and also the same
phase.
This is achieved by transmitting 10 cycles of sub-carrier
frequency on the back porch of H synchronizing pulse. This 10
cycles subcarrier signal is known as BURST or colour BURST.

Video Chain In a Typical Doordarshan Studio:-

Studio Centre:
A Studio centre of Doordarshan has the following objectives:

To originate programmes from studios either for live telecast or

for recording on a video tape.
1.

To knit various other sources of programs available at the

production desk i.e., camera output from studios, feed from other
Kendra, outdoor, playback from pre recorded tape, film based
programs slides, video graphics and characters generator etc. This
knitting or live editing includes generation of special effects and
desired transitions between various sources.
2.

3) Processing/distribution of different sources to various

destinations in technical areas. Routing of mixed programme for
recording/transmission via master switching room and Micro Wave
to the transmitter or any other desired destinations. Activities in a
television studio can be divided into three major areas such as:
1) Action area,
2) Production control room, and
3) Central apparatus room,

Action area:

This place requires large space and ceiling as compared to any

other technical area. Action in this area includes staging, lighting,
performance by artists, and arrangement to pick up picture and
sound. Hardware required for these activities in a studio (typical
size 20 x20x8.5 cubic meters) are:
1.
Very efficient air conditioning because of lot of heat dissipation
by studio light and presence of large number of persons including
invited audience performing artists and operational crew.
2.
Uniform and even flooring for smooth operation of camera
dollies and boom microphone etc.

3.
Acoustic treatment keeping in mind that a television studio is
a multipurpose studio with lot of moving person and equipment
during a production.
4.
Supporting facilities like properties, wardrobe, and makeup
etc.
5.
Effective communication facilities for the floor crew with the
production control area.
6.
Studio cameras (three to four) with one of the cameras fitted
with teleprompter system and pressure dolly. Luminaries and
suspension system having grids or battens (hand/motorised
operation).
7.

Pick up wall sockets for audio operations.

8.

Tie lines box for video and audio lines from control room.

9.
Cyclorama and curtain tracks for blue and black curtain for
chroma keying and limbo lighting respectively.
10.

Audio and video monitoring facilities.

11. Studio warning light and safety devices like fire alarm system
and fire fighting equipments etc. Digital clock display.
Operational requirement from the technical crew may vary
from programme to programme. These requirements for lighting,
audio pick up and special effects etc. depends upon the programme
requirement such as establishing a period, time, formal or informal
situation.

Production control area:

Activities in this area are:1.
Direction to the production crew.
2.
Timing a production/telecast.

3.
4.

Editing of different sources available at the production desk.

Monitoring of output/off air signal.

1.
Hardware provided in this area include:
2.
Monitoring facilities for all the input and output sources
(audio/video).
3.
Remote control for video mixer, telecine and library store and
special effect (ADO) etc.
4.
Communication facilities with technical areas and studio floor.

Vision mixing and switching:

Unlike films, television media allows switching between

different sources simultaneously at the video switcher in Production
control room operated by the Vision Mixer on the direction of the
program producer.
The producer directs the cameramen for proper shots on
various cameras through intercom and the vision mixer (also called
VM engineer) switches shots from the selected camera/cameras
with split second accuracy, in close cooperation with the producer.
The shots can be switched from one video source to another
video source, superimposed, cross faded, faded in or faded out
electronically with actual switching being done during the vertical
intervals between the picture frames. Electronics special effects are
also used now days as a transition between the two sources.
Vision Mixer (or Video Switcher):
Though the video switching is done by the VM at the remote
panel, the electronics is located in CAR. The vision mixer is typically
a 10 x 6 or 20 x 10 cross bar switcher selecting anyone of the 10 or
20 input sources to 6 or 10 different output lines. The input

sources include: Camera 1, camera 2, camera 3, VTR1, VTR2,

Telecine 1, Telecine 2, Test signal etc.

The vision mixer provides for the following operational facilities for
editing of TV programs:1.
TAKE: Selection of any input source or Cut: switching clearly
from one source to another.
2.
DISSOLVE: Fading out of one source of video and fading in
another source of video.
3.
SUPERPOSITION OF TWO SOURCES: Keyed caption when
selected inlay is superimposed on the background picture.
4.
SPECIAL EFFECTS: A choice of a number of wipe patterns for
split screen or wipe effects.

