Technological Innovation

Edie Adams on The Ernie Kovacs Show being filmed in lenticular color

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 precision molded plastics 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 

Howard Anderson Jr. on the advent of color

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

Thomas Azzari on technological developments in television since he started his career

Buddy Baker on the opening of The Wonderful World of Color

Bob Banner on directing The Dinah Shore Chevy Show, the first regular color broadcast

Paris Barclay on how technology affects his directing process

Richard L. Bare on directing Petticoat Junction a nd shooting episodes in color

Erik Barnouw on attending an early television demonstration at by Bell Telephone Laboratory in 1927

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

Milton Berle on the technological innovations that occurred during the early years of Texaco Star Theater

Rick Berman on the visual effects of Star Trek: The Next Generation

Sharon Bialy on how emerging technology has impacted casting over the years

Wade Bingham on shooting the Edward R. Murrow series Small World, one of the first intercontinental broadcasts

Frank Biondo on the types of cameras he worked with in TV production in the 1960s

Frank Biondo on working on NBC's early color television work

Frank Biondo on differences between a Chapman crane and a jib

Frank Biondo on meeting the man who invented the jib

Linda Bell Blue on technological advances in the production of Entertainment Tonight

George Bodenheimer on launching ESPN-HD

George Bodenheimer on announcing ESPN-3D and a conversation with Disney's Bob Iger

Paul Bogart on how videotape changed directing

Paul Bogart on the effect of color TV on his work

Haskell Boggs on his impressions of early television and the advent of color television, pioneered by David and Tom Sarnoff

Mili Lerner Bonsignori on how video tape impacted documentary editing, and on her Emmy nominations

Mili Lerner Bonsignori on how video tape impacted TV programs

Tom Bosley on technological innovation in his early television years

Ed Bradley on why 60 Minutes continued to shoot with film long after the advent of videotape

Carl Brainard on the technology of early television cameras and television sets and on various inventions of his

Carl Brainard on developing RADAR at MIT and on forming his own company

Carl Brainard on a photo of him with an industrial television camera

Carl Brainard on a photo of a directional microphone he invented

Carl Brainard on a photo of a large television screen he invented

Alton Brown on the philosophy of and developing the visual style of Good Eats

Garrett Brown on inventing the Steadicam and the Arm

Garrett Brown on inventing the Skycam

Garrett Brown on the final form of the Steadicam, and on how the Steadicam works

Kirk Browning on doing the first color and videotaped shows for NBC Opera Theatre

Kirk Browning on the then-future of technology on television

Frances Buss Buch on early CBS TV technology and directing color tests and demonstrations

Ken Burns on the use of technology in his work

Performer Sid Caesar on the first sketch he did that used split screen on Your Show of Shows

Sid Caesar on the end of "live TV" with the introduction of videotape in the mid-to-late 1950s

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 the new technology (multiple moviola) developed for editing 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

Jim Cantore on early hurricane warnings and storm surge warnings

Jim Cantore on how the technology of weather forecasting has changed

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

Steve Carlin on being involved in an early attempt at interactive television

Glenn Gordon Caron on the 3D episode of Medium (which was also the first HD broadcast)

Gilbert Cates on how technology has affected the Academy Awards

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

Julia Child on The French Chef's switch from black and white to color

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

Alf Clausen on how the advent of digital music affected his work on The Simpsons

John Conte on his early television series John Conte's Little Show, and on the invention of the teleprompter

John Conte on cable television's impact on his television station KMIR

Bill Conti on the technical processes in place for conducting the orchestra at the Academy Awards

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

Bob Costello on being a unit manager at NBC when the network was experimenting with color tV

Walter Cronkite on seeing a television for the first time at the 1933 World's Fair

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

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

Greg Daniels on how the technology of television has changed since he started

William Daniels on appearing on an experimental television broadcast in 1943

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

Thomas Del Ruth on acting as director of photography for the pilot of ER  and the use of the steadicam

Sam Denoff on first seeing television at the 1939 World's Fair

Joe DeTullio on the use of duratrans on Saturday Night Live

Joe DeTullio on not using technology when designing, and drafting by hand

Danny DeVito on the value of television and its future on the internet

George Spiro Dibie on how new technology is always a work in progress

Robert Dickinson on new lighting technology used for the Atlanta Olympics

Robert Dickinson on the next big thing in lighting and how television lighting has changed

Roy E. Disney on seeing television in 1939 and his uncle Walt Disney's embracing of the new technology

