669:) gave the impression that this was a new system created from scratch, using a high-tech name (and avoiding the word kinescope) to distinguish the process from conventional film photography. Nonetheless, the advances in picture quality were, at the time, a major step ahead. By capturing more than 800 lines of resolution at 25 frame/s, raw tape could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement. The 1960s productions used Marconi image orthicon video cameras, which have a characteristic white glow around black objects (and a corresponding black glow around white objects), which was a defect of the pick-up. Later vidicon and plumbicon video camera tubes produced much cleaner, more accurate pictures.
788:
29:
1184:, involved the addition of an extremely high frequency but low voltage sine wave to the vertical deflection plate of the television screen, which changed the moving 'spot' - a circular beam of electrons by which the television picture was displayed - into an elongated oval. While this made the image slightly blurred, it removed the visible line structure (by causing adjacent lines to touch, so that no separating band of darkness lay between them) and thereby resulted in a better image. It also prevented
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telerecordings continued to be made after the introduction of commercial broadcast videotape in 1958 as they possessed several distinct advantages. Firstly, they were easier to transport and more durable than videotape. Secondly, they could be used in any country regardless of the television broadcasting standard, which was not true of videotape. Later, the system could be used to make black-and-white copies of color programs for sale to television stations that were not yet broadcasting in color.
1104:. Film, being a frame-based system, can retain full information from interlaced video by converting every field into a frame, but the required frame rate had been deemed impractical. Various solutions to the mapping problem have been developed resulting in successive improvements to the quality of the image at the traditional 24 fps frame rate. Nevertheless, video converted to film loses the fluid look of interlaced video, taking on a look somewhat similar to
1368:) as the fields refresh rate in the picture. When color TV was standardized, the frame rate was shifted to 29.97 and the field rate shifted to 59.94 to allow a frequency shift not only to introduce the luminance/chrominance delay needed to share the information on the screen, but also to move the hum bar from a stationary position. As System B ran on 25 frame/s, 50 fields/s in black-and-white (to accommodate the 50
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an open angle of 288°, yielding the necessary closed time of 1/120th of a second and open time 1/30th of a second. Using this shutter, in 1 second of video (60 fields equalling 30 frames), 48 television fields (totaling to 24 frames of video) would be captured on 24 frames of film, and 12 additional fields would be omitted as the shutter closed and the film advanced.
833:, for whom nearly complete program archives exist. As Jackie Gleason's program was broadcast live in New York, the show was kinescoped for later rebroadcast for the West Coast. Per his contract, he would receive one copy of each broadcast, which he kept in his vault, and only released them to the public (on home video) shortly before his death in 1987.
1741:. To save the time to make a print, the 35 mm negative was broadcast, and electronically converted to a positive image. The soundtrack for the 35 mm film was recorded on a separate 16 mm filmstrip, and synchronized at playback. The soundtrack for the 16 mm reversal film version was recorded on the same filmstrip as the image.
1274:
Because of the many variables in the combined electronic/photographic process, the quality of such recordings often leaves much to be desired. Defects often encountered in photographic recording include relatively poor image resolution; a compressed brightness range often limited by kinescope display
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In some instances, this was accomplished through means of an electronic shutter which cuts off the TV image at the end of every set of visible lines. Most US kinescope equipment, however, utilized a mechanical shutter, revolving at 24 revolutions per second. This shutter had a closed angle of 72° and
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Telerecordings form an important part of
British television heritage, preserving what would otherwise have been lost. Nearly every pre-1960s British television program in the archives is in the form of a telerecording, along with the vast majority of existing 1960s output. Videotape was expensive and
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broadcasts, resulting in more faithful picture quality than those that recorded at 24 frames per second. The standard was later changed to 59.94 fields/s or 29.97 frame/s for System M broadcasts, due to the technical requirements of color TV. Since these reasons did not affect System B, the color TV
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Since kinescope CRTs were able to produce a negative image, direct positive recordings could be made by simply photographing the negative image on the kinescope CRT. When making a negative film, in order for final prints to be in the correct emulsion position, the direction of the image was reversed
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A successful improvement on the suppressed field system was to display the image from one of the fields at a much higher intensity on the television screen during the time when the film gate was closed, and then capture the image as the second field was being displayed. By adjusting the intensity of
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Attempts were made for many years to take television images, convert them to film via kinescope, then project them in theatres for paying audiences. In the mid-1960s, Producer/entrepreneur H. William "Bill" Sargent, Jr. used conventional analog Image
Orthicon video camera tube units, shooting in the
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Lenses did not need a great depth of field but had to be capable both of producing a very sharp image with high resolution of a flat surface and of doing so at high speed. In order to minimize light fall-off on the perimeter of the lens, a coated lens was preferable. 40 mm or 50 mm lenses
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Until the early 1960s, much of the BBC's output, and
British television in general, was broadcast live, and entire drama productions were performed live for a second time until recording methods improved. Eventually, telerecordings would be used to preserve a program for repeat showings. In the UK,
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on film instead of doing it live and having kinescope recordings carry it to affiliate outlets of the network. The company was not satisfied with the quality of kinescopes. It saw that film, produced especially for television, was the only means of ensuring top quality pictures on the home receiver
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For kinescopes, 16 mm film was the common choice by most studios because of the lower cost of stock and film processing, but in the larger network markets, it was not uncommon to see 35 mm kinescopes, particularly for national rebroadcast. Fine grain positive stock was most commonly used
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Another purpose of
Kinescopes involved satisfying show sponsors. Kinescopes sometimes would be sent to the advertising agency for the sponsor of a show so that the ad agency could determine whether or not the sponsor's ads appeared properly. Due to this practice, some kinescopes have actually been
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British broadcasters used telerecordings for domestic purposes well into the 1960s, with 35 mm film usually used as it produced a higher quality result. For overseas sales, 16 mm film would be used, as it was cheaper. Although domestic use of telerecording in the UK for repeat broadcasts
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In the 1950s a home telerecording kit was introduced in
Britain, allowing enthusiasts to make 16 mm film recordings of television programs. The major drawback, apart from the short duration of a 16 mm film magazine, was that a large opaque frame had to be placed in front of the TV set in
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kinescopes of selected programs for international sales and continued to do so until the early 1970s by which time programs were being videotaped in color. Most, if not all, recordings from the 405-line era have long since been lost as have many from the introduction of 625-line video to the early
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In other territories, film telerecordings stopped being produced after the introduction of videotape. In
Czechoslovakia, the first videotape recorders (Machtronics MVR-15) were introduced in 1966 but soon were replaced by the Ampex 2" Quadruplex in 1967. Most of the programs, like TV dramas, were
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The system was largely used for black-and-white reproduction. Although some color telerecordings were made, they were generally in the minority as by the time color programs were widely needed for sale, video standards conversion was easier and higher quality and the price of videotape had become
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a videotape at that time, so the unedited tape would be copied to a kinescope, and edited conventionally. The edited kinescope print was then used to conform the videotape master. More than 300 videotaped network series and specials used this method over a 12-year period, including the fast-paced
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in the 1980s too, to preserve copies for posterity of programs that were not necessarily of the highest importance, but which nonetheless their producers wanted to be preserved. If there were no videotape machines available on a given day, then a telerecording would be made. There is evidence to
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This procedure had the advantage of capturing both fields of the frame on a film, but required significant attention to produce quality reulity results. The Mechau film magazine only held enough for nine minutes so two recorders were needed to run in sequence in order to record anything longer.
