680:) 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.
799:
40:
1195:, 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.
1115:. 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
1379:) 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.
844:, 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.
1752:. 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.
1285:
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
291:, 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.
1326:. 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
1031:. 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.
587:, 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
638:. 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.
1212:. 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
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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
1096:, 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
272:'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.
1237:, 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.
502:(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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863:, 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
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136:. 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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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
951:. 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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182:. 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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Therefore, in order to maintain successful kinescope photography, a camera must expose one frame of film for
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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.
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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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318:", 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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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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1588:"Television recording – The origins and earliest surviving live TV broadcast recordings"
1492:"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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were filmed using Electronicam (as well as the daily five-minute syndicated series
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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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1483:"RCA Surrenders Rights to Four Trade-Marks," Radio Age, October 1950, p. 21.
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1999:"Dad's Army episode to be seen in colour for first time in nearly 40 years"
1981:"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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2045:"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
2178:
246:, dating as far back as the 1930s, were recorded by pointing a
2669:
2556:
2410:
2332:
1188:
1154:
refers to the phenomenon occurring on the screen as two bars.
1009:
1005:
974:
883:
848:
779:
768:
443:
439:
292:
288:
202:
116:
534:, the television networks continued to use kinescopes in the
349:
also survives, as do various early 1950s productions such as
1322:
information included in the video signal filmed could cause
1019:
work on the existing 16 mm monochrome telerecording of
84:
538:
method of videotape editing. It was impossible to slow or
490:
was completed in September 1951, CBS and NBC instituted a
401:
Even after the introduction of videotape, the BBC and the
458:. By 1951, NBC and CBS were each shipping out some 1,000
110:
75:
69:
1346:, an electronic process to restore video-type motion.
1310:
broadcasts and 25 full frames per second for European
654:
in 1954–55), but with the introduction of a practical
128:
in Britain, is a recording of a television program on
2084:"An Overview of Codecs and Video Processing Software"
1446:"1960 Series Game Found in Bing Crosby's Wine Cellar"
810:, such as with the early television work of comedian
767:
Telerecording was still being used internally at the
174:
in 1929. Hence, the recordings were known in full as
113:
107:
81:
78:
72:
66:
1549:
Transatlantic Roller Coaster Designed to Bomb U.S.A.
87:
2974:
2939:
2871:
2830:
2823:
2800:
2728:
2650:
2585:
2576:
2505:
2426:
2221:
2212:
132:directly through a lens focused on the screen of a
104:
63:
1816:Jump Cut!: Memoirs of a Pioneer Television Editor
1742:Jump Cut!: Memoirs of a Pioneer Television Editor
1614:"Adelaide Hall – Variety in Sepia – October 1947"
310:performing at the RadiOlympia event. Hall sings "
1851:
1849:
916:In September 2010, a kinescope of game 7 of the
231:during 1936–1939, the incident is dramatized in
1283:
1004:, and many such programs have been released on
595:
2115:. National Educational Alliance. p. 3393.
1695:
1693:
1691:
347:wedding of Princess Elizabeth to Prince Philip
2190:
1407:, University of Illinois Press, 1995, p. 84.
1315:framerate in Europe remained at 25 frames/s.
1273:because of its low cost and high resolution.
772:suggest that the children's magazine program
8:
1294:, especially in the case of 16 mm film.
913:having collected over 300 for preservation.
506:. In September 1956, NBC began making color
2063:Magnetic Recording: The First Hundred Years
312:Chi-Baba, Chi-Baba (My Bambino Go to Sleep)
27:Early recording process for live television
2827:
2582:
2218:
2197:
2183:
2175:
2126:Pogue, David; Miller, Aaron (2011-03-16).
2018:
2016:
1632:A view of the "Cafe Continental" stage set
1260:on the television. This applied only when
2129:iMovie '11 & iDVD: The Missing Manual
1306:- 30 full frames per second for American
857:, the producers of such TV game shows as
306:is from October 1947, showing the singer
47:, bolted to the top of the cabinet, used
1818:, McFarland, 1997, p. 105–106, 134–135.
2132:. "O'Reilly Media, Inc.". p. 342.