Roy Disney on becoming the head of Walt Disney Animation and some of the projects and technologies produced during his tenure

Ramin Djawadi on the technology used for film and TV scores in the early 2000s

Ramin Djawadi on his thoughts on the use of artificial intelligence in music composition

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

Elinor Donahue on family friend Dick Lane's friendship with Klaus Landsberg and her start in experimental television

Phil Donahue on his recollections of Ampex video 

Phil Donahue on not believing in censorship

Richard Donner on technology's affect on film and television

Louis Dorfsman on seeing television at the 1939 World's Fair and the development of color television

David Dortort on pitching Bonanza to NBC and Tom Sarnoff helping to get it on the air and shot in color

David Dortort on the popularity of Bonanza, on the effect of the show being in color, and on the sponsorship of the show by General Motors

Hugh Downs on differences between live and taped television programs and how they impact moral obligations

Hugh Downs on how Today evolved during his tenure on the program

Hugh Downs on how color television affected Today (and how his colorblindness affects his job)

Betty Cole Dukert on the first color broadcast of Meet the Press

Betty Cole Dukert on utilizing early satellite link-ups for Meet the Press

Garvin Eddy on the most important developments in the technology or technique of production design

Garvin Eddy on the importance of a production designer understanding what the camera sees, and on the challenge HDTV presented

Dick Enberg on how technology has changed sports broadcasting since he started

Nanette Fabray on the first time she saw television, and on being NBC's "color girl" for General David Sarnoff

Elma Farnsworth on Philo's idea for electronic television

Elma Farnsworth on moving to Los Angeles with Philo T. Farnsworth to set up a laboratory

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 how certain fabrics transmitted on experimental television and problems with lighting

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

Norman Felton on Studio One going from live to video tape and live television falling out of favor

Mike Fenton on now new technologies have impacted casting

Bob Finkel on his experience with color television

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 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

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 how much he was aware of the work of Philo T. Farnsworth, and differences between Farnsworth's system and RCA's

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 a 1956 photo of a backpack television transmitter (made for the 1956 political conventions)

Les Flory on a photo of image orthicon tubes

Ray Forrest on how hot early TV cameras were -- and how they were made cooler by painting them aluminum instead of black

Ray Forrest on the purpose of early TV test patterns

Ray Forrest on using a television camera in a plane, pre-World War II, and expanding the range of the broadcast signal

Ray Forrest on how TV camera technology changed quickly and on using the image orthicon cameras

Ray Forrest on introducing the experimental color shows out of Princeton, New Jersey

Sonny Fox on the primitive technology on Candid Microphone

Sonny Fox on the beginning of television

Richard Frank on seeing the future of new media and vertical integration 

Richard Frank on the effect of the internet on programming now and in the future

John Frankenheimer on the challenges of color television

John Frankenheimer on every 3rd episode of Climax! being in color

John Frankenheimer on videotape

Stanley Frazen on the mutli-head movieloa innovation, which he used while editing early television shows

Tom Freston on digital channels and branding

Gerald Fried on using videotapes to help compose

Gerald Fried on the business side of television music and how the Internet has affected it

Harry Friedman on how emerging technologies have affected Wheel of Fortune

Harry Friedman on Wheel of Fortune  and Jeopardy!  switching to high definition 

Murray Fromson on the technology they used to report on the 1960 presidential convention for NBC News, and a problem he had with film when reporting for CBS News

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

Larry Gelbart on his fight to keep a laugh track off of M*A*S*H

Lesli Linka Glatter on how technology has changed directing

Thomas T. Goldsmith, Jr. on some of the early names involved with the technological aspects of radio and his very early interest and awareness of television, including his experimenting with the cathode ray tube and microwaves

Thomas T. Goldsmith, Jr. on seeing television at the 1933 Chicago World's Fair

Thomas T. Goldsmith, Jr. on his work on hearing aid devices, and on meeting Allen B. DuMont

Thomas T. Goldsmith, Jr. on Allen B. DuMont founding the DuMont Laboratories Inc.