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The method had several disadvantages. In missing every other field of video, half the information of the picture was lost on such recordings. The resulting film thus consisted of fewer than 200 lines of picture information and as a result, the line structure was very apparent. The missing field
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A simpler system, less prone to breakdown, was to suppress one of the two fields in displaying the television picture. This left the time during which the second field would have been displayed for the film camera to advance the film by one frame, which proved sufficient. This method was called
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In kinescoping an NTSC signal, 525 lines are broadcast in one frame. A 35 mm or 16 mm camera exposes one frame of film for every one frame of television (525 lines), and moving a new frame of film into place during the time equivalent of one field of television (131.25 lines). In the
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has taken stock of the large gaps in its archive and sought to recover as much of the missing material as possible, many recovered programs, have been returned from the 1980s onwards as telerecordings held by foreign broadcasters or private film collectors. Many of these surviving telerecorded
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Because each field is sequential in time to the next, a kinescope film frame that captured two interlaced fields at once often showed a ghostly fringe around the edges of moving objects, an artifact not as visible when watching television directly at 50 or 60 fields per second.
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technology to a brightness ratio of about 40:1; nonlinearity of recordings, as exemplified by lack of gradation in both the near-white and near-black portions of the reproduced pictures; and excessive image noise due to film grain and video processing artifacts. The final
280:, silent films had been made of early experimental telecasts during the 1930s. The films were produced by aiming a camera at television monitors – at a speed of eight frames per second, resulting in somewhat jerky reproductions of the images. By the mid-1940s, RCA and
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recorder only one year away, the
Electronicam system never saw widespread use. The DuMont network did not survive into the era of videotape, and in order to gain clearances for its programs, was heavily dependent on kinescopes, which it called Teletranscriptions.
1315:. It was possible to filter the chroma out, but this was not always done. Consequently, the color information was included (but not in color) in the black-and-white film image. Using modern computing techniques, the color may now be recovered, a process known as
1020:. Although this episode was originally produced and broadcast in color, the black and white film was the only surviving copy of the episode following the wiping of the original videotape. However, the telerecording process left color information in the form of
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fields per second and telerecordings at twenty-five progressive frames per second, videotaped programs that exist now only as telerecordings have lost their characteristic "live video" look and the motion now looks filmic. One solution to this problem is
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in the frames of the film; using a specially designed computer program, these chroma dots were used to bring out the original color information, which as then applied to the film, allowing the color to be restored to the episode. The restored version of
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Programs originally shot with film cameras (as opposed to kinescopes) were also used in television's early years, although they were generally considered inferior to the big-production live programs because of their lower budgets and loss of immediacy.
576:, instead of broadcasting it live. Normally, a live program originating from Los Angeles would be performed live in the late afternoon for the Eastern Time Zone and seen on a kinescope three hours later in the Pacific Time Zone. But as an article in
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Analog television is a field-based system, and most electronic video recording solutions retain both fields of every frame, preserving the temporal resolution of interlaced video. Some early consumer-grade video tape recorders preserved only
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If electrical interference was present in the old 30 frame/s, 60 fields/s black-and-white System M format, a shutter bar would appear horizontally across the screen and not move due to U.S. electrical standards having the same frequency (60
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By early 1946, television cameras were being attached to
American guided missiles to aid in their remote steering. Films were made of the television images they transmitted for further evaluation of the target and the missile's performance.
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programs that were broadcast live from originating cities to stations not connected to the network, or to stations that wished to show a program at a time different than the network broadcast. Although the quality was less than desirable,
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the first field, it was possible to arrange it so that the luminosity of the phosphor had decayed to exactly match that of the second field, so that the two appeared to be at the same level and the film camera captured both.
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days of color. Consequently, the majority of
British shows that still exist before the introduction of color, and a number thereafter, do so in the form of these telerecordings. A handful of shows, including some episodes of
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In the era before satellite communications, kinescopes were used to distribute live events such as a royal wedding as quickly as possible to other countries of the
Commonwealth that had started a television service. A
627:. In this, all the studio TV cameras had built-in 35 mm film cameras which shared the same optical path. An Electronicam technician threw switches to mark the film footage electronically, identifying the camera
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was found in the wine cellar of Bing Crosby. The game was thought lost forever but was preserved due to Crosby's superstition about watching the game live. The film was transferred to DVD and was broadcast on the
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much reduced. Before videotape became the exclusive recording format during the early to mid-1980s, any (color) video recordings used in documentaries or filmed program inserts were usually transferred onto film.
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Another occasional use of telerecording into the late 1980s was by documentary makers working in 16 mm film who wished to include a videotape-sourced excerpt in their work, although such use was again rare.
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recorder, followed in 1958 by a colour model. Offering high quality and instant playback at a much lower cost, Quadruplex tape quickly replaced kinescope as the primary means of recording television broadcasts.
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from appearing when the resulting film was re-broadcast on television, which occurred if the line structure on the film recording did not precisely match the scanning lines of the electronic film scanner.