1975:
1973:
1926:"The Rock Concert That Captured an Era"
1893:The History of Television, 1942 to 2000
1859:The History of Television, 1942 to 2000
1803:The History of Television, 1942 to 2000
1763:The History of Television, 1942 to 2000
1566:The History of Television, 1942 to 2000
1439:
1437:
1435:
1433:
1396:
1367:
2791:CBHD (China Blue High-definition Disc)
530:machines in 1956 removed the need for
510:of some of its color programs using a
696:made the first experimental magnetic
287:According to a 1949 film produced by
201:There is anecdotal evidence that the
7:
2748:HVD (High-Definition Versatile Disc)
2154:"Why is TV 29.97 frames per second?"
1678:"tvhandbook.com/History (recording)"
1474:Retrieved October 29, 2015
1171:information also made movement look
855:Mark Goodson-Bill Todman Productions
606:as well as ensuring a flawless show.
561:Change to 35 mm film broadcasts
462:kinescope prints each week to their
268:, or official state visits (such as
219:in this way, only for film director
162:The term originally referred to the
1444:David Morgan (September 24, 2010).
1427:April 1953 Page 227
1187:Another technique developed by the
426:Eastman Television Recording Camera
213:, recalled filming a production of
1318:In the era of early color TV, the
316:I Can't Give You Anything But Love
25:
3016:Audiovisual introductions in 1947
2109:Morgan, Willard Detering (1943).
945:, along with variety series like
2785:HVD (Holographic Versatile Disc)
1924:Eagan, Daniel (March 19, 2010).
1123:Shutter bar and banding problems
911:UCLA Film and Television Archive
704:introduced the first commercial
651:Les Paul & Mary Ford At Home
416:and most of the first series of
359:and the opening two episodes of
100:
59:
1472:Audio Engineering Society, Inc.
1405:Zworykin, Pioneer of Television
1025:, a 1969 episode of the sitcom
526:Even after the introduction of
144:broadcasts prior to videotape.
1837:Filming the 'I Love Lucy' Show
996:continue to be transmitted on
978:programs, such as episodes of
814:, and the original version of
802:Screenshot from 1949 kinescope
373:Worldwide program distribution
345:From the following month, the
1:
2775:
2679:
2025:"Telerecording at Lime Grove"
1956:. Anchor Books. p. 131.
1744:, McFarland, 1997, p. 23–32.
546:Rowan & Martin's Laugh-In
385:Prior to the introduction of
351:It is Midnight, Dr Schweitzer
2065:, IEEE Press, 1998, p. 128.
1782:Showcase Productions, Inc.:
630:The program director of the
223:to order the burning of the
1592:Early Electronic Television
1539:, February 1946, p. 84, 86.
1290:is often less than 40
1069:per frame, displayed at 30
1015:In 2008, the BBC undertook
553:Alternatives to kinescoping
3057:
2994:Electronic Video Recording
1765:, McFarland, 2003, p. 48.
1712:Invention & Technology
1204:Moye-Mechau film recording
1094:625-line television system
1090:819-line television system
1086:405-line television system
622:after their network runs.
29:
2810:UHD-BD (Ultra HD Blu-ray)
2707:PVD (Personal Video Disc)
2112:The Complete Photographer
1950:Bianculli, David (2017).
1896:. McFarland. p. 23.
1862:. McFarland. p. 66.
1659:Why TV Is Going Movie-Mad
1647:– via www.imdb.com.
1594:. Early Television Museum
1568:, McFarland, 2003, p. 9.
1092:and the greater European
907:DuMont Television Network
676:(not to be confused with
632:DuMont Television Network
486:carrying programs to the
362:The Quatermass Experiment
244:Fernsehsender Paul Nipkow
2243:Ampex 2 inch helical VTR
1890:Albert Abramson (2003).
1856:Albert Abramson (2003).
1841:American Cinematographer
1790:Technical Considerations
1667:, February 1955, p. 118.
590:American Cinematographer
498:negative and 16 mm
278:intermediate film system
235:'s 1986 television play
30:Not to be confused with
3026:Television preservation
2742:Professional Disc (PFD)
2249:Sony 2 inch helical VTR
1985:Recordsearch.naa.gov.au
1555:, October 1947, p. 111.
1498:, Feb. 13, 1931, p. 15.