Thomas T. Goldsmith, Jr. on what he and Allen B. DuMont were working on when he first started at DuMont Laboratories 

Thomas T. Goldsmith, Jr. on the working conditions at Allen B. DuMont's DuMont Laboratories when he was hired in 1936

Thomas T. Goldsmith, Jr. on Allen B. DuMont getting funding for his DuMont Laboratories, and on the competing British experiments with television

Thomas T. Goldsmith, Jr. on Allen B. DuMont's vision for bigger tubes for early television, and on British "Cossor tubes"

Thomas T. Goldsmith, Jr. on developing an in-house broadcast system at DuMont Laboratories, and on early test patterns

Thomas T. Goldsmith, Jr. on working with inventor Lee De Forest at DuMont Laboratories 

Thomas T. Goldsmith, Jr. on the television sets that Allen B. DuMont's DuMont Laboratories manufactured before World War II

Thomas T. Goldsmith, Jr. on DuMont's Model 180, their first television set, and demonstrating it at the 1939 World's Fair

Thomas T. Goldsmith, Jr. on the early development of the kinescope and videotape 

Thomas T. Goldsmith, Jr. on why the NTSC made it so televisions do not have a channel one, and on how the NTSC impacted sets that were already sold

Thomas T. Goldsmith, Jr. on the NTSC authorizing the start of commercial broadcasting in July of 1941 and where the entire industry was at that time

Thomas T. Goldsmith, Jr. on the use of DuMont Laboratories' Electronicam to film The Honeymooners

Thomas T. Goldsmith, Jr. on DuMont's Electronicam and the advent of Ampex magnetic videotape

Thomas T. Goldsmith, Jr. on setting up an experimental local station (WTTG) in Washington, D.C. right after World War II

Thomas T. Goldsmith, Jr. on DuMont's competition in putting out television receivers and camera equipment just after World War II

Thomas T. Goldsmith, Jr. on DuMont dealing with FCC regulations in the wake of the FCC freeze on the granting of new television licenses in 1948

Thomas T. Goldsmith, Jr. on the creation of ABC due to FCC regulations, and DuMont shedding its broadcasting operations

Thomas T. Goldsmith, Jr. on the advent of color television broadcasting 

Thomas T. Goldsmith, Jr. on the industry push toward color television in the 1950s involving David Sarnoff and Allen B. DuMont, and on the NTSC setting standards for color television

Thomas T. Goldsmith, Jr. on competitors working together to arrive at standards for color television

Thomas T. Goldsmit,h Jr. on Kenneth A. Hoagland developing a computerized system pixels for full color television

Thomas T. Goldsmith, Jr. on the achievements of the DuMont Network, and on dealing with both the technical and the programming side of DuMont

Thomas T. Goldsmith, Jr. on Paramount's detrimental involvement with the DuMont Network, and on the reasons for the end of the DuMont Network

Thomas T. Goldsmith, Jr. on the dissolution of the DuMont Network due in part to lack of channels available from the FCC allocation plan 

Thomas T. Goldsmith, Jr. on the coaxial television cable connecting San Francisco to New York

Thomas T. Goldsmith, Jr. on his own achievements, and the achievements of DuMont Laboratories and of Allen B. DuMont

Thomas T. Goldsmith Jr. on the then-current state of television and the then-future of television from a technological standpoint 

Lewis Gomavitz on working at an experimental television station

Lewis Gomavitz on the kinds of cameras and other equipment used at the experimental television station he worked at

Lewis Gomavitz on Kukla, Fran & Ollie being used for tests of color broadcasts

Julian Gomez on the switch over to digital editing in the 1990s

Julian Goodman on NBC being the first network to broadcast in color

Curt Gowdy on the 1964 and 1968 Olympic games and the importance of satellite feeds

Herb Granath on hiring Jack Healy to help run ABC's new cable TV programming

Herb Granath on ABC's entrance into the cable TV business

Earle Hagen on technological advancements in music in television since he started his career

Paul Henning on appearing on experimental television in 1929

Paul Henning on shifting from black and white to color on The Beverly Hillbillie s

Albert Heschong on art directors making the transition from black and white to color

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

Leslie Hoffman on technical advances in digital effects since she started as a stunt person

Lee Holdridge on how evolving technology has affected composing

Lee Holdridge on how technology has impacted his own music writing

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 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

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

Gwen Ifill on PBS NewsHour's online presence

Lucy Jarvis on her crew for The Kremlin  and it being NBC first major color broadcast

Lucy Jarvis on her NBC News documentary Museum Without Walls  utilizing the Telstar satellite for the broadcast

Al Jean on how technology has changed the animation process of The Simpsons

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

Charles Floyd Johnson on how computers and fax machines impacted TV production

Charles Floyd Johnson on how evolving technology has impacted television production

