Robert Adler on Zenith focusing on television after World War II
Robert Adler on working for Zenith head E.F. McDonald
Robert Adler on the state of Zenith in the late '40s
Robert Adler on his duties in the research department at Zenith
Robert Adler on the innovations that came out of Zenith's research department when he was head of it
Robert Adler on Zenith's acquisition of the Rauland Corporation in 1948
Robert Adler on how the development of the remote control came about for Zenith
Robert Adler on the importance to Zenith of coming up with the remote control
Robert Adler on ultrasonic remote control devices and the battery
Robert Adler on remote control sets going into production and on the remote control system's name, Space Command
Robert Adler on how Zenith modified the remote control over the years and the popularity of the product
Robert Adler on his own personal use of the Space Command remote control and being dubbed the father of the remote control
Robert Adler on the then-future of the remote control
Robert Adler on being head of the research facility at Zenith in the '40s
Robert Adler on Zenith dealing with competitors and on selecting the projects his team at Zenith worked on
Robert Adler on working on the gated beam while at Zenith
Robert Adler on Zenith not producing equipment for broadcasters like cameras or transmitter equipment
Robert Adler on Zenith working on a prototype television projection system in 1966
Robert Adler on developing the video laser disc, which would eventually become the DVD
Robert Adler on retiring from Zenith to become a consultant and on the development of HDTV and touch-screen technology
Robert Adler on Zenith's place in television history
Robert Adler on the then-current state of television and the then-future of television
Robert Adler on advice to aspiring television scientists and inventors
Robert Adler on his many patents and how he'd like to be remembered
Robert Adler on precision molded plastics and touch-screen technology
Editor Janet Ashikaga on farming out special effects
Editor Janet Ashikaga on different editing systems
Editor Janet Ashikaga on film versus video
Editor Janet Ashikaga on how computers and digital formats have changed editing
Ted Bergmann on DuMont's work with color television
Ted Bergmann on DuMont and RCA's color television systems
Ted Bergmann on technological innovations at DuMont, including television transcription
Ted Bergmann on technological innovations at DuMont, including the Electronicam System
Ted Bergmann on the evolution of video tape
Film editor Dann Cahn on the new technology (multiple moviola) developed for editing I Love Lucy
Dann Cahn on film editing in the 1930s and burning nitrate film for silver
Film editor Dann Cahn on the new technology developed for I Love Lucy
Film editor Dann Cahn on the new technology developed for I Love Lucy
Film editor Dann Cahn on going from optical to magnetic soundtracks and using the "monster" moviola
Film editor Dann Cahn on the first process shot for television -- and his first time directing
Editor Dann Cahn on his preference for the moviola over flatbed editing system
Editor Dann Cahn on nonlinear editing and computer editing and how they compare to older methods of editing
Charles Cappleman on the technology at the dawn of television
Charles Cappleman on the technological innovation he oversaw at CBS as manager of the production electronics department
Charles Cappleman on the role CBS executives like Frank Stanton played in technological innovation while he was manager of the production electronics department, and on its impact on news gathering
Charles Cappleman on how new technology impacted the CBS coverage of political conventions
Charles Cappleman on the technological innovations that emanated from CBS Television City
Charles Cappleman on the advent of video tape, and the impact it had on production
Charles Cappleman on the advent and development of video tape, and how it impacted production
Charles Cappleman on CBS Television City converting to color broadcasting
Charles Cappleman on how the distribution of shows to the CBS affiliates changed over time
Charles Cappleman on implementing HDTV at CBS
Leo Chaloukian on Ryder Sound Services working in television with magnetic sound
Leo Chaloukian on sound pioneer Loren Ryder's inventions and innovations
Leo Chaloukian on demonstrating the original Nagra Recorder given to him by Loren Ryder; on the 6 microphone input recorder invented by Ryder
Leo Chaloukian on demonstrating the original magnetic tape manufactured in the 1940s by Ryder Sound