The selected output can be monitored in the corresponding

preview monitor. All the picture sources are available on the
monitors. The preview monitors can be used for previewing the
telecine, VTR; test signals etc. with any desired special effect, prior
to its actual switching.
The switcher also provides cue facilities to switch camera tally
lights as an indication to the cameraman whether his camera is on
output of the switcher. Present day PCRs have:

24 input video special effects switchers.

(CD 680 or CD 682-SP).

Character generators.

Telecine/DLS remote controls.

Adequate monitoring equipment.

Character Generator(CG)
Character Generator provides titles and credit captions during
production in Roman script. It provides high resolution characters,

different colours for colorizing characters, background, edges etc. At

present bilingual and trilingual C.G are also being used by
Doordarshan.
Character Generator is a microcomputer with Texts along
instructions when typed in at the keyboard is stored on a floppy or
a Hard disk. Many pages of scripts can be stored on the disk and
recalled when needed, by typing the addresses for the stored pages,
to appear as one of the video sources.
Sync Pulse-Generator(SPG) It is essential that all the video
sources as input to the switcher are in synchronism i.e., start and
end of each line or all the frames of video sources is concurrent.
This requirement is ensured by the sync pulse generator
(SPG). SPG consists of highly stable crystal oscillator. Various
pulses of standard width and frequency are derived from this
crystal electronically which form clock for the generation of video
signal.
These pulses are fed to all the video generating equipment to
achieve this objective of synchronism. Because of its importance,
SPG is normally duplicated for change over in case of failure.

It provides the following outputs:

1. Line drive
2. Field drive
3. Mixed blanking
4. Mixed sync
5. colour subcarrier
6. A burst insertion pulse
7. PAL phase Indent pulses

Camera Control Unit (CCU):

The television cameras which include camera head with its

optical focusing lens, pan and tilt head, video signal pre-amplifier
view finder and other associated electronic circuitry are mounted on
cameras trolleys and operate inside the studios.
The output of cameras is pre-amplified in the head and then
connected to the camera control unit (CCU) through long multi-core
cable (35 to 40 cores), or triax cable.
All the camera control voltages are fed from the CCU to the
camera head over the multi-core camera cable. The view-finder
signal is also sent over the camera cable to the camera head viewfinder for helping the cameraman in proper focusing, adjusting and
composing the shots.
The video signal so obtained is amplified, H.F. corrected,
equalized for cable delays, D.C. clamped, horizontal, and vertical
blanking pulses are added to it.
The peak white level is also clipped to avoid overloading of the
following stages and avoiding over modulation in the transmitter.
The composite sync signals are then added and these video signals
are fed to a distribution amplifier, which normally gives multiple
outputs for monitoring etc.

Light Control:

The scene to be televised must be well illuminated to produce

a clear and noise free picture. The lighting should also give the
depth, the correct contrast and artistic display of various shades
without multiple shadows.

The lighting arrangements in a TV studio have to be very

elaborate. A large number of lights are used to meet the needs of
key, fill, and back lights etc. Lights are classified as spot and soft
lights. These are suspended from motorized hoists and telescopes.
The up and down movement is remotely controlled. The
switching on and off the lights at the required time and their
dimming is controlled from the light control panel inside a lighting
control room using SCR dimmer controls.
These remotely control various lights are inside the studios.
Sound mixing and control as a rule, in television, sound
accompanies the picture. Several microphones are generally
required for production of complex television programs besides
other audio sources also called marred sound from telecine, VTR,
and audio tape/disc replays.
All these audio sources are connected to the sound control
console. The sounds from different sources are controlled and
mixed in accordance with the requirement of the program. Split
second accuracy is required for providing the correct audio source
in synchronisation with the picture thus requiring lot of skill from
the engineer.
Even the level of sound sometimes is varied in accordance with
the shot composition called prospective. Audio facilities An audio
mixing console, with a number of inputs, say about 32 inputs is
provided in major studio.
This includes special facilities such as equalisation, PFL,
phase reversal, echo send/receive and digital reverberation units at
some places. Meltron console tape recorders and EMI 938 disc
reproducers are provided for playing back/creating audio effects as
independent sources (Unmarried) to the switcher.
Video Tape recorders VTR room is provided at each studio centre. It
houses a few broadcast standard Videocassette recorders (VCRs). In
these recorders, sound and video signals are recorded
simultaneously on the same tape.
Most of the TV centres have professional quality B-Format
BCN-51 One inch VTRs. For broadcast quality playback it is