Julie Ann Johnson on how changes in technology have impacted the stunt industry

Lamont Johnson on the process and limitations of the kinescope

Lamont Johnson on the curtain calls and end credits of NBC Matinee Theater, and on the show being in color

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

Bob Keeshan on Captain Kangaroo's switch from black and white to color

H. Wesley Kenney on the cameras used at DuMont and other technical aspects

Larry King on the future of the television medium

Jeff Kisseloff on his family being the first ones on the block to have color television, and on being an early cable television adopter

Jeff Kisseloff on the challenge of maintaining historical video, audio, and documents in the digital age

William Klages on early color TV

William Klages on lighting equipment and technology; on video vs. film

William Klages on how color TV changed lighting

Jack Klugman on how tape affected live television

Jack Klugman on The Odd Couple going from single to multicamera and getting a live audience

Don Knotts on the eventual overtaking of TV over radio as the dominant medium for entertainment

Buz Kohan on how evolving technology impacted his writing process

Kay Koplovitz on discovering the potential of satellite technology after hearing a lecture by Arthur C. Clarke

Ted Koppel on the technology setup to report from Vietnam

Ted Koppel on technological innovations used on ABC News Nightline

Mario Kreutzberger on embracing social media in his programs

Steve Kroft on how technology has changed reporting on 60 Minutes

Susan Lacy on the improvements in technology for filming documentaries (cameras and AVIDs) since American Masters premiered

Paul LaMastra on how the technology and approach to editing has changed since he started

Angela Lansbury on the odd makeup one had to wear in early television (because of the lights and camera quality)

Gene LeBell on how blue and green screens have changed the stunt profession

Stan Lee on how technology has affected animation

Jerry Lewis on appearing on color TV tests in 1942 and meeting Albert Einstein in the process

Jerry Lewis on the creation of the video assist

Richard Lewis on the advent of color television and producing feature films

Charles Lisanby on designing color tests for CBS

Art Director Charles Lisanby on CBS' early experimentation with color

Christopher Lloyd on the effect of the internet on his career as a content creator

John J. Lloyd on how color television affected art direction 

John J. Lloyd on changes in technology that affected the materials he used

James L. Loper on how KCET received its early programming and equipment

James L. Loper on satellite distribution of PBS programming

Sam Lovullo on how the invention of video tape changed the industry, and on transitioning into business affairs

Susan Lucci on how the television industry and technology have changed since she started her career

Sidney Lumet on the advent of video tape

Stewart MacGregory on how the advent of color affected his job as stage coordinator 

Delbert Mann on Fred Coe demonstrating NBC's color system

Delbert Mann on how videotape changed television and directing "The Red Mill" for CBS

Bob Markell on working with color on television

Bob Markell on the transition from "live" TV to the use of recorded tape

John Martinelli on technical advancements in editing

John Martinelli on how digital technology has changed editing

Leslie H. Martinson on the advent of color television 

David McCallum on the innovative camera work by Til Gabbani and Fred Koenekamp on The Man From U.N.C.L.E.

Chuck McCann on how the advent of video tape impacted television, and on editing with video tape

Jim McKay on hosting The Verdict is Yours which benefited from the advent of videotape

Jim McKay on how technology changed things for sports television: tape versus live TV in auto-racing

Emily Meisler on being a color girl for The Ed Sullivan Show and on the show transitioning from black and white to color

Eryn Krueger Mekash on making blood for Nip/Tuck and how changes in camera technology impacted her choices

Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together on the show

Eryn Krueger Mekash on how makeup for television has changed since she first started in the industry -- technological innovations

Al Michaels on how advancements in technology have impacted the Monday Night Football broadcasts

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

JP Miller on film's impact on expanding the scope and action of television

Mitch Miller on the changing technology of recording music in the 1950s

Walter C. Miller on his time as an engineer in the early years of NBC television, and on how that background helped him as a director

Former FCC Chairman Newton Minow on John F. Kennedy's vision for satellite communications

Don Mischer on how the emergence of cable in the 1980s affected the industry

Don Mischer on the technological advances that enhance production

John Moffitt on The Ed Sullivan Show going to color in 1965

Millie Moore on working with Avid

Thomas W. Moore on programming and developing Peyton Place, and on ABC dealing with the advent of color

Thomas W. Moore on the various ways the industry changed during his stint at ABC due to cable, and on how audiences tastes have changed