1247:positive type emulsions
1113:one field of each frame
948:The Lorrae Desmond Show
694:Bing Crosby Enterprises
620:syndication of TV shows
512:lenticular film process
170:, as named by inventor
3031:Television terminology
2988:Electronicam kinescope
2975:Video recorded to film
2001:. BBC. 9 December 2008
1356:Intermittent mechanism
1296:
1051:television images are
872:NBC Symphony Orchestra
803:
608:
334:and his Calypso Band,
52:
3041:Obsolete technologies
3036:Television technology
3021:Lost television shows
2802:Ultra-High Definition
2206:Video storage formats
1657:Wesley S. Griswold, "
1288:signal-to-noise ratio
993:Till Death Us Do Part
801:
522:Double system editing
478:After the network of
356:The Lady from the Sea
282:outside broadcast van
274:Zwischenfilmverfahren
237:The Fools on the Hill
229:The Scarlet Pimpernel
216:The Scarlet Pimpernel
196:Schenectady, New York
42:
1930:Smithsonian Magazine
1080:back to 30 frame/s.
998:satellite television
925:shortly afterwards.
706:Quadruplex videotape
614:decision introduced
528:quadruplex videotape
252:1936 Summer Olympics
180:kinescope recordings
172:Vladimir K. Zworykin
168:television receivers
138:quadruplex videotape
1785:Producers' Showcase
1529:James L. H. Peck, "
585:three-camera system
436:DuMont Laboratories
430:In September 1947,
419:Adam Adamant Lives!
396:television programs
209:. A BBC executive,
130:motion picture film
2090:. February 4, 2019
1814:Arthur Schneider,
1740:Arthur Schneider,
1731:, August 13, 1951.
1706:2011-04-04 at the
1699:Wolpin, Stewart. "
1645:"Variety in Sepia"
1586:Shagawat, Robert.
1495:The New York Times
1038:Room at the Bottom
1022:Room at the Bottom
901:In the mid-1990s,
847:Milton Berle sued
804:
599:Desilu Productions
470:studios combined.
391:network television
53:
3003:
3002:
2970:
2969:
2819:
2818:
2766:BD (Blu-ray Disc)
2736:MUSE Hi-Vision LD
2572:
2571:
2162:. 3 October 2016.
2139:978-1-4493-0651-9
2088:Howtowatch.online
2071:978-0-7803-4709-0
1963:978-1-101-91132-7
1761:Albert Abramson,
1701:The Race to Video
1574:978-0-7864-1220-4
1564:Albert Abramson,
1425:Popular Mechanics
1403:Albert Abramson,
1337:records at fifty
1324:visible artifacts
1071:frames per second
1017:color restoration
1000:stations such as
954:Magic Circle Club
918:1960 World Series
865:Game Show Network
504:Pacific Time Zone
266:Nuremberg Rallies
45:movie film camera
16:(Redirected from
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2023:Arthur Dungate.
2020:
2011:
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2008:
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1995:
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1686:
1685:
1680:. Archived from
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1668:
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1641:
1635:
1628:
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1615:
1610:
1604:
1603:
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1583:
1577:
1562:
1556:
1546:
1540:
1531:Doom on the Wing
1527:
1521:
1520:
1519:on July 7, 2015.
1515:. Archived from
1505:
1499:
1490:
1484:
1481:
1475:
1469:
1463:
1462:
1460:
1458:
1441:
1428:
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1384:
1372:
1264:sound was used.
1158:Suppressed field
1061:
876:Arturo Toscanini
735:This Day Tonight
698:video recordings
688:In 1951, singer
645:The Honeymooners
484:microwave relays
280:) from an early
270:Benito Mussolini
256:Leni Riefenstahl
194:laboratories in
192:General Electric
164:cathode ray tube
124:, also known as
123:
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2507:High Definition
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2460:Digital Betacam
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1843:, January 1952.
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1708:Wayback Machine
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1241:Kinescope image
1231:
1229:Sound recording
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1206:
1181:
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1125:
1056:
1046:
987:Steptoe and Son
963:
931:
874:telecasts with
860:What's My Line?
834:
796:
748:at that point.
715:
686:
674:Electronovision
665:
663:Electronovision
628:
563:
555:
524:
476:
428:
407:black and white
405:companies made
380:Royal Air Force
375:
324:Winifred Atwell
264:), a number of
221:Alexander Korda
188:
176:kinescope films
142:live television
103:
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95:, shortened to
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1835:Leigh Allen, "
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1725:Coast to Coast
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1684:on 2004-06-03.