equipped with correction electronics i.e. a processor which

comprises velocity error compensation, drop-out compensation and
time base correction.
It also comprises a digital variable motion unit enabling still
reproduction, slow motion and visible search operation. New centres
are being supplied with Sony U-matic high band VCRs along with
Sony Betacam SP VCRs, DVC Pro.
Post Production Suites Modern videotape editing has
revolutionised the production of television programs over the years.
The latest trend all over the world is to have more of fully equipped
post production suites than number of studios.
Most of the present day shootings are done on locations using
single camera. The actual production is done in these suites. The
job for post production suites is:a.
To knit program available on various sources.
b.
While doing editing with multiple sources, it should be
possible to have any kind of transition.
c.
Adding/Mixing sound tracks.
d.
Voice over facilities.
e.
Creating special effects.
The concept of live editing on vision mixer is being replaced by
to do it at leisure in post production suites. A well equipped post
production suite will have:1.
Five VTRs/VCRs, may be of different format remotely
controlled by the editor.
2.
Vision mixing with special effect and wipes etc. with control
from a remote editor panel.
3.
4.
5.

Ampex Digital Optics (ADO) for special effects.

Audio mixer with remote control from the editor remote panel.

6.
Multi-track audio recorder with time code facilities and remote
operation.
7.

Character generator for titles.

8.
Adequate monitoring facilities.
9.
Supported by Offline editing systems to save time in post
production suites.
10. One man operation.


Coverage of Outside events:
Outside broadcasts (or OBs) provide an important part of the
television programs. Major events like sports, important functions
and performances are covered with an O.B. van which contains all
the essential production facilities.

Video Chain :
The block diagram on facing page connects all these sections and
it can be observed that the CAR is the nodal area. Now let us follow
a CAM-I signal. CAM-I first goes to a Camera electronics in CAR via
a multi-core cable, the signal is then matched/adjusted for quality
in CCU and then like any other sources it goes to video switcher via
PP (Patch Panel) and respective VDAs(Video Distribution Amplifiers)
and optional Hum compensator/Cable equalizers. Output from the
switcher goes to stabilizing amplifier via PP and VDAs. Output from
the stab. Is further distributed to various destinations.

TV LIGHTING:-

General principles:
Lighting for television is very exciting and needs creative
talent. There is always a tremendous scope for doing experiments to
achieve the required effect. Light is a kind of electromagnetic
radiation with a visible spectrum from red to violet i.e. wave length
from 700 nm to 380 nm respectively.
However to effectively use the hardware and software
connected with lighting it is important to know more about this
energy.

Light Source:
Any light source has a Luminance intensity (I) which is
measured in Candelas. Candela is equivalent to an intensity
released by standard one candle source of light.

Basic Three Point Lighting:

Key light: This is the principal light source of illumination. It

gives shape and modelling by casting shadows. It is treated like
"sun" in the sky and it should cast only one shadow. Normally it is a
hard source.
Fill Light: Controls the lighting contrast by filling in shadows. It can
also provide catch lights in the eyes. Normally it is a soft source.
Back light: Separates the body from the background, gives
roundness to the subject and reveals texture. Normally it is hard
source.
Background Light: Separates the person from the background,
reveals background interest and shape. Normally it is a hard
source.
In three points lighting the ratio of 3/2/1 (Back/Key/Fill) for
mono and 3/2/2 for colour provides good portrait lighting.

TV CAMERA : A TV Camera consists of three sections:

i.
A Camera lens and optics: To form optical image on the face
plate of a pickup device.
ii.
A transducer or pick up device: To convert optical image into
an electrical signal.
iii.
Electronics: To process output of a transducer to get a CCVS
signal.
CCD CAMERAS:
Any camera will need a device to convert optical image into an
electrical signal. Now let us consider a picture frame made of small
picture element. For more sharpness or better resolution we have to
increase these elements.

This picture frame can now be focused on to a structure of so

many CCD elements. Each CCD element will now convert the light
information on it to a charge signal. All we need now is to have an
arrangement to collect this charge and convert it to voltage. This is
the basic principle on which CCD cameras are based.

CCD were launched in 1983 for broadcasting with pixel count

from a mere 2, 50,000 which increased to 20, 00,000 in 1994 for
HDTV application.
Noise and aliasing has been reduced to negligible level. CCD
cameras now offer fully modulated video output at light level as low
as 6.0 lumens. A typical specification for a studio camera now
available in market are something like 2/3 inch, FIT, lens on chip
CCD with 6,00,000 pixel, 850 lines H resolution, S/N more than 60
dB, sensitivity F-8 (2000 lux) etc.

