Colors, (Hindi: कलर्स) known as Aapka Colors in the USA, is a Hindi language Indian general entertainment channel based in Mumbai,^[1] part of the Viacom 18 family, which was launched on July 21, 2008.^[2] The channel got a huge popularity just after its launch with Fear Factor: Khatron Ke Khiladi with a Bollywood actor Akshay Kumar and due to its successful ratings, it received a top position among other Hindi general entertainment channels for a little while, such as STAR Plus, Sony TV, Zee TV, Life OK and Sahara One. The network has successfully completed its 1st year.

Currently, the channel is featuring a number of successful shows, such as Bigg Boss (Season 2), Bigg Boss (Season 3), Bigg Boss (Season 4), Bigg Boss (Season 5), Balika Vadhu, Uttaran and Parichay. The channels' most popular show, Balika Vadhu has been ranked in the TOP 5 shows of Indian television's TRPs charts, within 3 months of its launch.^[3]

On 21 January 2010, Colors became available on Dish Network in the U.S., where it is called Aapka Colors (Respectfully your Colors) because of a clash with Colours TV.^[4] Amitabh Bachchan served as brand ambassador for the UK and USA launches.^[5]

Colors launched in the United Kingdom and Ireland on Sky on 25 January 2010.^[6] On 9 December 2009, INX Media confirmed that Colors had bought 9XM's Sky EPG slot on channel 829 and on 5 January 2010, Colors secured a deal to join the VIEWASIA subscription package.^[7][8] EPG tests began on 4 January 2010 using the 9XM stream, followed by Colors' own video and audio on 8 January.^[9][10] Initially the channel was available free-to-air and then subsequently was added to the VIEWASIA package on 19 April 2010.^[11] Colors was added to Virgin Media on 1 April 2011, as a part of the Asian Mela pack.^[12]

Golden Petal Awards[link]

Colors online[link]

Colors is available at 1tvlive.in/colors-tv.

Shows[link]

Colors HD[link]

This section requires expansion.

Colors HD was added by various DTH Operators in India including DishTV^[13], Airtel digital TV^[14], Videocon d2h^[15] This commercial-free channel is available in 1080i. Hathway digital cable also provides Colors HD.^[16]

References[link]

External links[link]

• Official Website of Colors
• Official Website of Colors UK

Colored pencils

Color or colour (see spelling differences) is the visual perceptual property corresponding in humans to the categories called red, green, blue, and others. Color derives from the spectrum of light (distribution of light power versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects, materials, light sources, etc., based on their physical properties such as light absorption, reflection, or emission spectra. By defining a color space, colors can be identified numerically by their coordinates.

Because perception of color stems from the varying spectral sensitivity of different types of cone cells in the retina to different parts of the spectrum, colors may be defined and quantified by the degree to which they stimulate these cells. These physical or physiological quantifications of color, however, do not fully explain the psychophysical perception of color appearance.

The science of color is sometimes called chromatics, chromatography, colorimetry, or simply color science. It includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range (that is, what we commonly refer to simply as light).

Physics[link]

Continuous optical spectrum rendered into the sRGB color space.

Electromagnetic radiation is characterized by its wavelength (or frequency) and its intensity. When the wavelength is within the visible spectrum (the range of wavelengths humans can perceive, approximately from 390 nm to 750 nm), it is known as "visible light".

Most light sources emit light at many different wavelengths; a source's spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, there are many more possible spectral combinations than color sensations. In fact, one may formally define a color as a class of spectra that give rise to the same color sensation, although such classes would vary widely among different species, and to a lesser extent among individuals within the same species. In each such class the members are called metamers of the color in question.

Spectral colors[link]

The familiar colors of the rainbow in the spectrum – named using the Latin word for appearance or apparition by Isaac Newton in 1671 – include all those colors that can be produced by visible light of a single wavelength only, the pure spectral or monochromatic colors. The table at right shows approximate frequencies (in terahertz) and wavelengths (in nanometers) for various pure spectral colors. The wavelengths are measured in air or vacuum (see refraction).

The color table should not be interpreted as a definitive list – the pure spectral colors form a continuous spectrum, and how it is divided into distinct colors linguistically is a matter of culture and historical contingency (although people everywhere have been shown to perceive colors in the same way^[2]). A common list identifies six main bands: red, orange, yellow, green, blue, and violet. Newton's conception included a seventh color, indigo, between blue and violet. Optical scientists Hardy and Perrin list indigo as between 446 and 464 nm wavelength.^[3]

The intensity of a spectral color, relative to the context in which it is viewed, may alter its perception considerably; for example, a low-intensity orange-yellow is brown, and a low-intensity yellow-green is olive-green.

For discussion of non-spectral colors, see below.