Leo Chaloukian on demonstrating the ribbon microphone
Stan Chambers on how the definition on the early television cameras almost prevented him from being on-camera
Stan Chambers on anchoring KTLA's evening news in 1958 (and using an improvised prompting system)
Stan Chambers on KTLA's invention and use of the first news helicopter, the "telecopter" in 1958
Stan Chambers on KTLA's breaking the news story of the Rodney King beating by Los Angeles police officers
Stan Chambers on a photo of a 1952 live remote of an atomic bomb test in Nevada
Stan Chambers on a photo of the maiden voyage of KTLA's telecopter
Tony Charmoli on his introduction to television and his first job in the new medium
Tony Charmoli on differences between choreographing for theater versus television
Tony Charmoli on participating in color experimentation for TV
Tony Charmoli on experimenting with Chroma-Key while working on The Dinah Shore Show
Tony Charmoli on how choreography evolved over time for television versus the stage
Tony Charmoli on choreographing for the variety-series The Julie Andrews Hour
Tony Charmoli on commentary on B-roll footage of the monolithic era of TV
Tony Charmoli on commentary on B-roll footage of the use of Chroma-Key while working with Dinah Shore
Sam Christaldi on his early involvement in television
Sam Christaldi on the first time he saw television and the early "flicker" of television pictures
Sam Christaldi on the early mechanical television
Sam Christaldi on how he came to work for Du Mont
Sam Christaldi on building television sets in the late '30s
Sam Christaldi on Du Mont building television sets for the public
Sam Christaldi on the early television tube receivers at Du Mont
Sam Christaldi on the strength of early television signals and programming
Sam Christaldi on television signals
Sam Christaldi on early television demonstrations
Sam Christaldi on Du Mont's model 180 TV set
Sam Christaldi on Du Mont and the 1939 World's Fair and the early price of television sets
Sam Christaldi on the two TV stations that started broadcasting in 1939
Sam Christaldi on the early television cameras
Sam Christaldi on testing early TV tubes
Sam Christaldi on Du Mont's effect on television technical standards
Sam Christaldi on why television sets did not have a channel 1 and the difference between VHF and UHF
Sam Christaldi on on Du Mont's activities during World War II
Sam Christaldi on Du Mont's post-war activities
Sam Christaldi on Du Mont's Wanamaker studio
Sam Christaldi on sharing television technology between companies and television technology patents
Sam Christaldi on Du Mont's Electronicam
Sam Christaldi on innovations produced by Du Mont laboratories and the superiority of Du Mont television sets
Sam Christaldi on the advent of color television and the 1949 hearing for color television technological standards
Sam Christaldi on his other responsibilities at Du Mont and giving up development
Sam Christaldi on the technological work done on television prior to World War II
Joan Ganz Cooney on color television
Joan Ganz Cooney on struggling public TV stations -relegated to the undesirable UHF (Ultra High Frequency) range of the broadcast spectrum
Joan Ganz Cooney on The Children's Television Workshop's investments in cable systems
Joan Ganz Cooney on the online services of The Children's Television Workshop and the digital channel in the works with Nickelodeon
Walter Cronkite on seeing a television for the first time at the 1933 World's Fair
Walter Cronkite on the challenges and technological innovations behind covering a live political event
Walter Cronkite on the use of the Univac to predict election results in the 1952 Presidential election
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
Walter Cronkite on the advent of the Teleprompter on the 50s program You Are There
Michael Dann on the coming of digital programming and sets
Michael Dann on David Sarnoff's desire to sell color television sets and the importance of shooting variety shows in color
Michael Dann on the cable industry and evolving technology
Michael Dann on the prospect of digital cable
Ray Dolby on the theory behind video tape recording and bringing the theory to life
Ray Dolby on developing an all electronic system for synchronizing sound and his first patent at Ampex
Ray Dolby on his early contributions to the video tape recorder
Ray Dolby on creating a pulse FM system for modulating the signal going to video tape
Ray Dolby on his patents on the video tape recorder