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886:and on DVD by
838:Jackie Gleason
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2026:
2019:
2017:
2013:
2000:
1994:
1991:
1986:
1982:
1976:
1974:
1970:
1965:
1959:
1955:
1954:
1946:
1943:
1931:
1927:
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1917:
1905:
1903:9780786412204
1899:
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1869:9780786412204
1865:
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1824:0-7864-0345-4
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1798:
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1779:
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1771:0-7864-1220-8
1768:
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1750:0-7864-0345-4
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1418:
1414:
1413:0-252-02104-5
1410:
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1397:
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1371:
1368:
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1309:
1305:
1300:
1295:
1293:
1289:
1282:
1277:Common issues
1276:
1274:
1267:
1265:
1263:
1262:double system
1257:
1255:
1250:
1248:
1240:
1238:
1236:
1235:double system
1228:
1226:
1219:
1217:
1213:
1211:
1203:
1201:
1198:
1197:moiré pattern
1194:
1190:
1185:
1178:
1176:
1174:
1168:
1166:
1157:
1155:
1153:
1149:
1145:
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1136:
1134:
1130:
1122:
1120:
1118:
1114:
1108:
1104:
1102:
1097:
1095:
1091:
1088:, the French
1087:
1081:
1079:
1074:
1072:
1068:
1065:
1060:
1054:
1050:
1043:
1041:
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1024:
1023:
1018:
1013:
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1007:
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976:
971:
969:
960:
958:
956:
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950:
949:
944:
943:
938:
937:
936:Autumn Affair
928:
926:
924:
919:
914:
912:
908:
904:
899:
897:
896:magnetic tape
893:
892:high fidelity
889:
885:
881:
877:
873:
868:
866:
862:
861:
856:
852:
850:
845:
843:
839:
831:
829:
825:
823:
819:
818:
813:
809:
800:
793:
791:
787:
783:
781:
777:
776:
770:
765:
761:
757:
753:
749:
747:
743:
742:
737:
736:
730:
728:
724:
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703:
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683:
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591:
586:
582:
578:
574:
573:
567:
560:
558:
552:
550:
548:
547:
541:
537:
536:double system
533:
529:
521:
519:
517:
513:
509:
505:
501:
500:reversal film
497:
493:
492:hot kinescope
489:
485:
481:
480:coaxial cable
474:Hot kinescope
473:
471:
469:
465:
461:
457:
453:
449:
445:
441:
437:
433:
432:Eastman Kodak
425:
423:
421:
420:
415:
414:
408:
404:
399:
397:
392:
388:
383:
381:
372:
370:
369:also exists.
368:
364:
363:
358:
357:
352:
348:
343:
341:
337:
333:
329:
325:
321:
317:
313:
309:
308:Adelaide Hall
305:
300:
296:
294:
290:
285:
284:on the site.
283:
279:
275:
271:
267:
263:
262:
258:for her film
257:
253:
249:
245:
240:
238:
234:
230:
226:
222:
218:
217:
212:
208:
204:
199:
197:
193:
185:
183:
181:
177:
173:
169:
165:
160:
158:
154:
150:
145:
143:
139:
135:
134:video monitor
131:
127:
126:telerecording
121:
98:
92:
57:
50:
46:
41:
37:
33:
19:
2981:
2285:Cartrivision
2157:
2148:
2128:
2121:
2111:
2104:
2092:. Retrieved
2087:
2078:
2062:
2057:
2048:
2039:
2028:. Retrieved
2003:. Retrieved
1993:
1984:
1952:
1945:
1933:. Retrieved
1929:
1919:
1907:. Retrieved
1892:
1885:
1873:. Retrieved
1858:
1840:
1831:
1815:
1810:
1802:
1797:
1783:
1778:
1762:
1757:
1741:
1736:
1728:
1719:
1714:, Fall 1994.
1711:
1682:the original
1672:
1662:
1653:
1639:
1626:
1608:
1596:. Retrieved
1591:
1581:
1565:
1560:
1552:
1544:
1534:
1525:
1517:the original
1512:
1503:
1493:
1488:
1479:
1467:
1455:. Retrieved
1449:
1420:
1404:
1399:
1370:
1332:
1317:
1301:
1297:
1284:
1280:
1271:
1261:
1258:
1251:
1244:
1234:
1232:
1223:
1214:
1207:
1192:
1186:
1182:
1179:Stored field
1169:
1164:
1161:
1151:
1147:
1143:
1139:
1137:
1132:
1128:
1126:
1109:
1105:
1100:
1098:
1082:
1075:
1047:
1037:
1026:
1020:
1014:
991:
985:
979:
972:
964:
952:
946:
940:
934:
932:
929:In Australia
915:
900:
869:
858:
853:
846:
842:Milton Berle
835:
826:
815:
812:Ernie Kovacs
805:
788:
784:
773:
766:
762:
758:
754:
750:
741:The Truckies
739:
733:
731:
716:
687:
678:Electronicam
666:
649:
643:
639:
636:Electronicam
629:
626:Electronicam
611:
609:
602:
596:
588:
581:Lucille Ball
570:
568:
564:
556:
544:
540:freeze frame
535:
531:
525:
515:
507:
491:
477:
429:
417:
411:
400:
384:
376:
360:
354:
350:
344:
336:Edric Connor
301:
297:
286:
273:
259:
241:
236:
228:
214:
211:Cecil Madden
207:World War II
200:
189:
179:
175:
161:
149:movie camera
146:
125:
96:
55:
54:
36:
2941:Solid state
2779: 2006
2683: 1996
2593:Phonovision
2551:D6 HDTV VTR
2291:Philips VCR
2049:Lib.umd.edu
1935:10 February
1909:January 26,
1875:January 26,
1513:Youtube.com
1457:October 29,
1193:spot wobble
1191:, known as
1167:recording.