1201:. When reversed, a high-quality television monitor was set up in place of the projection screen, and unexposed film stock is run through at the point where the lamp would have been illuminating the film.
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recorded on video, but only a few programs continued to be telerecorded onto 16 mm film. The last known telerecording was produced in 1971 and soon after, all programs were recorded on video only.
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A kinescope must be able to convert the 30 frame/s image to 24 frame/s, the standard sound speed of film cameras and do so in a way so that the image is clear enough to then re-broadcast by means of a
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Kinescope images were capable of great flexibility. The operator could make the CRT image brighter or darker, adjust contrast, width and height, rotate left, right or upside down, and positive or
335:
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dropped off sharply after the move to colour in the late 1960s, 16 mm black and white film telerecordings were still being offered for sale by British broadcasters well into the 1970s.
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In the late 1960s, U.S. television networks continued to make kinescopes of their daytime dramas available, many of which still aired live during that time period, for their smaller network
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called by the director. The corresponding film segments from the various cameras then were combined by a film editor to duplicate the live program. The "Classic 39" syndicated episodes of
1085:, television ran at 25 frames—or more correctly, 50 fields—per second, so the film camera would also be run at 25 frames per second rather than the cinematic film standard of 24 frames.
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that after the network folded in 1956 its entire archive was dumped into upper New York bay. Today however, efforts are made to preserve the few surviving DuMont kinescopes, with the
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that did not yet have videotape capability but wished to time-shift the network programming. Some of these programs aired up to two weeks after their original dates, particularly in
261:'s) were shot directly on 35 mm instead and transmitted over the air as a television signal, with only a two minutes' delay from the original event, by means of the so-called
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order to block out any stray reflections, making it impossible to watch the set normally while filming. It is not known if any recordings made using this equipment still exist.
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In Australia, kinescopes were still being made of some evening news programs as late as 1977, if they were recorded at all. A recording of a 1975 episode of Australian series
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Kinescopes were intended to be used for immediate rebroadcast, or for an occasional repeat of a program; thus, only a small fraction of kinescope recordings remain today.
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across the United States, and by 1955 that number had increased to 2,500 per week for CBS. By 1954 the television industry's film consumption surpassed that of all of the
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The camera could be equipped with sound recording to place the soundtrack and picture on the same film for single-system sound recording. More commonly, the alternative
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1/30th or 1/25th of a second, the time in which one frame of video is transmitted, and move to another frame of film within the small interval of 1/120th of a second.
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and re-used; film was cheaper, smaller, and in practice more durable. Only a very small proportion of British television from the black-and-white era survives at all.
1226:, whereby the soundtrack was recorded on an optical recorder or magnetic dubber in sync with the camera, yielded a better quality soundtrack and facilitated editing.
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The 72°/288° shutter and the systematic loss of 12 fields per second were not without side effects. In going from 30 frame/s to 24 frame/s, the camera photographed
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late in his life, believing the kinescopes of a major portion of his programs were lost. However, the programs were later found in a warehouse in Los Angeles.
491:(the latter for backup protection) in Los Angeles, rushed to film processing, and then transmitted from Los Angeles three hours later for broadcast in the
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852:, had a significant portion of their output recorded on both videotape and kinescopes. These programs are rebroadcast on the American cable TV's
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Certain performers or production companies would require that a kinescope be made of every television program. Such is the case with performers
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as he owned the film rights to the book, which he felt had been infringed. While there is no written record of any BBC Television production of
125:. The process was pioneered during the 1940s for the preservation, re-broadcasting and sale of television programs before the introduction of
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129:, which from 1956 eventually superseded the use of kinescopes for all of these purposes. Kinescopes were the only practical way to preserve
1234:
Kinescope CRTs intended for photographic use were coated with phosphors rich in blue and ultraviolet radiation. This permitted the use of
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experimented with filming the output of the television monitor before its television service was suspended in 1939 due to the outbreak of
940:. Kinescopes continued to be made after videotape was introduced to Australia; most existing episodes of the 1965–1967 children's series
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discovered in the storage areas of some of these older advertising agencies or in the storage areas of the program sponsors themselves.
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With the variable quality of Kinescopes, networks looked towards alternative methods to replace them with a higher degree of quality.
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If the timing is accurate, the splice is invisible. However, if the camera and television are out of phase, a phenomenon known as
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171:. RCA was granted a trademark for the term (for its CRT) in 1932; it voluntarily released the term to the public domain in 1950.
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aircraft would fly the telerecording from the UK to Canada, where it would be broadcast over the whole North American network.
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takes the form of a white line. If the shutter closes too soon, underexposure takes place and the line is black. The term
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is listed on the National Archives of Australia website as a kinescope, while surviving episodes of the 1978 drama series
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The Mechau system used a synchronized rotating mirror to display each frame of a film in sequence without the need for a
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mounted in front of a video monitor, and synchronized to the monitor's scanning rate), or a film made using the process.
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interlaced 25fps French video standard, using modified high-band quadruplex VTRs to record the signal. The promoters of
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which, unlike color negative film, could be processed rapidly using standard black-and-white methods. They were called
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process in 1952, where shows being performed in New York were transmitted west, filmed on two kinescope machines in
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were usually used with 16 mm in calibrated mounts. Focus was checked by examining a print under a microscope.
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was occasionally telerecorded as late as 1985. After this point, however, cheap domestic videotape formats such as
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for photographing in spite of their slow film speeds. The brightness range of kinescope CRTs was about 1 to 30.
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354:, although in varying degrees of quality. A complete 7-hour set of telerecordings of Queen Elizabeth II's 1953
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Therefore, in order to maintain successful kinescope photography, a camera must expose one frame of film for
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689:; however, the poor picture quality and very high tape speed meant it would be impractical to use. In 1956,
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were refining the filming process and including sound; the images were less jerky but still somewhat fuzzy.
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electrical frequency used in Europe), and had a wider bandwidth per channel, this issue was rendered moot.
331:, and was produced by Eric Fawcett. The six-minute footage of Miss Hall is all that survives of the show.