Ray Dolby on the basics of his noise reduction system
Ray Dolby on adapting Dolby noise reduction for motion pictures
Ray Dolby on how theater owners reacted to his movie sound system and the first films to use it
Ray Dolby on adapting to new digital sound formats
Ray Dolby on the then-future of sound on television
Elma Farnsworth on Philo's idea for electronic television
Elma Farnsworth on her husband Philo patenting television in 1927
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
Elma Farnsworth on the drawbacks to mechanical disc television and the obstacles Philo encountered when creating electronic television
Elma Farnsworth on Vladimir Zworykin at RCA copying Philo T. Farnsworth's image dissector for RCA's electronic television system
Elma Farnsworth on her husband Philo T. Farnsworth lobbying for a commercial television license
Elma Farnsworth on her husband Philo T. Farnsworth's battle with RCA for electronic television's patents
Elma Farnsworth on RCA licensing Philo T. Farnsworth's patents in 1939 - the first time RCA ever licensed a patent
Elma Farnsworth on her husband Philo T. Farnsworth's input on commercial broadcast standards for the United States
Elma Farnsworth on her husband Philo T. Farnsworth's camera tube being a part of the Apollo mission to the moon in 1969
Elma Farnsworth on moving to Los Angeles with Philo T. Farnsworth to set up a laboratory
Elma Farnsworth on how certain fabrics transmitted on experimental television and problems with lighting
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
Imero Fiorentino on the equipment with which he worked in the early days
Imero Fiorentino on the tools of a lighting director and how the tools have changed over the years
Lighting Director Imero Fiorentino on working with new technology
Les Flory on the development of the television pick up tube in the 1930s
Les Flory on the differences between the early mechanical and electronic television systems
Les Flory on his involvement with the development of color television and the controversy over the CBS and RCA systems
Les Flory on how much he was aware of the work of Philo T. Farnsworth, and differences between Farnsworth's system and RCA's
Les Flory on a 1956 photo of a backpack television transmitter (made for the 1956 political conventions)
Les Flory on a photo of image orthicon tubes
Michael Fuchs on the early technical aspects of HBO
Michael Fuchs on the advent of "multiplexing" programming
Michael Fuchs on HBO's foray into international programming and the use of satellites to deliver programming
Michael Fuchs on the future of television
Arthur Hiller on what he felt was lost when the technology changed from "live" television to tape
Arthur Hiller on NBC Matinee Theater being broadcast in color
Arthur Hiller on moving from "live" to film television
Arthur Hiller on the difference between working in "live" television and taped television
Stanley Hubbard on the early transmission and technology of television stations
Stanley Hubbard on the rise of color television and cable
Stanley Hubbard on KSTP News' weather radar
Stanley Hubbard on his father pursuing technological innovation in television, and the stations making the transition to color
Stanley Hubbard on the technological advancement of using videotape in news broadcasts and Electronic News Gathering (ENG)
Stanley Hubbard on the then-current state of HBO and Hubbard Broadcasting's acquisition of United States Satellite Broadcasting Company and Direct Broadcast Satellite
Stanley Hubbard on the growth of satellite television in the '80s and '90s
Stanley Hubbard on his 1991 agreement with DIRECTV
Stanley Hubbard on the death of his father and creating a satellite news gathering truck
Stanley Hubbard on creating a satellite news gathering truck (CONUS)
Stanley Hubbard on KSTP starting to broadcast a digital signal in 1999
Stanley Hubbard on the technical aspects of switching over to digital television and the then-future of interactive television
Stanley Hubbard on the then-current state of television advertising and DVR technology
Stanley Hubbard on the then-future of television advertising and the impact of the internet on television
Joseph Jennings on working with the other art directors at CBS Television City, and the differences between art directors working in film and those working in live television or video taped television
Joseph Jennings on how the transition to color impacted the work of the art director, and on dealing with lighting