Color of objects[link]

The color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Physically, objects can be said to have the color of the light leaving their surfaces, which normally depends on the spectrum of the incident illumination and the reflectance properties of the surface, as well as potentially on the angles of illumination and viewing. Some objects not only reflect light, but also transmit light or emit light themselves (see below), which contribute to the color also. And a viewer's perception of the object's color depends not only on the spectrum of the light leaving its surface, but also on a host of contextual cues, so that the color tends to be perceived as relatively constant: that is, relatively independent of the lighting spectrum, viewing angle, etc. This effect is known as color constancy.

The upper disk and the lower disk have exactly the same objective color, and are in identical gray surroundings; based on context differences, humans perceive the squares as having different reflectances, and may interpret the colors as different color categories; see checker shadow illusion.

Some generalizations of the physics can be drawn, neglecting perceptual effects for now:

• Light arriving at an opaque surface is either reflected "specularly" (that is, in the manner of a mirror), scattered (that is, reflected with diffuse scattering), or absorbed – or some combination of these.
• Opaque objects that do not reflect specularly (which tend to have rough surfaces) have their color determined by which wavelengths of light they scatter more and which they scatter less (with the light that is not scattered being absorbed). If objects scatter all wavelengths, they appear white. If they absorb all wavelengths, they appear black.
• Opaque objects that specularly reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences. An object that reflects some fraction of impinging light and absorbs the rest may look black but also be faintly reflective; examples are black objects coated with layers of enamel or lacquer.
• Objects that transmit light are either translucent (scattering the transmitted light) or transparent (not scattering the transmitted light). If they also absorb (or reflect) light of various wavelengths differentially, they appear tinted with a color determined by the nature of that absorption (or that reflectance).
• Objects may emit light that they generate themselves, rather than merely reflecting or transmitting light. They may do so because of their elevated temperature (they are then said to be incandescent), as a result of certain chemical reactions (a phenomenon called chemoluminescence), or for other reasons (see the articles Phosphorescence and List of light sources).
• Objects may absorb light and then as a consequence emit light that has different properties. They are then called fluorescent (if light is emitted only while light is absorbed) or phosphorescent (if light is emitted even after light ceases to be absorbed; this term is also sometimes loosely applied to light emitted because of chemical reactions).

For further treatment of the color of objects, see structural color, below.

To summarize, the color of an object is a complex result of its surface properties, its transmission properties, and its emission properties, all of which factors contribute to the mix of wavelengths in the light leaving the surface of the object. The perceived color is then further conditioned by the nature of the ambient illumination, and by the color properties of other objects nearby, via the effect known as color constancy and via other characteristics of the perceiving eye and brain.

Perception[link]

Normalized typical human cone cell responses (S, M, and L types) to monochromatic spectral stimuli

Development of theories of color vision[link]

Although Aristotle and other ancient scientists had already written on the nature of light and color vision, it was not until Newton that light was identified as the source of the color sensation. In 1810, Goethe published his comprehensive Theory of Colors in which he described the physiological effects of color.

In 1801 Thomas Young proposed his trichromatic theory, based on the observation that any color could be matched with a combination of three lights. This theory was later refined by James Clerk Maxwell and Hermann von Helmholtz. As Helmholtz puts it, "the principles of Newton's law of mixture were experimentally confirmed by Maxwell in 1856. Young's theory of color sensations, like so much else that this marvellous investigator achieved in advance of his time, remained unnoticed until Maxwell directed attention to it."^[4]

At the same time as Helmholtz, Ewald Hering developed the opponent process theory of color, noting that color blindness and afterimages typically come in opponent pairs (red-green, blue-orange, yellow-purple, and black-white). Ultimately these two theories were synthesized in 1957 by Hurvich and Jameson, who showed that retinal processing corresponds to the trichromatic theory, while processing at the level of the lateral geniculate nucleus corresponds to the opponent theory.^[5]

In 1931, an international group of experts known as the Commission internationale de l'éclairage (CIE) developed a mathematical color model, which mapped out the space of observable colors and assigned a set of three numbers to each.

Color in the eye[link]

This image (when viewed in full size, 1000 pixels wide) contains 1 million pixels, each of a different color. The human eye can distinguish about 10 million different colors.^[6]

The ability of the human eye to distinguish colors is based upon the varying sensitivity of different cells in the retina to light of different wavelengths. Humans being trichromatic, the retina contains three types of color receptor cells, or cones. One type, relatively distinct from the other two, is most responsive to light that we perceive as violet, with wavelengths around 420 nm; cones of this type are sometimes called short-wavelength cones, S cones, or blue cones. The other two types are closely related genetically and chemically. One of them, sometimes called long-wavelength cones, L cones, or red cones, is most sensitive to light we perceive as greenish yellow, with wavelengths around 564 nm; the other type, known as middle-wavelength cones, M cones, or green cones is most sensitive to light perceived as green, with wavelengths around 534 nm.

