Robert Adler on Zenith focusing on television after World War II
03:08
Robert Adler on working for Zenith head E.F. McDonald
01:37
Robert Adler on the state of Zenith in the late '40s
06:43
Robert Adler on his duties in the research department at Zenith
01:35
Robert Adler on the innovations that came out of Zenith's research department when he was head of it
04:45
Robert Adler on Zenith's acquisition of the Rauland Corporation in 1948
02:59
Robert Adler on how the development of the remote control came about for Zenith
03:52
Robert Adler on the importance to Zenith of coming up with the remote control
03:45
Robert Adler on ultrasonic remote control devices and the battery
09:04
Robert Adler on remote control sets going into production and on the remote control system's name, Space Command
05:52
Robert Adler on how Zenith modified the remote control over the years and the popularity of the product
01:46
Robert Adler on his own personal use of the Space Command remote control and being dubbed the father of the remote control
04:05
Robert Adler on the then-future of the remote control
00:59
Robert Adler on being head of the research facility at Zenith in the '40s
02:45
Robert Adler on Zenith dealing with competitors and on selecting the projects his team at Zenith worked on
02:33
Robert Adler on working on the gated beam while at Zenith
05:52
Robert Adler on Zenith not producing equipment for broadcasters like cameras or transmitter equipment
02:35
Robert Adler on Zenith working on a prototype television projection system in 1966
02:31
Robert Adler on developing the video laser disc, which would eventually become the DVD
06:44
Robert Adler on retiring from Zenith to become a consultant and on the development of HDTV and touch-screen technology
07:16
Robert Adler on Zenith's place in television history
05:04
Robert Adler on the then-current state of television and the then-future of television
01:02
Robert Adler on advice to aspiring television scientists and inventors
02:38
Robert Adler on his many patents and how he'd like to be remembered
01:16
Robert Adler on precision molded plastics and touch-screen technology
07:02
Editor Janet Ashikaga on farming out special effects
01:01
Editor Janet Ashikaga on different editing systems
01:10
Editor Janet Ashikaga on film versus video
01:15
Editor Janet Ashikaga on how computers and digital formats have changed editing
02:58
Ted Bergmann on DuMont's work with color television
01:35
Ted Bergmann on DuMont and RCA's color television systems
04:13
Ted Bergmann on technological innovations at DuMont, including television transcription
03:07
Ted Bergmann on technological innovations at DuMont, including the Electronicam System
11:06
Ted Bergmann on the evolution of video tape
05:04
Film editor Dann Cahn on the new technology (multiple moviola) developed for editing I Love Lucy
02:24
Dann Cahn on film editing in the 1930s and burning nitrate film for silver
02:58
Film editor Dann Cahn on the new technology developed for I Love Lucy
01:30
Film editor Dann Cahn on the new technology developed for I Love Lucy
02:18
Film editor Dann Cahn on going from optical to magnetic soundtracks and using the "monster" moviola
05:27
Film editor Dann Cahn on the first process shot for television -- and his first time directing
02:41
Editor Dann Cahn on his preference for the moviola over flatbed editing system
02:13
Editor Dann Cahn on nonlinear editing and computer editing and how they compare to older methods of editing
06:51
Leo Chaloukian on Ryder Sound Services working in television with magnetic sound
00:58
Leo Chaloukian on sound pioneer Loren Ryder's inventions and innovations
08:50
Leo Chaloukian on demonstrating the original Nagra Recorder given to him by Loren Ryder; on the 6 microphone input recorder invented by Ryder
02:42
Leo Chaloukian on demonstrating the original magnetic tape manufactured in the 1940s by Ryder Sound
01:05
Leo Chaloukian on demonstrating the ribbon microphone
01:11
Stan Chambers on how the definition on the early television cameras almost prevented him from being on-camera
01:53
Stan Chambers on anchoring KTLA's evening news in 1958 (and using an improvised prompting system)
02:04