1148:shutter bar
1140:shutter bar
1062:, with two
1055:at roughly
1033:chroma dots
923:MLB Network
870:All of the
822:Art Fleming
692:’s company
690:Bing Crosby
612:I Love Lucy
603:I Love Lucy
593:explained,
572:I Love Lucy
332:Cyril Blake
328:Evelyn Dove
32:Kinetoscope
3010:Categories
2478:Betacam SX
2387:Betacam SP
2351:Video 2000
2231:Quadruplex
2030:2023-11-14
1801:Abramson,
1391:References
1339:interlaced
1304:frame rate
1165:skip field
1078:film chain
1064:interlaced
1044:Technology
1028:Dad's Army
981:Doctor Who
961:In Britain
903:Edie Adams
820:hosted by
775:Blue Peter
719:affiliates
577:Desi Arnaz
496:35 mm
488:West Coast
464:affiliates
460:16 mm
413:Doctor Who
367:coronation
248:35 mm
18:Kinescopes
2982:Kinescope
2912:AVC-Intra
2879:CamCutter
2862:DVCPRO HD
2629:Laserfilm
2611:LaserDisc
2578:Videodisc
2515:Sony HDVS
2214:Videotape
2005:19 August
1509:"YouTube"
1335:videotape
1002:UKTV Gold
966:could be
942:Emergency
888:Testament
880:LaserDisc
817:Jeopardy!
684:Videotape
656:videotape
532:hot kines
516:hot kines
508:hot kines
468:Hollywood
387:videotape
340:Mable Lee
56:Kinescope
2872:Tapeless
2856:DVCPRO50
2635:CD Video
2599:Ampex-HS
2563:HDCAM SR
2527:BCH 1000
2490:MPEG IMX
2484:Digital8
2094:4 August
1805:, p. 67.
1704:Archived
1598:20 April
1451:CBS News
1350:See also
1333:Because
1312:System B
1308:System M
1084:British
1057:60
670:819-line
668:B&W
225:negative
157:telecine
2990:(1950s)
2961:MicroP2
2882:Editcam
2824:Virtual
2676:MiniDVD
2664:MovieCD
2651:Digital
2496:MicroMV
2428:Digital
2405:S-VHS-C
2375:Betacam
2309:Betamax
2279:U-matic
2261:CV-2000
2159:YouTube
1619:YouTube
1344:VidFIRE
1152:banding
1144:banding
1101:exactly
1053:scanned
973:As the
713:Decline
601:to put
456:Chicago
314:" and "
304:Britain
261:Olympia
186:History
51:optics.