Light, no matter how complex its composition of wavelengths, is reduced to three color components by the eye. For each location in the visual field, the three types of cones yield three signals based on the extent to which each is stimulated. These amounts of stimulation are sometimes called tristimulus values.

The response curve as a function of wavelength for each type of cone is illustrated above. Because the curves overlap, some tristimulus values do not occur for any incoming light combination. For example, it is not possible to stimulate only the mid-wavelength (so-called "green") cones; the other cones will inevitably be stimulated to some degree at the same time. The set of all possible tristimulus values determines the human color space. It has been estimated that humans can distinguish roughly 10 million different colors.^[6]

The other type of light-sensitive cell in the eye, the rod, has a different response curve. In normal situations, when light is bright enough to strongly stimulate the cones, rods play virtually no role in vision at all.^[7] On the other hand, in dim light, the cones are understimulated leaving only the signal from the rods, resulting in a colorless response. (Furthermore, the rods are barely sensitive to light in the "red" range.) In certain conditions of intermediate illumination, the rod response and a weak cone response can together result in color discriminations not accounted for by cone responses alone. These effects, combined, are summarized also in the Kruithof curve, that describes the change of color perception and pleasingness of light as function of temperature and intensity.

Color in the brain[link]

The visual dorsal stream (green) and ventral stream (purple) are shown. The ventral stream is responsible for color perception.

While the mechanisms of color vision at the level of the retina are well-described in terms of tristimulus values (see above), color processing after that point is organized differently. A dominant theory of color vision proposes that color information is transmitted out of the eye by three opponent processes, or opponent channels, each constructed from the raw output of the cones: a red–green channel, a blue–yellow channel, and a black–white "luminance" channel. This theory has been supported by neurobiology, and accounts for the structure of our subjective color experience. Specifically, it explains why we cannot perceive a "reddish green" or "yellowish blue", and it predicts the color wheel: it is the collection of colors for which at least one of the two color channels measures a value at one of its extremes.

The exact nature of color perception beyond the processing already described, and indeed the status of color as a feature of the perceived world or rather as a feature of our perception of the world, is a matter of complex and continuing philosophical dispute (see qualia).

Nonstandard color perception[link]

Color deficiency[link]

If one or more types of a person's color-sensing cones are missing or less responsive than normal to incoming light, that person can distinguish fewer colors and is said to be color deficient or color blind (though this latter term can be misleading; almost all color deficient individuals can distinguish at least some colors). Some kinds of color deficiency are caused by anomalies in the number or nature of cones in the retina. Others (like central or cortical achromatopsia) are caused by neural anomalies in those parts of the brain where visual processing takes place.

Tetrachromacy[link]

While most humans are trichromatic (having three types of color receptors), many animals, known as tetrachromats, have four types. These include some species of spiders, most marsupials, birds, reptiles, and many species of fish. Other species are sensitive to only two axes of color or do not perceive color at all; these are called dichromats and monochromats respectively. A distinction is made between retinal tetrachromacy (having four pigments in cone cells in the retina, compared to three in trichromats) and functional tetrachromacy (having the ability to make enhanced color discriminations based on that retinal difference). As many as half of all women are retinal tetrachromats.^[8]:p.256 The phenomenon arises when an individual receives two slightly different copies of the gene for either the medium- or long-wavelength cones, which are carried on the x-chromosome. To have two different genes, a person must have two x-chromosomes, which is why the phenomenon only occurs in women.^[8] For some of these retinal tetrachromats, color discriminations are enhanced, making them functional tetrachromats.^[8]

Synesthesia[link]

In certain forms of synesthesia, perceiving letters and numbers (grapheme–color synesthesia) or hearing musical sounds (music–color synesthesia) will lead to the unusual additional experiences of seeing colors. Behavioral and functional neuroimaging experiments have demonstrated that these color experiences lead to changes in behavioral tasks and lead to increased activation of brain regions involved in color perception, thus demonstrating their reality, and similarity to real color percepts, albeit evoked through a non-standard route.

Afterimages[link]

An example of an Afterimage

After exposure to strong light in their sensitivity range, photoreceptors of a given type become desensitized. For a few seconds after the light ceases, they will continue to signal less strongly than they otherwise would. Colors observed during that period will appear to lack the color component detected by the desensitized photoreceptors. This effect is responsible for the phenomenon of afterimages, in which the eye may continue to see a bright figure after looking away from it, but in a complementary color.

Afterimage effects have also been utilized by artists, including Vincent van Gogh.