Block Diagram of a typical Camera

HIGH POWER TV TRANSMITTER:-

All the TV transmitters have the same basic design. They

consist of an exciter followed by power amplifiers which boost the
exciter power to the required level.
The exciter stage determines the quality of a transmitter. It
contains pre-corrector units both at base band as well as at IF
stage, so that after passing through all subsequent transmitter
stages, an acceptable signal is available.
Since the number and type of amplifier stages, may differ
according to the required output power, the characteristics of the
pre-correction circuits can be varied over a wide range. In HPTs the
vision and sound carriers can be generated, modulated and
amplified separately and then combined in the diplexer at the
transmitter output.
In LPTs, on the other hand, sound and vision are modulated
separately but amplified jointly. This is common vision and aural
amplification. A special group delay equalization circuit is needed in
the first case because of errors caused by TV diplexer.
In the second case the intermodulation products are more
prominent and special filters for suppressing them is required. As it
is difficult to meet the intermodulation requirements particularly at
higher power ratings, separate amplification is used in HPTs though
combined amplification requires fewer amplifier stages.
In BEL mark I & II transmitters three valve stages (BEL 450
CX, BEL 4500 CX and BEL 15000 CX) are used in vision
transmitter chain and two valves (BEL 450 CX and BEL 4500 CX) in
aural transmitter chain.

In BEL mark III transmitter only two valve stages (BEL 4500
CX and BEL 15000 CX) are used in vision transmitter chain. Aural
transmitter chain is fully solid state in Mark III transmitter.

A BEL 10 kW TV Transmitter consists of Input Equipment

Rack monitoring Equipment, Rack Control Console, Indoor Co-axial
Equipment comprising of U-link Rack with U-link panel A and B, TTransformer and10 kW Dummy Load, Aural Harmonic Filter,
CIN Diplexer, Aural Notch Filter and Band Pass Filter Antenna
system with junction box, feeder cables etc.

Block Diagram of 10kW TV Transmitter

Solid State Power Amplifiers:

It has got two identical sections. Each capable of delivering 10

W. It gets 28 V power supply through relay in 80 W AMP. Sample of

output is available at front panel for RF monitoring. 4) Provides A
DC output corresponding to sync peak output for vision monitoring
unit. 5) Thermostat on heat sink is connected in series with
thermostat or 80 W AMP and provides thermal protection.

TX. Block Diagram

Vision Chain of Exciter

Transmitter Control System:

The transmitter control unit performs the task of transmitter

interlocking and control. Also it supports operation from control
console. The XTR control unit (TCU) has two independent system
viz.
1.
Main control system. (MCS)
2.
Back-up Control System (BCS)

System Description of Exciter:

Block Diagram of TV Exciter

Video Chain:
The input video signal is fed to a video processor. In VHF
transmitters LPF, Delay equalizer and receiver pre-corrector precede
the video processor.
Low Pass Filter:
Limits incoming video signal to 5 MHz.
Delay Equalizer:
Group delay introduced by LPF is corrected. It also predistorts the video for compensating group delay errors introduced in
the subsequent stages and diplexer.
Receiver pre-corrector:
Pre-distorts the signal providing partial compensation of GD
which occurs in domestic receivers.
Both the delay equaliser and receiver precorrector are
combined in the delay equaliser module in Mark III version.
DP/DG Corrector:
This is also used in the exciter preceding LPF (mark III) for
precorrecting the differential gain and differential phase errors
occurring in the transmitter.
Video Processor:
Amplification of Video signal, Clamping at back porch of video
signal. Clamping gives constant peak power.
Zero volt reference line is steady irrespective of video signal
pattern when clamping takes place otherwise the base line starts an
excursion about the zero reference depending on the video signal.

Vision Modulator:

Amplification of Vision IF at 38.9 MHz .Linear amplitude

modulation of Vision IF by video from the video processor in a
balanced modulator.

IF Amplifier:
IF is amplified to provide sufficient level to the modulator. It
operates as an amplitude limiter for maintaining constant output.

Modulator:
A balanced modulator using two IS-1993 diodes is used in the
modulator. Modulated signal is amplified to 10 mW in double tuned
amplifier which provides a flat response within 0.5 dB in 7 MHz
band.

Block Diagram of Vision Modulator

Schematic Diagram of Vision Modulator


1.
2.
3.
4.
5.