Donald A. Morgan on how he came to work on Home Improvement and on the challenges of lighting and shooting "Wilson"

Donald A. Morgan on how much technology for cameras and lighting had changed from the 1970s to the 2000s

Donald A. Morgan on his innovations in lighting for the Netflix show The Ranch

Tad Mosel on how the technological advances in camera work affected writing for television and on the challenges of writing to accommodate costume changes

Tad Mosel on the advent of video tape and its impact on television

Hal Needham on his invention the "Shotmaker" and other innovations

Anne Nelson on how the advent of videotape changed the business

Alan Neuman on technological advances during his directing career, and on wanting to keep on working

Lori Openden on the technological innovations over the years that now allow her to approve all guest stars on CW shows

Lori Openden on how the abundance of digital platforms has impacted casting

Lyn Paolo on the commercialization of the industry, and on the questions and uncertainty involving intellectual property and ownership over the costume designs involving AI

Don Pardo on how microphones have changed over the years

Marty Pasetta on how television has changed due to technology and business

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 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

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

Carroll Pratt on dealing with the limitations of early television set speakers, and on modifying equipment once the technology improved

David Pressman on his first television job (and his first use of videotape) after being blacklisted: directing Esso Repertory Theatre for David Susskind

David Pressman on the writing on One Life to Live  and how technology has changed the production process

Ward Quaal on working on the initial advisory panel on HDTV in 1987, and on the deadline for analog to digital conversion

Hector Ramirez on technological developments in the 1970s and how they changed shooting

Hector Ramirez on working in HD

Hector Ramirez on the most significant advancement to his field - the mini-cam

Joyce Randolph on doing experimental television for GE in Schenectady, NY

Dan Rather on how news television was transmitted in the early 1960s via telephone lines and microwaves

Dan Rather on the changing media landscape in the early 1980s

Dan Rather on the future of television news

Sumner Redstone on digital television and challenging cable, and on HDTV and fragmentation

Sumner Redstone on media consolidation

Carl Reiner on how his decision to rerun episodes of The Dick Van Dyke Show led to the show's rise in popularity

Carl Reiner on Desi Arnaz's revolutionary 3 camera system used on The Dick Van Dyke Show

Carl Reiner on keeping The Dick Van Dyke Show in black and white

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

Lee Rich on the 3-camera system used at Desilu studios

Lee Rich on the advantages and disadvantages of cable 

Ted Rich on shooting a show with a studio audience and the invention of the laugh track

Hank Rieger on publicity for NBC's first primetime color show, Bonanza

Hank Rieger on promoting color television at NBC

Heino Ripp on the reliability of the equipment at NBC when he started

Cokie Roberts on how technological advances have changed the television news industry, and on challenges it presents

Pat Robertson on eventually using satellite technology for CBN and The 700 Club

Pat Robertson on bringing CBN to cable

Al Roker on working with different kinds of weather maps over the years

Phil Roman on how the animation business has changed since he started, and on the impact of new technologies on animation

Andy Rooney on writing for Arthur Godfrey's Talent Scouts, and on CBS' entry into television, and attempts at color television

Howard Rosenberg on television technology

Glenda Rovello on how the tools of production design have changed over the years

Glenda Rovello on how evolving camera technology impacts her work

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

Haim Saban on his thoughts on AI and how it will continue to impact the television industry

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

Ted Sarandos on witnessing the move from VHS to DVD when he was working for the video store Video City

Ted Sarandos on the development of Netflix's algorithm

Ted Sarandos on Netflix launching its streaming service in 2007 and the biggest challenges of providing this service

Joseph Sargent on technical innovation during his directing career

Thomas W. Sarnoff on being "the first live star" on NBC television during a signal test

Thomas W. Sarnoff on NBC's transition to color television and the production of color show Matinee Theater

Thomas W. Sarnoff on Matinee Theater getting people to talk about color television

William Schallert on how scenes with the identical cousins were shot in The Patty Duke Show

Edgar Scherick on why ABC's Wide World of Sports was groundbreaking and on some of the technology that helped make the show possible

Edgar Scherick on the impact of cable on television

Lalo Schifrin on how technology has impacted his work

Max Schindler on how technology has changed the news business since he began his career

Thomas Schlamme on then-new delivery methods for television

Herbert S. Schlosser on how the advent of color impacted NBC's business dealings in the early '60s

Herbert S. Schlosser on the RCA technology that was utilized when he started at NBC, and how it developed over time