Stan Chambers on KTLA's invention and use of the first news helicopter, the "telecopter" in 1958
05:51
Stan Chambers on KTLA's breaking the news story of the Rodney King beating by Los Angeles police officers
11:04
Stan Chambers on a photo of a 1952 live remote of an atomic bomb test in Nevada
00:38
Stan Chambers on a photo of the maiden voyage of KTLA's telecopter
00:33
Tony Charmoli on his introduction to television and his first job in the new medium
06:08
Tony Charmoli on differences between choreographing for theater versus television
03:24
Tony Charmoli on participating in color experimentation for TV
06:02
Tony Charmoli on experimenting with Chroma-Key while working on The Dinah Shore Show
02:34
Tony Charmoli on how choreography evolved over time for television versus the stage
01:42
Tony Charmoli on choreographing for the variety-series The Julie Andrews Hour
00:42
Tony Charmoli on commentary on B-roll footage of the monolithic era of TV
00:51
Tony Charmoli on commentary on B-roll footage of the use of Chroma-Key while working with Dinah Shore
01:06
Sam Christaldi on his early involvement in television
02:38
Sam Christaldi on the first time he saw television and the early "flicker" of television pictures
02:09
Sam Christaldi on the early mechanical television
05:52
Sam Christaldi on how he came to work for Du Mont
02:51
Sam Christaldi on building television sets in the late '30s
02:32
Sam Christaldi on Du Mont building television sets for the public
03:12
Sam Christaldi on the early television tube receivers at Du Mont
05:04
Sam Christaldi on the strength of early television signals and programming
03:27
Sam Christaldi on television signals
05:44
Sam Christaldi on early television demonstrations
02:00
Sam Christaldi on Du Mont's model 180 TV set
03:16
Sam Christaldi on Du Mont and the 1939 World's Fair and the early price of television sets
02:34
Sam Christaldi on the two TV stations that started broadcasting in 1939
06:00
Sam Christaldi on the early television cameras
02:47
Sam Christaldi on testing early TV tubes
04:50
Sam Christaldi on Du Mont's effect on television technical standards
03:26
Sam Christaldi on why television sets did not have a channel 1 and the difference between VHF and UHF
03:47
Sam Christaldi on on Du Mont's activities during World War II
04:48
Sam Christaldi on Du Mont's post-war activities
04:10
Sam Christaldi on Du Mont's Wanamaker studio
01:34
Sam Christaldi on sharing television technology between companies and television technology patents
05:04
Sam Christaldi on Du Mont's Electronicam
02:02
Sam Christaldi on innovations produced by Du Mont laboratories and the superiority of Du Mont television sets
02:53
Sam Christaldi on the advent of color television and the 1949 hearing for color television technological standards
06:35
Sam Christaldi on his other responsibilities at Du Mont and giving up development
02:28
Sam Christaldi on the technological work done on television prior to World War II
01:48
Joan Ganz Cooney on color television
00:24
Joan Ganz Cooney on struggling public TV stations -relegated to the undesirable UHF (Ultra High Frequency) range of the broadcast spectrum
00:43
Joan Ganz Cooney on The Children's Television Workshop's investments in cable systems
02:14
Joan Ganz Cooney on the online services of The Children's Television Workshop and the digital channel in the works with Nickelodeon
02:58
Walter Cronkite on seeing a television for the first time at the 1933 World's Fair
01:51
Walter Cronkite on the challenges and technological innovations behind covering a live political event
06:03
Walter Cronkite on the use of the Univac to predict election results in the 1952 Presidential election
02:40
Walter Cronkite on covering the coronation of Queen Elizabeth II in London in 1953, and the technical challenges that presented, including fighter pilots, and the Canadian Royal Air Force
05:38
Walter Cronkite on the advent of the Teleprompter on the 50s program You Are There
02:07
Michael Dann on the coming of digital programming and sets
01:04
Michael Dann on David Sarnoff's desire to sell color television sets and the importance of shooting variety shows in color
01:56