Joseph Jennings on the then-new technologies in art direction and how production design has changed over the years
Loren Jones on the early mechanical television system
Loren Jones on the early television development team at RCA, headed by David Sarnoff and including Vladimir Zworykin
Loren Jones on working on the development of television transmitters, and on installing equipment on top of the Empire State Building
Loren Jones on early experimental television broadcasts in the 1930, who could see them, and the programming
Loren Jones on scientist Edward Armstrong's role in the development of television, and his patent feud with David Sarnoff
Loren Jones on the feeling about the future of television in the RCA Lab in the 1930s
Loren Jones on using balloons to test television transmission signals
Loren Jones on going to the Soviet Union the help develop their television system
Loren Jones on being sent to the Soviet Union to help with their development of television, and being followed by the KGB
Loren Jones on America's interest in helping the Soviet Union set up its television system
Loren Jones on transmitting RCA's first broadcast service W2XBS
Loren Jones on the first television set he owned and on the early development of color television
Loren Jones on developing the "television bomb"
Loren Jones on the development of color television and the battle over it
Loren Jones on the slow progress of research on television transmission in the 1930s, and on the hurdles in developing a television system including the "light problem"
Loren Jones on being in charge of the new products division of RCA after World War II
Loren Jones on various scientists involved with the development of television
Loren Jones on various scientists involved with the development of television
Sig Mickelson on CBS News' coverage of election night in 1952 and on the use of the Univac computer
Sig Mickelson on CBS News' coverage of the coronation of Queen Elizabeth II and the technology associated with the broadcast
Sig Mickelson on the technological challenges of CBS News covering Queen Elizabeth's coronation and the innovations it helped bring about
Sig Mickelson on the impact of the advent of video tape on CBS News and sports
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
Don Pike on his earliest days in television with Philo T. Farnsworth and the early equipment and sets
Don Pike on the shop where he worked with Philo T. Farnsworth and the equipment they used to build cameras and televisions
Don Pike on building early televisions for Philo T. Farnsworth
Don Pike on manufacturing the tubes for Philo T. Farnsworth's televisions and how they worked
Don Pike on being involved in Philo T. Farnsworth's company Farnsworth Television and Radio
Don Pike on Farnsworth Television's facilities and its goals
Don Pike on Philo T. Farnsworth becoming ill and leaving his company, and other inventions that Farnsworth was working on
Don Pike on how early television signals worked
Don Pike on the impact of Philo T. Farnsworth's declining health on his research, and RCA's iconoscope tube
Don Pike on engineering cameras for bombs during World War II
Don Pike on perfecting the television picture and the responsibilities of a technical director
Don Pike on his training program to become a technical director
Don Pike on transferring to RCA's color lab in 1949
Don Pike on creating early color cameras
Don Pike on experimenting with different color television systems
Don Pike on testing color television and the race to bring it to the public
Don Pike on becoming a color coordinator for NBC
Don Pike on how the advent of color affected television production
Don Pike on the challenges of getting early television colors correct
Don Pike on going to work covering NASA for NBC
Don Pike on the legacy of Philo T. Farnsworth
Ed Resnick on being hired by Klaus Landsberg to work on an experimental television test stage
Ed Resnick on working for early experimental television station W6XYZ under Klaus Landsberg
Ed Resnick on getting on camera for the first time at W6XYZ and how the station worked
Ed Resnick on the technological state of television in 1944
Ed Resnick on the mechanics of operating a camera in the early days of television and early remotes
Ed Resnick on the erection of KTLA's transmitter on Mount Wilson
Ed Resnick on KTLA's early broadcast facilities
Ed Resnick on the advent of videotape in 1956 and how it was used by KTLA in the early years
Ed Resnick on technological advances in television cameras over the years and the advent of color