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

Reese Schonfeld on CNN being completely computerized when it went on the air

Reese Schonfeld on the early technology used by CNN, some of which gave it a leg up on network news

Reese Schonfeld on dealing with the FCC on satellite delivery of television

Ralph Senensky on shooting in color on The Wild, Wild West

Ralph Senensky on how technology has influenced his directing

John Shaffner on the first time he saw color television

John Shaffner on set design for standard definition vs. high definition 

Mel Shavelson on the early development of television, and of color television, and on writing an early experimental broadcast with Bob Hope

Jack Shea on early television equipment

Jack Shea on how early TV programs were transmitted from California to New York

Jack Shea on how color TV changed his work

Sid Sheinberg on MCA taking on Betamax and advocating other home video technology

Sid Sheinberg on the emergence of cable and satellite television 

James Sheldon on the television exhibit he would show to visitors as an NBC Page in the early 1940s

Sidney Sheldon on working with Screen Gems and trying to get I Dream of Jeannie shot in color

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

Chet Simmons on ESPN's early offices, equipment, technology, and location

Garry Simpson on the evolving technology for early experimental television

Garry Simpson on working in videotape and how color affected television production

Doris Singleton on the differences between working in radio and television

Doris Singleton on the invention of the three camera technique on I Love Lucy

Ira Skutch on the technical challenges of the earliest television cameras circa 1946

Ira Skutch on the lighting in the early days of television

"Buffalo" Bob Smith on his 1954 heart attack, during his tenure as host of Howdy Doody, and on the show being in color starting in 1955

Dick Smith on the coming of color television and renegotiating his salary

Dick Smith on creating makeup and appliances 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

Sanford Socolow on technological changes that had occurred during his absence from CBS Evening News with Walter Cronkite and that aided CBS coverage of the Munich Olympics in 1972

Sanford Socolow on the use of graphics and videotape on Douglas Edwards' news broadcasts 

Frank Stanton on the FCC issuing the original licenses to television stations around the country, and CBS' failed color system

Frank Stanton on CBS' involvement with the home video recorder, and with inventor Peter Goldmark

Jerry Stiller on first seeing TV at the World's Fair in 1939

Howard Storm on the difference between shooting on film or tape

George Sunga on acting as Production Manager for Ed Sullivan's various trips to Los Angeles to do The Ed Sullivan Show  and the transition to color

George Sunga on the guest stars on The Smothers Brothers Comedy Hour  and the innovative technical aspects of the show

Grant Tinker on NBC moving to color television

Ret Turner on advances in camera and lighting technology in regards to wardrobe for television

Ted Turner on TBS going to color

Dick Van Patten on seeing a prototype of TV at the World's Fair for the first time

Timothy Van Patten on how technology has influenced directing

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"

Bob Vila on bobvila.com and his internet presence

Helen Wagner on the first time she appeared on television: a 1946 experiment to test what colors worked for black and white

Ruth Warrick on participating in an early experimental television test

Ruth Warrick on starring in an episode of Robert Montgomery Presents  and her thoughts on the advent of videotape

Keenen Ivory Wayans on digital technology and the internet

Matthew Weiner on switching from film to video starting with the fifth season of Mad Men

Av Westin on the technological innovations and the impact of satellites during his tenure at ABC News

Av Westin on the impact of the internet on television news

Av Westin on Executive Producing the A&E documentary The Eagle and the Bear and the impact of cable television

Michael Westmore on how prosthetics have changed over the years

Michael Westmore on CGI's impact on the makeup industry

Ellen Wheeler on how emerging technology changed the way Guiding Light  is produced 

Betty White on the Betty White Show experimenting with color in 1954, and on the show going off the air

Susan Whiting on Nielsen measuring media saturation and multiplexing on various platforms

Susan Whiting on data collection over the years

Susan Whiting on a tour of Nielsen meters through the years

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

Joseph M. Wilcots on technological innovations during his career, and on working with a crew

Max Wilk on the end of the era of live television, and on how technological innovation like videotape helped bring it about

Ethel Winant on casting for Playhouse 90's production of "The Old Man" -- the first production on television to utilize edited video tape

Terence Winter on how digital technology has affected his work

Jonathan Winters on doing the first color TV show in the U.S.

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

Dick Wolf on Feds, which was the first series filmed in letterbox

David L. Wolper on making the switch to color for his documentaries

Frederic Ziv on filming shows in color