Michael Dann on the cable industry and evolving technology
07:36
Michael Dann on the prospect of digital cable
00:20
Ray Dolby on the theory behind video tape recording and bringing the theory to life
05:39
Ray Dolby on developing an all electronic system for synchronizing sound and his first patent at Ampex
01:33
Ray Dolby on his early contributions to the video tape recorder
03:24
Ray Dolby on creating a pulse FM system for modulating the signal going to video tape
01:05
Ray Dolby on his patents on the video tape recorder
03:26
Ray Dolby on the basics of his noise reduction system
02:37
Ray Dolby on adapting Dolby noise reduction for motion pictures
09:55
Ray Dolby on how theater owners reacted to his movie sound system and the first films to use it
03:23
Ray Dolby on adapting to new digital sound formats
12:51
Ray Dolby on the then-future of sound on television
01:19
Elma Farnsworth on Philo's idea for electronic television
01:46
Elma Farnsworth on her husband Philo patenting television in 1927
05:35
Elma Farnsworth on the reaction of her and her husband, inventor Philo T. Farnsworth (and colleagues Cliff Gardner and Carl Christensen), on September 7, 1927 when he produced the first all-electronic TV picture (a simple straight line) with his Image Dissector tube
04:54
Elma Farnsworth on the drawbacks to mechanical disc television and the obstacles Philo encountered when creating electronic television
01:43
Elma Farnsworth on Vladimir Zworykin at RCA copying Philo T. Farnsworth's image dissector for RCA's electronic television system
00:52
Elma Farnsworth on her husband Philo T. Farnsworth lobbying for a commercial television license
01:23
Elma Farnsworth on her husband Philo T. Farnsworth's battle with RCA for electronic television's patents
06:10
Elma Farnsworth on RCA licensing Philo T. Farnsworth's patents in 1939 - the first time RCA ever licensed a patent
08:35
Elma Farnsworth on her husband Philo T. Farnsworth's input on commercial broadcast standards for the United States
01:13
Elma Farnsworth on her husband Philo T. Farnsworth's camera tube being a part of the Apollo mission to the moon in 1969
01:04
Lighting Director Imero Fiorentino on Telstar I, the satellite that relayed the first live transatlantic transmission on July 10, 1962— the American flag outside the sending station at Andover, Maine
03:28
Imero Fiorentino on the equipment with which he worked in the early days
03:19
Imero Fiorentino on the tools of a lighting director and how the tools have changed over the years
09:21
Lighting Director Imero Fiorentino on working with new technology
22:36
Les Flory on the development of the television pick up tube in the 1930s
02:09
Les Flory on the differences between the early mechanical and electronic television systems
02:22
Les Flory on his involvement with the development of color television and the controversy over the CBS and RCA systems
05:43
Les Flory on how much he was aware of the work of Philo T. Farnsworth, and differences between Farnsworth's system and RCA's
01:59
Les Flory on a 1956 photo of a backpack television transmitter (made for the 1956 political conventions)
01:25
Les Flory on a photo of image orthicon tubes
03:18
Michael Fuchs on the early technical aspects of HBO
03:20
Michael Fuchs on the advent of "multiplexing" programming
02:10
Michael Fuchs on HBO's foray into international programming and the use of satellites to deliver programming
03:11
Michael Fuchs on the future of television
11:25
Arthur Hiller on what he felt was lost when the technology changed from "live" television to tape
02:32
Arthur Hiller on NBC Matinee Theater being broadcast in color
01:31
Arthur Hiller on moving from "live" to film television
05:08
Arthur Hiller on the difference between working in "live" television and taped television
01:40
Stanley Hubbard on the early transmission and technology of television stations
04:44
Stanley Hubbard on the rise of color television and cable
01:38
Stanley Hubbard on KSTP News' weather radar
00:28
Stanley Hubbard on his father pursuing technological innovation in television, and the stations making the transition to color
05:39
Stanley Hubbard on the technological advancement of using videotape in news broadcasts and Electronic News Gathering (ENG)