Color constancy[link]

There is an interesting phenomenon which occurs when an artist uses a limited color palette: the eye tends to compensate by seeing any gray or neutral color as the color which is missing from the color wheel. For example, in a limited palette consisting of red, yellow, black, and white, a mixture of yellow and black will appear as a variety of green, a mixture of red and black will appear as a variety of purple, and pure gray will appear bluish.^[9]

The trichromatic theory discussed above is strictly true when the visual system is in a fixed state of adaptation. In reality, the visual system is constantly adapting to changes in the environment and compares the various colors in a scene to reduce the effects of the illumination. If a scene is illuminated with one light, and then with another, as long as the difference between the light sources stays within a reasonable range, the colors in the scene appear relatively constant to us. This was studied by Edwin Land in the 1970s and led to his retinex theory of color constancy.

It should be noted, that both phenomena described above are readily explained and mathematical modeled with modern theories of chromatic adaptation and color appearance (e.g. CIECAM02, iCAM).^[10] There is no need to dismiss the trichromatic theory of vision, but rather it must be enhanced with an understanding of how the visual system adapts (adjusts) to changes in the viewing environment.

Color naming[link]

Colors vary in several different ways, including hue (shades of red, orange, yellow, green, blue, and violet), saturation, brightness, and gloss. Some color words are derived from the name of an object of that color, such as "orange" or "salmon", while others are abstract, like "red".

In the 1969 study Basic Color Terms: Their Universality and Evolution, Brent Berlin and Paul Kay describe a pattern in naming "basic" colors (like "red" but not "red-orange" or "dark red" or "blood red", which are "shades" of red). All languages that have two "basic" color names distinguish dark/cool colors from bright/warm colors. The next colors to be distinguished are usually red and then yellow or green. All languages with six "basic" colors include black, white, red, green, blue, and yellow. The pattern holds up to a set of twelve: black, gray, white, pink, red, orange, yellow, green, blue, purple, brown, and azure (distinct from blue in Russian and Italian, but not English).

Associations[link]

Individual colors have a variety of cultural associations such as national colors (in general described in individual color articles and color symbolism). The field of color psychology attempts to identify the effects of color on human emotion and activity. Chromotherapy is a form of alternative medicine attributed to various Eastern traditions. Colors have different associations in different countries and cultures.^[11]

Different colors have been demonstrated to have effects on cognition. For example, researchers at the University of Linz in Austria demonstrated that the color red significantly decreases cognitive functioning in men.^[12]

Spectral colors and color reproduction[link]

The CIE 1931 color space chromaticity diagram. The outer curved boundary is the spectral (or monochromatic) locus, with wavelengths shown in nanometers. The colors depicted depend on the color space of the device on which you are viewing the image, and therefore may not be a strictly accurate representation of the color at a particular position, and especially not for monochromatic colors.

Most light sources are mixtures of various wavelengths of light. Many such sources can still effectively produce a spectral color, as the eye cannot distinguish them from single-wavelength sources. For example, most computer displays reproduce the spectral color orange as a combination of red and green light; it appears orange because the red and green are mixed in the right proportions to allow the eye's cones to respond the way they do to the spectral color orange.

A useful concept in understanding the perceived color of a non-monochromatic light source is the dominant wavelength, which identifies the single wavelength of light that produces a sensation most similar to the light source. Dominant wavelength is roughly akin to hue.

There are many color perceptions that by definition cannot be pure spectral colors due to desaturation or because they are purples (mixtures of red and violet light, from opposite ends of the spectrum). Some examples of necessarily non-spectral colors are the achromatic colors (black, gray, and white) and colors such as pink, tan, and magenta.

Two different light spectra that have the same effect on the three color receptors in the human eye will be perceived as the same color. They are metamers of that color. This is exemplified by the white light emitted by fluorescent lamps, which typically has a spectrum of a few narrow bands, while daylight has a continuous spectrum. The human eye cannot tell the difference between such light spectra just by looking into the light source, although reflected colors from objects can look different. (This is often exploited; for example, to make fruit or tomatoes look more intensely red.)

Similarly, most human color perceptions can be generated by a mixture of three colors called primaries. This is used to reproduce color scenes in photography, printing, television, and other media. There are a number of methods or color spaces for specifying a color in terms of three particular primary colors. Each method has its advantages and disadvantages depending on the particular application.

No mixture of colors, however, can produce a fully pure color perceived as completely identical to a spectral color, although one can get very close for the longer wavelengths, where the chromaticity diagram above has a nearly straight edge. For example, mixing green light (530 nm) and blue light (460 nm) produces cyan light that is slightly desaturated, because response of the red color receptor would be greater to the green and blue light in the mixture than it would be to a pure cyan light at 485 nm that has the same intensity as the mixture of blue and green.

Because of this, and because the primaries in color printing systems generally are not pure themselves, the colors reproduced are never perfectly saturated colors, and so spectral colors cannot be matched exactly. However, natural scenes rarely contain fully saturated colors, thus such scenes can usually be approximated well by these systems. The range of colors that can be reproduced with a given color reproduction system is called the gamut. The CIE chromaticity diagram can be used to describe the gamut.