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occurs. If the shutter is slow in closing, overexposure results where the partial fields join and the
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307:", as well as accompanying herself on ukulele and dancing. When the show was originally broadcast on
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are similar, but record source material from a computer system instead of a television broadcast. A
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894:, wife of Ernie Kovacs, claimed that so little value was given to the kinescope recordings of the
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because the film reels being delivered from the lab were still warm from the developing process.
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camera to a receiver's screen, although most surviving Nazi live television programs such as the
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Typically, the term can refer to the process itself, the equipment used for the procedure (a
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The Platinum Age of Television: From I Love Lucy to the Walking Dead, How TV Became Terrific
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was broadcast on 13 December 2008, the first time it had been seen in color since May 1970.
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1577:"Television recording – The origins and earliest surviving live TV broadcast recordings"
1481:"Schenectady-to-Leipzig Television a Success; Movie Also Made of Images Sent by Radio",
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of some fields. The juncture on the film frame where these part-fields meet is called a
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of all types from prestigious dramas to regular news shows were handled in this manner.
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in 1956, kinescopes were the only way to record television broadcasts, or to distribute
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experimented with making still and motion picture records of television images in 1931.
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are kinescopes (per listings for episodes on National Film and Sound Archive website)
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also exist as kinescopes, indicating that the technology was still being used by the
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718:. Many episodes of programs from the 1960s survive only through kinescoped copies.
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were filmed using Electronicam (as well as the daily five-minute syndicated series
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411:, were deliberately telerecorded for ease of editing rather than being videotaped.
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Some of the surviving live transmissions of the Nazi German television station
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Early Australian television drama series were recorded as kinescopes, such as
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sound that had been recorded simultaneously either on transcription discs or
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1472:"RCA Surrenders Rights to Four Trade-Marks," Radio Age, October 1950, p. 21.
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1988:"Dad's Army episode to be seen in colour for first time in nearly 40 years"
1970:"Session expired | RecordSearch | National Archives of Australia"
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A PA-302 General Precision Laboratories (GPL) kinescope (c.1950–1955). Its
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In 1951, the stars and producers of the Hollywood-based television series
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set up their main kinescope recording facilities in New York City, while
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in the television studio at RadiOlympia Theatre, London, September 1947.
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could more easily be used to keep a backup reference copy of a program.
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introduced the Eastman Television Recording Camera, in cooperation with
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to most of the American television audience, and set a pattern for the
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Videotape engineer Frederick M. Remley wrote of kinescope recordings:
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In the beginning there was a very definite reason for the decision of
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Many television shows are represented by only a handful of episodes
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2034:"Special Collections and University Archives | UMD Libraries"
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The first known surviving example of the telerecording process in
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Some kinescopes filmed the television pictures at the television
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is the inverse device, used to show film directly on television.
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it was 60 minutes in length and also included performances from
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235:, dating as far back as the 1930s, were recorded by pointing a
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refers to the phenomenon occurring on the screen as two bars.
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523:, the television networks continued to use kinescopes in the
338:
also survives, as do various early 1950s productions such as
37:
1311:
information included in the video signal filmed could cause
1008:
work on the existing 16 mm monochrome telerecording of
2918:
2405:
1082:
1037:
73:
527:
method of videotape editing. It was impossible to slow or
479:
was completed in September 1951, CBS and NBC instituted a
390:
Even after the introduction of videotape, the BBC and the
2658:
2545:
2399:
2321:
1177:
998:
994:
963:
872:
837:
768:
757:
447:. By 1951, NBC and CBS were each shipping out some 1,000
432:
428:
281:
277:
191:
99:
64:
58:
1335:, an electronic process to restore video-type motion.
1299:
broadcasts and 25 full frames per second for European
643:
in 1954–55), but with the introduction of a practical
414:
117:
in Britain, is a recording of a television program on
2073:"An Overview of Codecs and Video Processing Software"
1435:"1960 Series Game Found in Bing Crosby's Wine Cellar"
799:, such as with the early television work of comedian
756:
Telerecording was still being used internally at the
163:
in 1929. Hence, the recordings were known in full as
121:, directly through a lens focused on the screen of a
102:
96:
70:
67:
61:
55:
1538:
Transatlantic Roller Coaster Designed to Bomb U.S.A.
76:
1111:
93:
52:
549:
1805:Jump Cut!: Memoirs of a Pioneer Television Editor
1731:Jump Cut!: Memoirs of a Pioneer Television Editor
1603:"Adelaide Hall – Variety in Sepia – October 1947"
361:
299:performing at the RadiOlympia event. Hall sings "
2996:
1840:
1838:
905:In September 2010, a kinescope of game 7 of the
220:during 1936–1939, the incident is dramatized in
1878:
1844:
993:, and many such programs have been released on
2104:. National Educational Alliance. p. 3393.
1684:
1682:
1680:
541:
336:wedding of Princess Elizabeth to Prince Philip
2179:
1835:
1396:, University of Illinois Press, 1995, p. 84.
1304:framerate in Europe remained at 25 frames/s.
1262:because of its low cost and high resolution.
1192:
761:suggest that the children's magazine program
1432:
1283:, especially in the case of 16 mm film.
902:having collected over 300 for preservation.
495:. In September 1956, NBC began making color
2114:
2052:Magnetic Recording: The First Hundred Years
1906:
1677:
301:Chi-Baba, Chi-Baba (My Bambino Go to Sleep)
16:Early recording process for live television
2186:
2172:
2115:Pogue, David; Miller, Aaron (2011-03-16).
2011:
2007:
2005:
1621:A view of the "Cafe Continental" stage set
1249:on the television. This applied only when
2193:
2118:iMovie '11 & iDVD: The Missing Manual
1938:
1295:- 30 full frames per second for American
846:, the producers of such TV game shows as
295:is from October 1947, showing the singer
36:, bolted to the top of the cabinet, used
1807:, McFarland, 1997, p. 105–106, 134–135.
1568:
786:
510:
27:
2121:. "O'Reilly Media, Inc.". p. 342.
2002:
1964:
1962:
1915:"The Rock Concert That Captured an Era"
1882:The History of Television, 1942 to 2000
1848:The History of Television, 1942 to 2000
1792:The History of Television, 1942 to 2000
1752:The History of Television, 1942 to 2000
1555:The History of Television, 1942 to 2000
1428:
1426:
1424:
1422:
2997:
2780:CBHD (China Blue High-definition Disc)
2097:
519:machines in 1956 removed the need for
499:of some of its color programs using a
2167:
1912:
685:made the first experimental magnetic
276:According to a 1949 film produced by
190:There is anecdotal evidence that the
2737:HVD (High-Definition Versatile Disc)
2143:"Why is TV 29.97 frames per second?"