04:01
Stanley Hubbard on the then-current state of HBO and Hubbard Broadcasting's acquisition of United States Satellite Broadcasting Company and Direct Broadcast Satellite
05:58
Stanley Hubbard on the growth of satellite television in the '80s and '90s
01:57
Stanley Hubbard on his 1991 agreement with DIRECTV
02:36
Stanley Hubbard on the death of his father and creating a satellite news gathering truck
03:22
Stanley Hubbard on creating a satellite news gathering truck (CONUS)
03:28
Stanley Hubbard on KSTP starting to broadcast a digital signal in 1999
04:41
Stanley Hubbard on the technical aspects of switching over to digital television and the then-future of interactive television
04:31
Stanley Hubbard on the then-current state of television advertising and DVR technology
03:32
Stanley Hubbard on the then-future of television advertising and the impact of the internet on television
03:05
Sig Mickelson on CBS News' coverage of election night in 1952 and on the use of the Univac computer
07:11
Sig Mickelson on CBS News' coverage of the coronation of Queen Elizabeth II and the technology associated with the broadcast
08:01
Sig Mickelson on the technological challenges of CBS News covering Queen Elizabeth's coronation and the innovations it helped bring about
14:16
Sig Mickelson on the impact of the advent of video tape on CBS News and sports
04:55
Sig Mickelson on how technological innovation has changed the way news events are covered by networks, and on the government's role in regulating the broadcast industry
02:44
Don Pike on his earliest days in television with Philo T. Farnsworth and the early equipment and sets
11:21
Don Pike on the shop where he worked with Philo T. Farnsworth and the equipment they used to build cameras and televisions
02:02
Don Pike on building early televisions for Philo T. Farnsworth
03:11
Don Pike on manufacturing the tubes for Philo T. Farnsworth's televisions and how they worked
04:15
Don Pike on being involved in Philo T. Farnsworth's company Farnsworth Television and Radio
05:22
Don Pike on Farnsworth Television's facilities and its goals
03:27
Don Pike on Philo T. Farnsworth becoming ill and leaving his company, and other inventions that Farnsworth was working on
07:10
Don Pike on how early television signals worked
03:45
Don Pike on the impact of Philo T. Farnsworth's declining health on his research, and RCA's iconoscope tube
07:45
Don Pike on engineering cameras for bombs during World War II
06:45
Don Pike on perfecting the television picture and the responsibilities of a technical director
03:21
Don Pike on his training program to become a technical director
01:40
Don Pike on transferring to RCA's color lab in 1949
03:57
Don Pike on creating early color cameras
04:44
Don Pike on experimenting with different color television systems
04:54
Don Pike on testing color television and the race to bring it to the public
03:55
Don Pike on becoming a color coordinator for NBC
02:47
Don Pike on how the advent of color affected television production
04:46
Don Pike on the challenges of getting early television colors correct
02:02
Don Pike on going to work covering NASA for NBC
06:59
Don Pike on the legacy of Philo T. Farnsworth
02:41
Ed Resnick on being hired by Klaus Landsberg to work on an experimental television test stage
05:54
Ed Resnick on working for early experimental television station W6XYZ under Klaus Landsberg
03:47
Ed Resnick on getting on camera for the first time at W6XYZ and how the station worked
04:23
Ed Resnick on the technological state of television in 1944
03:23
Ed Resnick on the mechanics of operating a camera in the early days of television and early remotes
04:54
Ed Resnick on the erection of KTLA's transmitter on Mount Wilson
06:22
Ed Resnick on KTLA's early broadcast facilities
04:23
Ed Resnick on the advent of videotape in 1956 and how it was used by KTLA in the early years
01:05
Ed Resnick on technological advances in television cameras over the years and the advent of color
04:02
Romilly Rutherford on his early experimentation with sight and sound
05:40
Romilly Rutherford on getting into creating television
05:23