Another problem with color reproduction systems is connected with the acquisition devices, like cameras or scanners. The characteristics of the color sensors in the devices are often very far from the characteristics of the receptors in the human eye. In effect, acquisition of colors that have some special, often very "jagged", spectra caused for example by unusual lighting of the photographed scene can be relatively poor.

Species that have color receptors different from humans – such as bird species, which may have four receptors – can make color discriminations that humans cannot. A color reproduction system "tuned" to a human with normal color vision may give very inaccurate results for the other observers, human or non-human.

The different color response of different devices can be problematic if not properly managed. For color information stored and transferred in digital form, color management techniques, such as those based on ICC profiles, can help to avoid distortions of the reproduced colors. Color management does not circumvent the gamut limitations of particular output devices, but can assist in finding good mapping of input colors into the gamut that can be reproduced.

Pigments and reflective media[link]

Pigments are chemicals that selectively absorb and reflect different spectra of light. When a surface is painted with a pigment, light hitting the surface is reflected, minus some wavelengths. This subtraction of wavelengths produces the appearance of different colors. Most paints are a blend of several chemical pigments, intended to produce a reflection of a given color.

Pigment manufacturers assume the source light will be white, or of roughly equal intensity across the spectrum. If the light is not a pure white source (as in the case of nearly all forms of artificial lighting), the resulting spectrum will appear a slightly different color. Red paint, viewed under blue light, may appear black. Red paint is red because it reflects only the red components of the spectrum. Blue light, containing none of these, will create no reflection from red paint, creating the appearance of black.

Structural color[link]

Structural colors are colors caused by interference effects rather than by pigments. Color effects are produced when a material is scored with fine parallel lines, formed of one or more parallel thin layers, or otherwise composed of microstructures on the scale of the color's wavelength. If the microstructures are spaced randomly, light of shorter wavelengths will be scattered preferentially to produce Tyndall effect colors: the blue of the sky (Rayleigh scattering, caused by structures much smaller than the wavelength of light, in this case air molecules), the luster of opals, and the blue of human irises. If the microstructures are aligned in arrays, for example the array of pits in a CD, they behave as a diffraction grating: the grating reflects different wavelengths in different directions due to interference phenomena, separating mixed "white" light into light of different wavelengths. If the structure is one or more thin layers then it will reflect some wavelengths and transmit others, depending on the layers' thickness.

Structural color is studied in the field of thin-film optics. A layman's term that describes particularly the most ordered or the most changeable structural colors is iridescence. Structural color is responsible for the blues and greens of the feathers of many birds (the blue jay, for example), as well as certain butterfly wings and beetle shells. Variations in the pattern's spacing often give rise to an iridescent effect, as seen in peacock feathers, soap bubbles, films of oil, and mother of pearl, because the reflected color depends upon the viewing angle. Numerous scientists have carried out research in butterfly wings and beetle shells, including Isaac Newton and Robert Hooke. Since 1942, electron micrography has been used, advancing the development of products that exploit structural color, such as "photonic" cosmetics.^[13]

Additional terms[link]

• Colorfulness, chroma, purity, or saturation: how "intense" or "concentrated" a color is. Technical definitions distinguish between colorfulness, chroma, and saturation as distinct perceptual attributes and include purity as a physical quantity. These terms, and others related to light and color are internationally agreed upon and published in the CIE Lighting Vocabulary.^[14] More readily available texts on colorimetry also define and explain these terms.^[10][15]
• Dichromatism: a phenomenon where the hue is dependent on concentration and/or thickness of the absorbing substance.
• Hue: the color's direction from white, for example in a color wheel or chromaticity diagram.
• Shade: a color made darker by adding black.
• Tint: a color made lighter by adding white.
• Value, brightness, lightness, or luminosity: how light or dark a color is.

See also[link]

Find more about Color on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons

• Chromophore
• CIECAM02
• Color analysis
• Color mapping
• Complementary color
• Impossible color
• International Color Consortium
• International Commission on Illumination
• List of colors (compact version)
• Neutral color
• Pearlescent coating including Metal effect pigments
• Primary, secondary and tertiary colors
• Rainbow

References[link]

External links and sources[link]

• Bibliography Database on Color Theory, Buenos Aires University
• Color entry by Barry Maund in the Stanford Encyclopedia of Philosophy
• Why Should Engineers and Scientists Be Worried About Color?
• Robert Ridgway's A Nomenclature of Colors (1886) and Color Standards and Color Nomenclature (1912) - text-searchable digital facsimiles at Linda Hall Library
• Albert Henry Munsell's A Color Notation, (1907) at Project Gutenberg
• AIC, International Colour Association

lez:Ранг

This article has multiple issues. Please help improve it or discuss these issues on the talk page. It does not cite any references or sources. Please help improve it by adding citations to reliable sources. Tagged since May 2009. It may require cleanup to meet Wikipedia's quality standards. Tagged since November 2010. It is written like a personal reflection or essay rather than an encyclopedic description of the subject. Tagged since November 2010.