1959:
1667:"tvhandbook.com/History (recording)"
1574:
1463:Retrieved October 29, 2015
1419:
1160:information also made movement look
844:Mark Goodson-Bill Todman Productions
595:as well as ensuring a flawless show.
550:Change to 35 mm film broadcasts
451:kinescope prints each week to their
257:, or official state visits (such as
208:in this way, only for film director
151:The term originally referred to the
1433:David Morgan (September 24, 2010).
1416:April 1953 Page 227
1176:Another technique developed by the
1146:
415:Eastman Television Recording Camera
202:, recalled filming a production of
13:
1307:In the era of early color TV, the
1256:
1229:
1217:
651:
305:I Can't Give You Anything But Love
14:
3041:
3005:Audiovisual introductions in 1947
2159:
2098:Morgan, Willard Detering (1943).
934:, along with variety series like
2774:HVD (Holographic Versatile Disc)
1913:Eagan, Daniel (March 19, 2010).
1265:
1112:Shutter bar and banding problems
900:UCLA Film and Television Archive
693:introduced the first commercial
640:Les Paul & Mary Ford At Home
462:
405:and most of the first series of
348:and the opening two episodes of
89:
48:
2135:
2108:
2091:
2065:
2044:
2026:
1980:
1932:
1872:
1818:
1797:
1784:
1765:
1744:
1723:
1706:
1659:
1640:
1626:
1613:
1595:
1547:
1461:Audio Engineering Society, Inc.
1394:Zworykin, Pioneer of Television
1357:
1167:
1014:, a 1969 episode of the sitcom
917:
614:
515:Even after the introduction of
133:broadcasts prior to videotape.
1826:Filming the 'I Love Lucy' Show
1531:
1512:
1490:
1475:
1466:
1454:
1407:
1386:
985:continue to be transmitted on
967:programs, such as episodes of
803:, and the original version of
791:Screenshot from 1949 kinescope
362:Worldwide program distribution
334:From the following month, the
1:
2764:
2668:
2014:"Telerecording at Lime Grove"
1945:. Anchor Books. p. 131.
1733:, McFarland, 1997, p. 23–32.
1379:
1032:
949:
535:Rowan & Martin's Laugh-In
374:Prior to the introduction of
340:It is Midnight, Dr Schweitzer
2054:, IEEE Press, 1998, p. 128.
1771:Showcase Productions, Inc.:
672:
619:The program director of the
212:to order the burning of the
7:
1581:Early Electronic Television
1528:, February 1946, p. 84, 86.
1338:
1279:is often less than 40
1058:per frame, displayed at 30
1004:In 2008, the BBC undertook
542:Alternatives to kinescoping
10:
3046:
2983:Electronic Video Recording
1754:, McFarland, 2003, p. 48.
1701:Invention & Technology
1193:Moye-Mechau film recording
1083:625-line television system
1079:819-line television system
1075:405-line television system
701:
611:after their network runs.
174:
18:
2963:
2928:
2860:
2819:
2812:
2799:UHD-BD (Ultra HD Blu-ray)
2789:
2717:
2696:PVD (Personal Video Disc)
2639:
2574:
2565:
2494:
2415:
2210:
2201:
2101:The Complete Photographer
1939:Bianculli, David (2017).
1885:. McFarland. p. 23.
1851:. McFarland. p. 66.
1648:Why TV Is Going Movie-Mad
1636:– via www.imdb.com.
1583:. Early Television Museum
1557:, McFarland, 2003, p. 9.
1208:
1081:and the greater European
896:DuMont Television Network
782:
665:(not to be confused with
621:DuMont Television Network
475:carrying programs to the
351:The Quatermass Experiment
233:Fernsehsender Paul Nipkow
2232:Ampex 2 inch helical VTR
1879:Albert Abramson (2003).
1845:Albert Abramson (2003).
1830:American Cinematographer
1779:Technical Considerations
1656:, February 1955, p. 118.
1350:
820:
579:American Cinematographer
487:negative and 16 mm
267:intermediate film system
224:'s 1986 television play
19:Not to be confused with
3015:Television preservation
2731:Professional Disc (PFD)
2238:Sony 2 inch helical VTR
1974:Recordsearch.naa.gov.au
1544:, October 1947, p. 111.
1487:, Feb. 13, 1931, p. 15.
1236:positive type emulsions
1102:one field of each frame
937:The Lorrae Desmond Show
683:Bing Crosby Enterprises
609:syndication of TV shows
501:lenticular film process
159:, as named by inventor
3020:Television terminology
2977:Electronicam kinescope
2964:Video recorded to film
1990:. BBC. 9 December 2008
1345:Intermittent mechanism
1285:
1040:television images are
861:NBC Symphony Orchestra
792:
597:
323:and his Calypso Band,
41:
3030:Obsolete technologies
3025:Television technology
3010:Lost television shows
2791:Ultra-High Definition
2195:Video storage formats
1646:Wesley S. Griswold, "
1277:signal-to-noise ratio
1272:
982:Till Death Us Do Part
790:
584:
511:Double system editing
467:After the network of
345:The Lady from the Sea
271:outside broadcast van
263:Zwischenfilmverfahren
226:The Fools on the Hill
218:The Scarlet Pimpernel
205:The Scarlet Pimpernel
185:Schenectady, New York
31:
1919:Smithsonian Magazine
1069:back to 30 frame/s.
987:satellite television
914:shortly afterwards.
695:Quadruplex videotape
603:decision introduced
517:quadruplex videotape
241:1936 Summer Olympics
169:kinescope recordings
161:Vladimir K. Zworykin
157:television receivers
127:quadruplex videotape
1774:Producers' Showcase
1518:James L. H. Peck, "
574:three-camera system
425:DuMont Laboratories
419:In September 1947,
408:Adam Adamant Lives!