Romilly Rutherford on going to work for Philo T. Farnsworth
08:32
Romilly Rutherford on his hours and daily duties working for Philo T. Farnsworth
02:52
Romilly Rutherford on Philo T. Farnsworth's lab
04:09
Romilly Rutherford on Philo T. Farnsworth's activities in his lab
04:19
Romilly Rutherford on getting new equipment in Philo T. Farnsworth's lab
02:02
Romilly Rutherford on various people with whom he worked at Philo T. Farnsworth's lab
05:05
Romilly Rutherford on the mood in the Farnsworth lab and the possible applications of his research
03:35
Romilly Rutherford on the first picture transmitted in Farnsworth's lab
02:47
Romilly Rutherford on very early test broadcasts in Philo T. Farnsworth's lab
01:35
Romilly Rutherford on the competition to Philo T. Farnsworth's work
07:51
Romilly Rutherford on the publicity Philo T. Farnsworth received and how Farnsworth handled the press
03:07
Romilly Rutherford on Philo T. Farnsworth's lab during the Depression and moving the lab to Philadelphia
05:51
Romilly Rutherford on Philo T. Farnsworth's then-new Philco lab in Philadelphia and the progress made in the year he took off
04:13
Romilly Rutherford on money and other obstacles faced by Philo T. Farnsworth and his Philco lab
02:39
Romilly Rutherford on Philo T. Farnsworth leaving Philco and being hired to work for Farnsworth again at a different company
06:12
Romilly Rutherford on the Franklin Institute demonstration of television in 1934
08:06
Romilly Rutherford on Philo T. Farnsworth setting up a television studio in 1936
02:52
Romilly Rutherford on the then-current state of television
02:56
Jay Sandrich on the way television was recorded on kinescopes to broadcast on both coasts and the innovation of Desi Arnaz in using film for I Love Lucy
01:42
Jay Sandrich on the inventor Charlie Douglas and his laugh track machine, which was used on The Andy Griffith Show
01:04
Jay Sandrich on the first show (We'll Get By) to tape all four cameras and the difference between film and tape
03:43
John Silva on the technological innovations he learned about as a a radar officer in World War II
01:14
John Silva on KTLA's early equipment and facilities; on the first mobile unit
03:50
John Silva on his inventions for mobile units
02:25
John Silva on inventing the Telecopter (an airborne helicopter remote)
11:36
John Silva on the actual construction and development of the Telecopter, his team, and testing
26:28
John Silva on creating a second Telecopter (Telecopter 2)
04:49
John Silva on technological innovations that occurred during his tenure at KTLA, including the advent of videotape and video editing
08:27
John Silva on KTLA's transition to color television
04:42
John Silva on white balancing for color television
04:05
Sid Smith on color production on Your Hit Parade
01:39
Sid Smith on his tenure at The Jimmy Durante Show and changes in the show when production moved to Desilu and shot on film
03:03
Sid Smith on the technology used on Wide Wide World
03:38
Sid Smith on directing Telstar satellite's first broadcast
06:19
Sid Smith on inventing spotlight discs for the Miss U.S.A. and Miss Universe pageants so contestants would be well lit on stage
00:53
Tony Verna on creating the instant replay for the Army/Navy football game in December of 1963
02:38
Tony Verna on the advent of the instant replay
18:58
Tony Verna on directing the first satellite feed from London
01:30
Tony Verna on using the "action track" in sporting events and the advent of color television
01:49
Tony Verna on the "Ice Bowl"
03:17
Tony Verna on his company, Praxis Limited and "instant instant replay"
04:58
Tucker Wiard on editing technology developed and used by CBS
09:17
Tucker Wiard on the technical revolution of computer-driven non-linear editing and the use of the AVID editing system
04:26
Tucker Wiard on the differences between editing film and video tape on Murphy Brown
03:09
Tucker Wiard on why the visual quality of The Carol Burnett Show has held up over the years
04:23
Ben Wolf on the emergence of video tape and the transition to color
06:13
Ben Wolf on the kinescope
03:53
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
02:16
Ben Wolf on how cinematography has changed
01:42