A television channel is a physical or virtual channel over which a television station or television network is distributed. For example, in North America, "channel 2" refers to the broadcast or cable band of 54 to 60 MHz, with carrier frequencies of 55.25 MHz for NTSC analog video (VSB) and 59.75 MHz for analog audio (FM), or 55.31 MHz for digital ATSC (8VSB). Channels may be shared by many different television stations or cable-distributed channels depending on the location and service provider.

Depending on the multinational bandplan for a given region, analog television channels are typically 6, 7, or 8 MHz in bandwidth, and therefore television channel frequencies vary as well. Channel numbering is also different. Digital television channels are the same for legacy reasons, however through multiplexing, each physical radio frequency (RF) channel can carry several digital subchannels. On satellites, each transponder normally carries one channel, however small, independent channels can be used on each transponder, with some loss of bandwidth due to the need for guard bands between unrelated transmissions. ISDB, used in Japan and Brazil, has a similar segmented mode.

Channel separation on over-the-air channels is accomplished by skipping at least one channel between two analog stations' frequency allocations. (There can be gaps between channels, where numbers are sequential, but frequencies are not contiguous, such as the skip from VHF low to high, and the jump to UHF.) On cable TV, it is possible to use adjacent channels only because they are all at the same power, something which could only be done over the air if the two stations were transmitted at the same power and height from the same location. For digital TV, selectivity is inherently better, therefore channels adjacent (either to analog or digital stations) can be used even in the same area.

Other meanings[link]

Commonly, the term "television channel" is used to refer to either a terrestrial television station or its cable/satellite counterpart (both outlined below). Sometimes, especially outside the U.S. and in the context of cable/satellite television, it is used instead of the term television network, which otherwise (in its technical use above) describes a group of geographically-distributed television stations that share affiliation/ownership and some or all of their programming with one another.

This terminology may be muddled somewhat in other jurisdictions, for instance Europe, where terrestrial channels are commonly mapped from physical channels to common numerical positions (i.e. BBC One does not broadcast on any particular "channel 1" but is nonetheless mapped to the "1" input on most British television sets). On digital platforms, such (location) channels are usually arbitrary and changeable, due to virtual channels.

Television station[link]

A television station is a type of broadcast station that broadcasts both audio and video to television receivers in a particular area. Traditionally, TV stations made their broadcasts by sending specially-encoded radio signals over the air, called terrestrial television. Individual television stations are usually granted licenses by a government agency to use a particular section of the radio spectrum (a channel) through which they send their signals. Some stations use LPTV broadcast translators to retransmit to further areas.

Many television stations are now in the process of converting from analogue (NTSC, PAL or SECAM) broadcast, to digital TV (ATSC broadcast, DVB or ISDB).

Non-broadcast television channels[link]

Because some regions have had difficulty picking up over-the-air signals (particularly in mountainous areas), alternative means of distribution such as direct-to-home satellite and cable television have been introduced. Television channels specifically built to run on cable or satellite blur the line between TV station and TV network. That fact led some early cable channels to call themselves superstations.

Satellite and cable have created changes. Local programming TV stations in an area can sign-up or even be required to be carried on cable, but content providers like TLC cannot. They are not licensed to run broadcast equipment like a station, and they do not regularly provide content to licensed broadcasters either. Furthermore, a distributor like TNT may begin producing its own programming, and shows presented exclusively on cable/satellite by one distributor may be syndicated to broadcast stations. The cost of creating a nationwide channel has been reduced and there has been a huge increase in the number of such channels, with most catering to a small group. See also: significantly viewed.

From the definitions above, use of the terms "network" or "station" in reference to nationwide cable/satellite channels is technically inaccurate. However, this is an arbitrary, inconsequential distinction, and varies from company to company. Indeed, the term "cable network" has entered into common usage in the United States in reference to such channels. There is even some geographical separation among "national" cable/satellite channels in the U.S., be it programming (e.g., the Fox Sports Net group of regional sports channels, which share several programs), or simply regionalized advertising inserted by the local cable company.

Should a legal distinction be necessary between a (location) channel as defined above and a television channel in this sense, the terms "programming service" (e.g. [1]) or "programming undertaking" (for instance, [2]) may be used instead for the latter definition.

A person viewing by cable or satellite might not know what kind of organization is responsible for a given program, especially if it is syndicated, so what seems to be a station or a network may be neither.

See also[link]

Look up television channel in Wiktionary, the free dictionary.