2996:(1967)
2984:(1947)
2963:(2012)
2957:(2007)
2951:(2004)
2932:(2012)
2926:(2009)
2924:iFrame
2920:(2007)
2914:(2006)
2908:(2006)
2902:(2005)
2896:(2004)
2894:GBA-TV
2890:(2003)
2884:(1995)
2864:(2000)
2858:(1997)
2852:(1996)
2846:(1995)
2844:DVCPRO
2840:(1995)
2812:(2016)
2793:(2008)
2787:(2007)
2772:MiniBD
2768:(2006)
2762:(2006)
2760:HD DVD
2756:(2006)
2750:(2004)
2744:(2003)
2738:(1994)
2721:(2005)
2715:(2004)
2709:(2003)
2703:(2003)
2697:(1998)
2691:(1998)
2672:(1996)
2666:(1996)
2660:(1993)
2643:(1990)
2637:(1987)
2631:(1984)
2625:(1983)
2619:(1981)
2613:(1978)
2607:(1975)
2601:(1967)
2595:(1927)
2586:Analog
2565:(2003)
2559:(2003)
2553:(2000)
2547:(1998)
2541:(1997)
2535:(1994)
2529:(1992)
2523:(1984)
2517:(1984)
2498:(2001)
2492:(2000)
2486:(1999)
2480:(1996)
2474:(1995)
2468:(1994)
2462:(1993)
2456:(1992)
2450:(1991)
2444:(1988)
2438:(1986)
2419:(1998)
2413:(1989)
2407:(1987)
2401:(1987)
2395:(1986)
2389:(1986)
2383:(1985)
2381:Video8
2377:(1982)
2371:(1982)
2365:(1982)
2359:(1980)
2353:(1980)
2347:(1979)
2341:(1977)
2335:(1976)
2329:(1976)
2327:Type C
2323:(1976)
2321:Type B
2317:(1975)
2311:(1975)
2305:(1974)
2299:(1974)
2297:V-Cord
2293:(1972)
2287:(1972)
2281:(1971)
2275:(1969)
2273:EIAJ-1
2269:(1967)
2263:(1965)
2257:(1965)
2255:Type A
2251:(1961)
2245:(1961)
2239:(1958)
2233:(1956)
2223:Analog
2136:
2069:
1960:
1900:
1866:
1822:
1769:
1748:
1572:
1411:
1320:chroma
1220:Lenses
1133:splice
1067:fields
794:Legacy
727:Hawaii
723:Alaska
616:reruns
454:chose
448:DuMont
446:, and
320:BBC TV
2906:AVCHD
2888:XDCAM
2850:DVCAM
2545:D-VHS
2539:HDCAM
2533:W-VHS
2521:UniHi
2399:S-VHS
2363:VHS-C
1381:Hertz
1377:Hertz
1362:Notes
1173:jerky
968:wiped
832:In US
702:Ampex
640:takes
276:(see
49:Kodak
2930:XAVC
2695:SVCD
2417:Ruvi
2267:Akai
2237:VERA
2134:ISBN
2096:2019
2067:ISBN
2007:2019
1958:ISBN
1937:2014
1911:2016
1898:ISBN
1877:2016
1864:ISBN
1820:ISBN
1767:ISBN
1746:ISBN
1729:Time
1600:2011
1570:ISBN
1459:2015
1409:ISBN
1210:gate
1129:part
1117:film
1049:NTSC
1008:and
990:and
939:and
840:and
725:and
610:The
579:and
482:and
438:and
338:and
190:The
97:kine
2955:SxS
2918:TOD
2900:MOD
2754:VMD
2719:FVD
2713:UMD
2701:EVD
2689:CVD
2670:DVD
2658:VCD
2641:VSD
2623:VHD
2617:CED
2605:TeD
2557:HDV
2454:DCT
2411:Hi8
2393:MII
2357:CVC
2345:SVR
2333:VHS
2315:IVC
2061:In
1839:",
1727:",
1710:".
1661:",
1617:on
1533:",
1189:BBC
1142:or
1010:DVD
1006:VHS
975:BBC
884:RCA
882:by
849:NBC
780:VHS
769:BBC
746:ABC
452:ABC
444:CBS
440:NBC
403:ITV
293:NBC
289:RCA
203:BBC
178:or
3012::
2949:P2
2838:DV
2776:c.
2680:c.
2466:D5
2448:D3
2442:D2
2436:D1
2339:VK
2303:VX
2156:.
2086:.
2047:.
2015:^
1983:.
1972:^
1928:.
1848:^
1788:,
1690:^
1590:.
1551:,
1511:.
1448:.
1432:^
1330:.
1292:dB
1256:.
1175:.
1135:.
1119:.
1073:.
1059:Hz
1012:.
984:,
898:.
867:.
824:.
575:,
549:.
353:,
330:,
326:,
239:.
117:iː
85:oʊ
2781:)
2774:(
2685:)
2678:(
2369:M
2198:e
2191:t
2184:v
2142:.
2098:.
2073:.
2051:.
2033:.
2009:.
1987:.
1966:.
1939:.
1913:.
1879:.
1826:.
1792:.
1773:.
1723:"
1621:.
1602:.
1576:.
1461:.
1415:.
120:/
114:n
111:ɪ
108:k
105:ˈ
102:/
91:/
88:p
82:k
79:s
76:ɪ
73:n
70:ɪ
67:k
64:ˈ
61:/
34:.
20:)
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