385:television programs
198:. A BBC executive,
119:motion picture film
2079:. February 4, 2019
1803:Arthur Schneider,
1729:Arthur Schneider,
1720:, August 13, 1951.
1695:2011-04-04 at the
1688:Wolpin, Stewart. "
1634:"Variety in Sepia"
1575:Shagawat, Robert.
1484:The New York Times
1027:Room at the Bottom
1011:Room at the Bottom
890:In the mid-1990s,
836:Milton Berle sued
793:
588:Desilu Productions
459:studios combined.
380:network television
42:
2992:
2991:
2959:
2958:
2808:
2807:
2755:BD (Blu-ray Disc)
2725:MUSE Hi-Vision LD
2561:
2560:
2151:. 3 October 2016.
2128:978-1-4493-0651-9
2077:Howtowatch.online
2060:978-0-7803-4709-0
1952:978-1-101-91132-7
1750:Albert Abramson,
1690:The Race to Video
1563:978-0-7864-1220-4
1553:Albert Abramson,
1414:Popular Mechanics
1392:Albert Abramson,
1326:records at fifty
1313:visible artifacts
1060:frames per second
1006:color restoration
989:stations such as
943:Magic Circle Club
907:1960 World Series
854:Game Show Network
493:Pacific Time Zone
255:Nuremberg Rallies
34:movie film camera
3037:
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2024:
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2020:
2012:Arthur Dungate.
2009:
2000:
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1997:
1995:
1984:
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1769:
1763:
1748:
1742:
1727:
1721:
1710:
1704:
1686:
1675:
1674:
1669:. Archived from
1663:
1657:
1644:
1638:
1637:
1630:
1624:
1617:
1611:
1604:
1599:
1593:
1592:
1590:
1588:
1572:
1566:
1551:
1545:
1535:
1529:
1520:Doom on the Wing
1516:
1510:
1509:
1508:on July 7, 2015.
1504:. Archived from
1494:
1488:
1479:
1473:
1470:
1464:
1458:
1452:
1451:
1449:
1447:
1430:
1417:
1411:
1405:
1390:
1373:
1361:
1253:sound was used.
1147:Suppressed field
1050:
865:Arturo Toscanini
724:This Day Tonight
687:video recordings
677:In 1951, singer
634:The Honeymooners
473:microwave relays
269:) from an early
259:Benito Mussolini
245:Leni Riefenstahl
183:laboratories in
181:General Electric
153:cathode ray tube
113:, also known as
112:
111:
108:
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2785:
2767:
2718:High Definition
2713:
2671:
2635:
2557:
2496:High Definition
2490:
2449:Digital Betacam
2411:
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2157:
2156:
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2092:
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2032:
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2018:
2016:
2010:
2003:
1993:
1991:
1986:
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1968:
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1911:
1907:
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1836:
1832:, January 1952.
1823:
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1798:
1789:
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1745:
1728:
1724:
1711:
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1697:Wayback Machine
1687:
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1653:Popular Science
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1542:Popular Science
1536:
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1525:Popular Science
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1467:
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1257:Film stock used
1232:
1230:Kinescope image
1220:
1218:Sound recording
1211:
1195:
1170:
1149:
1114:
1045:
1035:
976:Steptoe and Son
952:
920:
863:telecasts with
849:What's My Line?
823:
785:
737:at that point.
704:
675:
663:Electronovision
654:
652:Electronovision
617:
552:
544:
513:
465:
417:
396:black and white
394:companies made
369:Royal Air Force
364:
313:Winifred Atwell
253:), a number of
210:Alexander Korda
177:
165:kinescope films
131:live television
92:
88:
84:, shortened to
51:
47:
24:
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2821:
2820:Media agnostic
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2461:Digital-S (D9)
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2160:External links
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2001:
1979:
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1824:Leigh Allen, "
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1796:
1783:
1764:
1743:
1722:
1714:Coast to Coast
1705:
1676:
1673:on 2004-06-03.
1658:
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1619:Getty Images:
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1317:color recovery
1267:
1264:
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1255:
1243:negative image
1231:
1228:
1219:
1216:
1210:
1207:
1194:
1191:
1169:
1166:
1148:
1145:
1113:
1110:
1034:
1031:
951:
948:
919:
916:
875:and on DVD by
827:Jackie Gleason
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155:(CRT) used in
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2209:
2206:
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2200:
2196:
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2169:
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2078:
2074:
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2057:
2053:
2047:
2039:
2035:
2029:
2015:
2008:
2006:
1989:
1983:
1975:
1971:
1965:
1963:
1954:
1948:
1944:
1943:
1935:
1920:
1916:
1909:
1894:
1892:9780786412204
1888:
1884:
1883:
1875:
1860:
1858:9780786412204
1854:
1850:
1849:
1841:
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1831:
1827:
1821:
1814:
1813:0-7864-0345-4
1810:
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1800:
1793:
1787:
1780:
1776:
1775:
1768:
1761:
1760:0-7864-1220-8
1757:
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1739:0-7864-0345-4
1736:
1732:
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1719:
1715:
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1698:
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1683:
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1672:
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1543:
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1534:
1527:
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1499:
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1478:
1469:
1462:
1457:
1442:
1441:
1436:
1429:
1427:
1425:
1423:
1415:
1410:
1403:
1402:0-252-02104-5
1399:
1395:
1389:
1385:
1371:
1367:
1360:
1356:
1346:
1343:
1342:
1336:
1334:
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1325:
1320:
1318:
1314:
1310:
1305:
1302:
1298:
1294:
1289:
1284:
1282:
1278:
1271:
1266:Common issues
1263:
1254:
1252:
1251:double system
1246:
1244:
1239:
1237:
1227:
1225:
1224:double system
1215:
1206:
1202:
1200:
1190:
1187:
1186:moiré pattern
1183:
1179:
1174:
1165:
1163:
1157:
1155:
1144:
1142:
1138:
1134:
1130:
1125:
1123:
1119:
1109:
1107:
1103:
1097:
1093:
1091:
1086:
1084:
1080:
1077:, the French
1076:
1070:
1068:
1063:
1061:
1057:
1054:
1049:
1043:
1039:
1030:
1028:
1023:
1019:
1018:
1013:
1012:
1007:
1002:
1000:
996:
992:
988:
984:
983:
978:
977:
972:
971:
965:
960:
958:
947:
945:
944:
939:
938:
933:
932:
927:
926:
925:Autumn Affair
915:
913:
908:
903:
901:
897:
893:
888:
886:
885:magnetic tape
882:
881:high fidelity
878:
874:
870:
866:
862:
857:
855:
851:
850:
845:
841:
839:
834:
832:
828:
818:
814:
812:
808:
807:
802:
798:
789:
780:
776:
772:
770:
766:
765:
759:
754:
750:
746:
742:
738:
736:
732:
731:
726:
725:
719:
717:
713:
709:
699:
696:
692:
688:
684:
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670:
668:
664:
660:
649:
646:
642:
641:
636:
635:
630:
626:
622:
612:
610:
606:
602:
596:
593:
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583:
581:
580:
575:
571:
567:
563:
562:
556:
547:
539:
537:
536:
530:
526:
525:double system
522:
518:
508:
506:
502:
498:
494:
490:
489:reversal film
486:
482:
481:hot kinescope
478:
474:
470:
469:coaxial cable
463:Hot kinescope
460:
458:
454:
450:
446:
442:
438:
434:
430:
426:
422:
421:Eastman Kodak
412:
410:
409:
404:
403:
397:
393:
388:
386:
381:
377:
372:
370:
359:
358:also exists.