• Barker channel
• Lists of television channels
• Television channel frequencies

v t e Telecommunications (general) History Beacons Broadcasting Communications satellites Computer networks Drums Electrical telegraphs Fax Heliographs Hydraulic telegraphs Internet Mass media Mobile phones Optical telegraphy Photophones Radio Radiotelephones Telegraphy Telephones The Telephone Cases Television Undersea telegraph lines Videophones Pioneers Edwin Howard Armstrong John Logie Baird Alexander Graham Bell Tim Berners-Lee Jagadish Chandra Bose Vint Cerf Claude Chappe Lee De Forest Philo Farnsworth Reginald Fessenden Elisha Gray Guglielmo Marconi Alexander Stepanovich Popov Johann Philipp Reis Nikola Tesla Alfred Vail Charles Wheatstone Vladimir K. Zworykin Media Coaxial cable Free-space optical Optical fiber Radio waves Telephone lines Terrestrial microwave Networks ARPANET BITNET Ethernet FidoNet ISDN Internet Local area Mobile NGN Packet switched Public Switched Telephone Radio Television Telex Wide area World Wide Web Wireless Geographic v t e Telecommunications in Africa Sovereign states Algeria Angola Benin Botswana Burkina Faso Burundi Cameroon Cape Verde Central African Republic Chad Comoros Democratic Republic of the Congo Republic of the Congo Côte d'Ivoire (Ivory Coast) Djibouti Egypt Equatorial Guinea Eritrea Ethiopia Gabon The Gambia Ghana Guinea Guinea-Bissau Kenya Lesotho Liberia Libya Madagascar Malawi Mali Mauritania Mauritius Morocco Mozambique Namibia Niger Nigeria Rwanda São Tomé and Príncipe Senegal Seychelles Sierra Leone Somalia South Africa South Sudan Sudan Swaziland Tanzania Togo Tunisia Uganda Zambia Zimbabwe States with limited recognition Azawad Sahrawi Arab Democratic Republic Somaliland Dependencies and other territories Canary Islands / Ceuta / Melilla / Plazas de soberanía (Spain) Madeira (Portugal) Mayotte / Réunion (France) Saint Helena / Ascension Island / Tristan da Cunha (United Kingdom) Western Sahara v t e Telecommunications in Asia Sovereign states Afghanistan Armenia Azerbaijan Bahrain Bangladesh Bhutan Brunei Burma (Myanmar) Cambodia People's Republic of China Cyprus East Timor (Timor-Leste) Egypt Georgia India Indonesia Iran Iraq Israel Japan Jordan Kazakhstan North Korea South Korea Kuwait Kyrgyzstan Laos Lebanon Malaysia Maldives Mongolia Nepal Oman Pakistan Philippines Qatar Russia Saudi Arabia Singapore Sri Lanka Syria Tajikistan Thailand Turkey Turkmenistan United Arab Emirates Uzbekistan Vietnam Yemen States with limited recognition Abkhazia Nagorno-Karabakh Northern Cyprus Palestine Republic of China (Taiwan) South Ossetia Dependencies and other territories British Indian Ocean Territory Christmas Island Cocos (Keeling) Islands Hong Kong Macau v t e Telecommunications in Europe Sovereign states Albania Andorra Armenia Austria Azerbaijan Belarus Belgium Bosnia and Herzegovina Bulgaria Croatia Cyprus Czech Republic Denmark Estonia Finland France Georgia Germany Greece Hungary Iceland Ireland Italy Kazakhstan Latvia Liechtenstein Lithuania Luxembourg Macedonia Malta Moldova Monaco Montenegro Netherlands Norway Poland Portugal Romania Russia San Marino Serbia Slovakia Slovenia Spain Sweden Switzerland Turkey Ukraine United Kingdom England Northern Ireland Scotland Wales States with limited recognition Abkhazia Kosovo Nagorno-Karabakh Northern Cyprus South Ossetia Transnistria Dependencies and other territories Åland Faroe Islands Gibraltar Guernsey Jersey Isle of Man Svalbard Other entities European Union v t e Telecommunications in North America Sovereign states Antigua and Barbuda Bahamas Barbados Belize Canada Costa Rica Cuba Dominica Dominican Republic El Salvador Grenada Guatemala Haiti Honduras Jamaica Mexico Nicaragua Panama Saint Kitts and Nevis Saint Lucia Saint Vincent and the Grenadines Trinidad and Tobago United States Dependencies and other territories Anguilla Aruba Bermuda Bonaire British Virgin Islands Cayman Islands Curaçao Greenland Guadeloupe Martinique Montserrat Navassa Island Puerto Rico Saint Barthélemy Saint Martin Saint Pierre and Miquelon Saba Sint Eustatius Sint Maarten Turks and Caicos Islands United States Virgin Islands v t e Telecommunications in Oceania Sovereign states Australia East Timor (Timor-Leste) Fiji Indonesia Kiribati Marshall Islands Federated States of Micronesia Nauru New Zealand Palau Papua New Guinea Samoa Solomon Islands Tonga Tuvalu Vanuatu Dependencies and other territories American Samoa Christmas Island Cocos (Keeling) Islands Cook Islands Easter Island French Polynesia Guam Hawaii New Caledonia Niue Norfolk Island Northern Mariana Islands Pitcairn Islands Tokelau Wallis and Futuna v t e Telecommunications in South America Sovereign states Argentina Bolivia Brazil Chile Colombia Ecuador Guyana Paraguay Peru Suriname Uruguay Venezuela Dependencies and other territories Aruba Bonaire Curaçao Falkland Islands French Guiana South Georgia and the South Sandwich Islands