VSBF and Mixer :

It consists of following stages:
VSB filter
ALC amplifier
Mixer
Helical Filter
Mixer Amplifier

Block Diagram of VSBF Mixer

VSB Filter:
Surface Acoustic wave (SAW) filter provide a very steep side
band response with high attenuation outside designated channel. It
has a linear phase characteristic with a low amplitude and group
delay ripple.

Block Diagram of V.S.B.Filter

Local Oscillator:
It supplies three equal outputs of + 8 dBm each at a frequency of
fv + fvif. This unit has 3 sub units.
1.
Fc/4 oscillator: Generates frequency which is 1/4 of desired
channel frequency. Fine freq. control is done by VC1.
2.
LO Mixer/Power divider: Here the above Fc/4 frequency is
multiplied by four to obtain channel frequency of fc and then mixed
Power divider is also incorporated to provide three isolated outputs
of equal level.

Block Diagram of Local Oscillator

Audio Chain:
The aural modulator unit consists of audio amplifier, VCO,
mixer and APC.

Block Diagram of Aural Modulator

Audio Amplifier:
A balanced audio signal at + 10 dBm from studio is converted
to unbalanced signal by audio transformer T4. The output of this is
taken through potentiometer to the input of Hybrid Audio Amp MC
1003. A 50 micro second pre-emphasis is also provided.

VCO:
This is a varactor tuned oscillator. Its frequency can be varied
by coil L4. Transistor TR-17 forms the oscillator. VCO output is
frequency modulated by the audio signal. Output level is 0 dBm.

TV Transmitter Antenna System :TV Antenna System is that part of the Broadcasting Network
which accepts RF Energy from transmitter and launches
electromagnetic waves in space. The polarization of the radiation as
adopted by Doordarshan is linear horizontal.
The system is installed on a supporting tower and consists of
antenna panels, power dividers, baluns, branch feeder cable,
junction boxes and main feeder cables. Dipole antenna elements,

in one or the other form are common at VHF frequencies where as

slot antennae are mostly used at UHF frequencies.
Omni directional radiation pattern is obtained by arranging
the dipoles in the form of turnstile and exciting the same in
quadrature phase.

Desired gain is obtained by stacking the dipoles in vertical

plane. As a result of stacking, most of the RF energy is directed in
the horizontal plane. Radiation in vertical plane is minimized.
The installed antenna system should fulfil the following
requirements:
a) It should have required gain and provide desired field strength at
the point of reception.
b) It should have desired horizontal radiation pattern and directivity
for serving the planned area of interest. The radiation pattern
should be Omni directional if the location of the transmitting
station is at the centre of the service area and directional one, if the
location is otherwise.
c) It should offer proper impedance to the main feeder cable and
thereby to the transmitter so that optimum RF energy is transferred
into space. Impedance mismatch results into reflection of power and
formation of standing waves. The standard RF impedance at
VHF/UHF is 50 ohms.

Vestigial Side Band Transmission:-

Another feature of present day TV Transmitters is vestigial side

band transmission. If normal amplitude modulation technique is
used for picture transmission, the minimum transmission channel
bandwidth should be around 11 MHz taking into account the space
for sound carrier and a small guard band of around 0.25
MHz.
Using such large transmission BW will limit the number of
channels in the spectrum allotted for TV transmission. To
accommodate large number of channels in the allotted spectrum,
reduction in transmission BW was considered necessary.
The transmission BW could be reduced to around 5.75 MHz
by using single side band (SSB) AM technique, because in principle
one side band of the double side band (DSB) AM could be
suppressed, since the two side bands have the same signal content.
It was not considered feasible to suppress one complete side
band in the case of TV signal as most of the energy is contained in
lower frequencies and these frequencies contain the most important
information of the picture.
If these frequencies are removed, it causes objectionable phase
distortion at these frequencies which will affect picture quality.
Thus, as a compromise only a part of lower side band is suppressed
while taking full advantage of the fact that:
i) Visual disturbance due to phase errors are severe and
unacceptable where large picture areas are concerned (i.e. at LF)
but ii) Phase errors become difficult to see on small details (i.e. in
HF region) in the picture.
Thus low modulating frequencies must minimize phase
distortion where as high frequencies are tolerant of phase
distortions as they are very difficult to see.
The radiated signal thus contains full upper side band
together with carrier and the vestige (remaining part) of the partially
suppressed LSB.

The lower side band contains frequencies up to 0.75 MHz with

a slope of 0.5 MHz so that the final cut off is at 1.25 MHz.