Romilly Rutherford on his early experimentation with sight and sound
Romilly Rutherford on getting into creating television
Romilly Rutherford on going to work for Philo T. Farnsworth
Romilly Rutherford on his hours and daily duties working for Philo T. Farnsworth
Romilly Rutherford on Philo T. Farnsworth's lab
Romilly Rutherford on Philo T. Farnsworth's activities in his lab
Romilly Rutherford on getting new equipment in Philo T. Farnsworth's lab
Romilly Rutherford on various people with whom he worked at Philo T. Farnsworth's lab
Romilly Rutherford on the mood in the Farnsworth lab and the possible applications of his research
Romilly Rutherford on the first picture transmitted in Farnsworth's lab
Romilly Rutherford on very early test broadcasts in Philo T. Farnsworth's lab
Romilly Rutherford on the competition to Philo T. Farnsworth's work
Romilly Rutherford on the publicity Philo T. Farnsworth received and how Farnsworth handled the press
Romilly Rutherford on Philo T. Farnsworth's lab during the Depression and moving the lab to Philadelphia
Romilly Rutherford on Philo T. Farnsworth's then-new Philco lab in Philadelphia and the progress made in the year he took off
Romilly Rutherford on money and other obstacles faced by Philo T. Farnsworth and his Philco lab
Romilly Rutherford on Philo T. Farnsworth leaving Philco and being hired to work for Farnsworth again at a different company
Romilly Rutherford on the Franklin Institute demonstration of television in 1934
Romilly Rutherford on Philo T. Farnsworth setting up a television studio in 1936
Romilly Rutherford on the then-current state of television
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
Jay Sandrich on the inventor Charlie Douglas and his laugh track machine, which was used on The Andy Griffith Show
Jay Sandrich on the first show (We'll Get By) to tape all four cameras and the difference between film and tape
Arthur Schneider on the kinescope, and how it was used for television, and his other responsibilities at NBC
Arthur Schneider on NBC's early television facilities at Sunset and Vine, and the editing equipment he used there
Arthur Schneider on how the transcontinental cable impacted television broadcasting in the United States, and on NBC moving to Burbank in 1954
Arthur Schneider on the advent of video tape and its impact on television
Arthur Schneider on editing on video tape
Arthur Schneider on editing color videotape
Arthur Schneider on his role in creating the instant replay
John Silva on the technological innovations he learned about as a a radar officer in World War II
John Silva on KTLA's early equipment and facilities; on the first mobile unit
John Silva on his inventions for mobile units
John Silva on inventing the Telecopter (an airborne helicopter remote)
John Silva on the actual construction and development of the Telecopter, his team, and testing
John Silva on creating a second Telecopter (Telecopter 2)
John Silva on technological innovations that occurred during his tenure at KTLA, including the advent of videotape and video editing
John Silva on KTLA's transition to color television
John Silva on white balancing for color television
Sid Smith on color production on Your Hit Parade
Sid Smith on his tenure at The Jimmy Durante Show and changes in the show when production moved to Desilu and shot on film
Sid Smith on the technology used on Wide Wide World
Sid Smith on directing Telstar satellite's first broadcast
Sid Smith on inventing spotlight discs for the Miss U.S.A. and Miss Universe pageants so contestants would be well lit on stage
Tony Verna on creating the instant replay for the Army/Navy football game in December of 1963
Tony Verna on the advent of the instant replay
Tony Verna on directing the first satellite feed from London
Tony Verna on using the "action track" in sporting events and the advent of color television
Tony Verna on the "Ice Bowl"
Tony Verna on his company, Praxis Limited and "instant instant replay"
Tucker Wiard on editing technology developed and used by CBS
Tucker Wiard on the technical revolution of computer-driven non-linear editing and the use of the AVID editing system
Tucker Wiard on the differences between editing film and video tape on Murphy Brown
Tucker Wiard on why the visual quality of The Carol Burnett Show has held up over the years
Ben Wolf on the emergence of video tape and the transition to color
Ben Wolf on the kinescope
Ben Wolf on then-recent technological developments for cameras and then-current cinematography
Ben Wolf on how cinematography has changed