Look up Channel, channel, or channels in Wiktionary, the free dictionary.

Channel, Channels, and similar terms may refer to:

• Channels (band), a rock band fronted by ex-Jawbox singer/guitarist J. Robbins
• Channels (film), a 2008 film
• Channel, synonym for pre-chorus in popular song structure
• Ion channel, a protein that allows ion flow through a cell membrane
• Mediumship (also known as channelling), communication with spirits
• Meridian (Chinese medicine) (or channel), a concept central to traditional Chinese medical techniques such as acupuncture, and to martial arts such as tai chi and qigong
• Legal channeling, the act of legally making one entity responsible for an event, and thereby dismissing other parties from liability for an event

Places[link]

• Channel (geography), in physical geography, the physical confine of a river, slough or ocean strait consisting of a bed and banks
• Stream channel, a hydrologic scientific term for physical confine of a stream (river) consisting of stream bed and stream banks

Europe[link]

• English Channel, the part of the Atlantic Ocean that separates Great Britain from northern France
• Channel Tunnel, or the Chunnel, a rail tunnel underneath the English Channel linking the U.K. and France
• Channel Islands, an archipelago in the English Channel, off the French coast of Normandy

North America[link]

• Channel Islands of California, a chain of eight islands located in the Pacific Ocean off the coast of Southern California
• Channel-Port aux Basques, Newfoundland and Labrador, Canada
• Channel Lake, Illinois
• Channel, California, a former settlement in Butte County, California, United States
• Channel Home Centers, a defunct home improvement chain based in the northeastern United States

Australia[link]

• Channel Highway, a regional highway in Tasmania, Australia
• Channel Express, a defunct British airline

Business[link]

• Distribution channel, a chain of intermediaries, each passing the product down the chain to the next organization, before it finally reaches the consumer
• Marketing channel, set of activities necessary to transfer the ownership of goods from the point of production to the point of consumption

Technology[link]

• Communication channel, a transmission medium, e.g. a wire, or a multiplexed connection, e.g. a radio channel, used to convey an information signal from a sender to a receiver,
• Channel (digital image), the grayscale representation of a primary color in a digital image
• Channel (programming), in computer science, a tool used for interprocess communication
• Television channel, a television station or its cable/satellite counterpart
• Channel (broadcasting), a range of frequencies assigned by a government for broadcasting
• I/O Channel, in computing, a high-performance input/output (I/O) architecture
• Audio channel

Fiction[link]

• Channeler (The Wheel of Time), fictional characters in the Wheel of Time fantasy book series by Robert Jordan
• Channeling (Rolemaster), in the Rolemaster role-playing game

Sport[link]

• Channel (association football), football (soccer) terminology for particular areas of the pitch
• Channel Football Club, an Australian rules football club in Tasmania

See also[link]

• Canal
• Chanel (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

The topic of this article may not meet Wikipedia's notability guideline for biographies. Please help to establish notability by adding reliable, secondary sources about the topic. If notability cannot be established, the article is likely to be merged, redirected, or deleted. (January 2011)

Vivian Dsena (born June 28, 1988 in Ujjain, Madhya Pradesh) is an Indian model, actor and voice actor. He is best known as Abhay Raichand in the youth-based supernatural show Pyaar Kii Ye Ek Kahaani in Indian television.

Early life[link]

Dsena attended Lokmanya Tilak High School.^[1] He graduated in engineering.^[2]

Career[link]

Dsena started his career after graduation as Gladrags Manhunt Contest contestant, winning a position in the top 10.^[3] His first role as an actor was in the daily Indian soap opera Kasamh Se,^[3] followed by a role in Ganga on Colors.^[3] From 2010-2011, he played the lead role of the vampire "Abhay Raichand" in STAR One's Pyaar Kii Ye Ek Kahaani.^[4]

Dsena modeled and did advertisements for several brands including Levi's, Pepe Jeans, Jet Airways and others.^[3]

Vivian Dsena has been cast along side Drashti Dhami Colors. The show is based on the real love story of Dilip Kumar and Madhubala.

Television[link]

References[link]

External links[link]

• Official website