357:
353:
352:
347:
346:
341:
337:
332:
330:
326:
322:
318:
314:
310:
306:
302:
298:
297:Adelaide Hall
294:
289:
285:
283:
279:
274:
273:on the site.
272:
268:
264:
260:
256:
252:
251:
247:for her film
246:
242:
238:
234:
229:
227:
223:
219:
215:
211:
207:
206:
201:
197:
193:
188:
186:
182:
172:
170:
166:
162:
158:
154:
149:
147:
143:
139:
134:
132:
128:
124:
123:video monitor
120:
116:
115:telerecording
110:
87:
81:
46:
39:
35:
30:
26:
22:
2970:
2274:Cartrivision
2146:
2137:
2117:
2110:
2100:
2093:
2081:. Retrieved
2076:
2067:
2051:
2046:
2037:
2028:
2017:. Retrieved
1992:. Retrieved
1982:
1973:
1941:
1934:
1922:. Retrieved
1918:
1908:
1896:. Retrieved
1881:
1874:
1862:. Retrieved
1847:
1829:
1820:
1804:
1799:
1791:
1786:
1772:
1767:
1751:
1746:
1730:
1725:
1717:
1708:
1703:, Fall 1994.
1700:
1671:the original
1661:
1651:
1642:
1628:
1615:
1597:
1585:. Retrieved
1580:
1570:
1554:
1549:
1541:
1533:
1523:
1514:
1506:the original
1501:
1492:
1482:
1477:
1468:
1456:
1444:. Retrieved
1438:
1409:
1393:
1388:
1359:
1321:
1306:
1290:
1286:
1273:
1269:
1260:
1250:
1247:
1240:
1233:
1223:
1221:
1212:
1203:
1196:
1181:
1175:
1171:
1168:Stored field
1158:
1153:
1150:
1140:
1136:
1132:
1128:
1126:
1121:
1117:
1115:
1098:
1094:
1089:
1087:
1071:
1064:
1036:
1026:
1015:
1009:
1003:
980:
974:
968:
961:
953:
941:
935:
929:
923:
921:
918:In Australia
904:
889:
858:
847:
842:
835:
831:Milton Berle
824:
815:
804:
801:Ernie Kovacs
794:
777:
773:
762:
755:
751:
747:
743:
739:
730:The Truckies
728:
722:
720:
705:
676:
667:Electronicam
655:
638:
632:
628:
625:Electronicam
618:
615:Electronicam
600:
598:
591:
585:
577:
570:Lucille Ball
559:
557:
553:
545:
533:
529:freeze frame
524:
520:
514:
504:
496:
480:
466:
418:
406:
400:
389:
373:
365:
349:
343:
339:
333:
325:Edric Connor
290:
286:
275:
262:
248:
230:
225:
217:
203:
200:Cecil Madden
196:World War II
189:
178:
168:
164:
150:
138:movie camera
135:
114:
85:
44:
43:
25:
2930:Solid state
2768: 2006
2672: 1996
2582:Phonovision
2540:D6 HDTV VTR
2280:Philips VCR
2038:Lib.umd.edu
1924:10 February
1898:January 26,
1864:January 26,
1502:Youtube.com
1446:October 29,
1182:spot wobble
1180:, known as
1156:recording.
1137:shutter bar
1129:shutter bar
1051:, with two
1044:at roughly
1022:chroma dots
912:MLB Network
859:All of the
811:Art Fleming
681:’s company
679:Bing Crosby
601:I Love Lucy
592:I Love Lucy
582:explained,
561:I Love Lucy
321:Cyril Blake
317:Evelyn Dove
21:Kinetoscope
2999:Categories
2467:Betacam SX
2376:Betacam SP
2340:Video 2000
2220:Quadruplex
2019:2023-11-14
1790:Abramson,
1380:References
1328:interlaced
1293:frame rate
1154:skip field
1067:film chain
1053:interlaced
1033:Technology
1017:Dad's Army
970:Doctor Who
950:In Britain
892:Edie Adams
809:hosted by
764:Blue Peter
708:affiliates
566:Desi Arnaz
485:35 mm
477:West Coast
453:affiliates
449:16 mm
402:Doctor Who
356:coronation
237:35 mm
2971:Kinescope
2901:AVC-Intra
2868:CamCutter
2851:DVCPRO HD
2618:Laserfilm
2600:LaserDisc
2567:Videodisc
2504:Sony HDVS
2203:Videotape
1994:19 August
1498:"YouTube"
1324:videotape
991:UKTV Gold
955:could be
931:Emergency
877:Testament
869:LaserDisc
806:Jeopardy!
673:Videotape
645:videotape
521:hot kines
505:hot kines
497:hot kines
457:Hollywood
376:videotape
329:Mable Lee
45:Kinescope
2861:Tapeless
2845:DVCPRO50
2624:CD Video
2588:Ampex-HS
2552:HDCAM SR
2516:BCH 1000
2479:MPEG IMX
2473:Digital8
2083:4 August
1794:, p. 67.
1693:Archived
1587:20 April
1440:CBS News
1339:See also
1322:Because
1301:System B
1297:System M
1073:British
1046:60
659:819-line
657:B&W
214:negative
146:telecine
2979:(1950s)
2950:MicroP2
2871:Editcam
2813:Virtual
2665:MiniDVD
2653:MovieCD
2640:Digital
2485:MicroMV
2417:Digital
2394:S-VHS-C
2364:Betacam
2298:Betamax
2268:U-matic
2250:CV-2000
2148:YouTube
1608:YouTube
1333:VidFIRE
1141:banding
1133:banding
1090:exactly
1042:scanned
962:As the
702:Decline
590:to put
445:Chicago
303:" and "
293:Britain
250:Olympia
175:History
40:optics.
2985:(1967)
2973:(1947)
2952:(2012)
2946:(2007)
2940:(2004)
2921:(2012)
2915:(2009)
2913:iFrame
2909:(2007)
2903:(2006)
2897:(2006)
2891:(2005)
2885:(2004)
2883:GBA-TV
2879:(2003)
2873:(1995)
2853:(2000)
2847:(1997)
2841:(1996)
2835:(1995)
2833:DVCPRO
2829:(1995)
2801:(2016)
2782:(2008)
2776:(2007)
2761:MiniBD
2757:(2006)
2751:(2006)
2749:HD DVD
2745:(2006)
2739:(2004)
2733:(2003)
2727:(1994)
2710:(2005)
2704:(2004)
2698:(2003)
2692:(2003)
2686:(1998)
2680:(1998)
2661:(1996)
2655:(1996)
2649:(1993)
2632:(1990)
2626:(1987)
2620:(1984)
2614:(1983)
2608:(1981)
2602:(1978)
2596:(1975)
2590:(1967)
2584:(1927)
2575:Analog
2554:(2003)
2548:(2003)
2542:(2000)
2536:(1998)
2530:(1997)
2524:(1994)
2518:(1992)
2512:(1984)
2506:(1984)
2487:(2001)
2481:(2000)
2475:(1999)
2469:(1996)
2463:(1995)
2457:(1994)
2451:(1993)
2445:(1992)
2439:(1991)
2433:(1988)
2427:(1986)
2408:(1998)
2402:(1989)
2396:(1987)
2390:(1987)
2384:(1986)
2378:(1986)
2372:(1985)
2370:Video8
2366:(1982)
2360:(1982)
2354:(1982)
2348:(1980)
2342:(1980)
2336:(1979)
2330:(1977)
2324:(1976)
2318:(1976)
2316:Type C
2312:(1976)
2310:Type B
2306:(1975)
2300:(1975)
2294:(1974)
2288:(1974)
2286:V-Cord
2282:(1972)
2276:(1972)
2270:(1971)
2264:(1969)
2262:EIAJ-1
2258:(1967)
2252:(1965)
2246:(1965)
2244:Type A
2240:(1961)
2234:(1961)
2228:(1958)
2222:(1956)
2212:Analog
2125:
2058:
1949:
1889:
1855:
1811:
1758:
1737:
1561:
1400:
1309:chroma
1209:Lenses
1122:splice
1056:fields
783:Legacy
716:Hawaii
712:Alaska
605:reruns
443:chose
437:DuMont
435:, and
309:BBC TV
2895:AVCHD
2877:XDCAM
2839:DVCAM
2534:D-VHS
2528:HDCAM
2522:W-VHS
2510:UniHi
2388:S-VHS
2352:VHS-C
1370:Hertz
1366:Hertz
1351:Notes
1162:jerky
957:wiped
821:In US
691:Ampex
629:takes
265:(see
38:Kodak
2919:XAVC
2684:SVCD
2406:Ruvi
2256:Akai
2226:VERA
2123:ISBN
2085:2019
2056:ISBN
1996:2019
1947:ISBN
1926:2014
1900:2016
1887:ISBN
1866:2016
1853:ISBN
1809:ISBN
1756:ISBN
1735:ISBN
1718:Time
1589:2011
1559:ISBN
1448:2015
1398:ISBN
1199:gate
1118:part
1106:film
1038:NTSC
997:and
979:and
928:and
829:and
714:and
599:The
568:and
471:and
427:and
327:and
179:The
86:kine
2944:SxS
2907:TOD
2889:MOD
2743:VMD
2708:FVD
2702:UMD
2690:EVD
2678:CVD
2659:DVD
2647:VCD
2630:VSD
2612:VHD
2606:CED
2594:TeD
2546:HDV
2443:DCT
2400:Hi8
2382:MII
2346:CVC
2334:SVR
2322:VHS
2304:IVC
2050:In
1828:",
1716:",
1699:".
1650:",
1606:on
1522:",
1178:BBC
1131:or
999:DVD
995:VHS
964:BBC
873:RCA
871:by
838:NBC
769:VHS
758:BBC
735:ABC
441:ABC
433:CBS
429:NBC
392:ITV
282:NBC
278:RCA
192:BBC
167:or
3001::
2938:P2
2827:DV
2765:c.
2669:c.
2455:D5
2437:D3
2431:D2
2425:D1
2328:VK
2292:VX
2145:.
2075:.
2036:.
2004:^
1972:.
1961:^
1917:.
1837:^
1777:,
1679:^
1579:.
1540:,
1500:.
1437:.
1421:^
1319:.
1281:dB
1245:.
1164:.
1124:.
1108:.
1062:.
1048:Hz
1001:.
973:,
887:.
856:.
813:.
564:,
538:.
342:,
319:,
315:,
228:.
106:iː
74:oʊ
2770:)
2763:(
2674:)
2667:(
2358:M
2187:e
2180:t
2173:v
2131:.
2087:.
2062:.
2040:.
2022:.
1998:.
1976:.
1955:.
1928:.
1902:.
1868:.
1815:.
1781:.
1762:.
1712:"
1610:.
1591:.
1565:.
1450:.
1404:.
109:/
103:n
100:ɪ
97:k
94:ˈ
91:/
80:/
77:p
71:k
68:s
65:ɪ
62:n
59:ɪ
56:k
53:ˈ
50:/
23:.
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