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
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
Charles Cappleman on the technology at the dawn of television
05:22
Charles Cappleman on the technological innovation he oversaw at CBS as manager of the production electronics department
01:50
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
06:42
Charles Cappleman on how new technology impacted the CBS coverage of political conventions
05:07
Charles Cappleman on the technological innovations that emanated from CBS Television City
02:30
Charles Cappleman on the advent of video tape, and the impact it had on production
02:40
Charles Cappleman on the advent and development of video tape, and how it impacted production
04:33
Charles Cappleman on CBS Television City converting to color broadcasting
01:25
Charles Cappleman on how the distribution of shows to the CBS affiliates changed over time
03:31
Charles Cappleman on implementing HDTV at CBS
03:20
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
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
Elma Farnsworth on moving to Los Angeles with Philo T. Farnsworth to set up a laboratory
02:58
Elma Farnsworth on how certain fabrics transmitted on experimental television and problems with lighting
02:08
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
04:02
Thomas T. Goldsmith, Jr. on seeing television at the 1933 Chicago World's Fair
02:13
Thomas T. Goldsmith, Jr. on his work on hearing aid devices, and on meeting Allen B. DuMont
06:10
Thomas T. Goldsmith, Jr. on Allen B. DuMont founding the DuMont Laboratories Inc.
03:55
Thomas T. Goldsmith, Jr. on what he and Allen B. DuMont were working on when he first started at DuMont Laboratories
03:14
Thomas T. Goldsmith, Jr. on the working conditions at Allen B. DuMont's DuMont Laboratories when he was hired in 1936
04:58
Thomas T. Goldsmith, Jr. on Allen B. DuMont getting funding for his DuMont Laboratories, and on the competing British experiments with television
02:31
Thomas T. Goldsmith, Jr. on Allen B. DuMont's vision for bigger tubes for early television, and on British "Cossor tubes"
01:34
Thomas T. Goldsmith, Jr. on developing an in-house broadcast system at DuMont Laboratories, and on early test patterns
04:19
Thomas T. Goldsmith, Jr. on working with inventor Lee De Forest at DuMont Laboratories
02:24
Thomas T. Goldsmith, Jr. on the television sets that Allen B. DuMont's DuMont Laboratories manufactured before World War II
01:01
Thomas T. Goldsmith, Jr. on DuMont's Model 180, their first television set, and demonstrating it at the 1939 World's Fair
01:43
Thomas T. Goldsmith, Jr. on the early development of the kinescope and videotape
04:36
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
04:44
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
05:29
Thomas T. Goldsmith, Jr. on the use of DuMont Laboratories' Electronicam to film The Honeymooners
03:48
Thomas T. Goldsmith, Jr. on DuMont's Electronicam and the advent of Ampex magnetic videotape
02:40
Thomas T. Goldsmith, Jr. on setting up an experimental local station (WTTG) in Washington, D.C. right after World War II
07:52
Thomas T. Goldsmith, Jr. on DuMont's competition in putting out television receivers and camera equipment just after World War II
03:45
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
04:50
Thomas T. Goldsmith, Jr. on the creation of ABC due to FCC regulations, and DuMont shedding its broadcasting operations
03:56
Thomas T. Goldsmith, Jr. on the advent of color television broadcasting
07:21
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
09:03
Thomas T. Goldsmith, Jr. on competitors working together to arrive at standards for color television
01:31
Thomas T. Goldsmit,h Jr. on Kenneth A. Hoagland developing a computerized system pixels for full color television
04:12
Thomas T. Goldsmith, Jr. on the achievements of the DuMont Network, and on dealing with both the technical and the programming side of DuMont
08:21
Thomas T. Goldsmith, Jr. on Paramount's detrimental involvement with the DuMont Network, and on the reasons for the end of the DuMont Network
07:15
Thomas T. Goldsmith, Jr. on the dissolution of the DuMont Network due in part to lack of channels available from the FCC allocation plan
04:09
Thomas T. Goldsmith, Jr. on the coaxial television cable connecting San Francisco to New York
02:22
Thomas T. Goldsmith, Jr. on his own achievements, and the achievements of DuMont Laboratories and of Allen B. DuMont
07:39
Thomas T. Goldsmith Jr. on the then-current state of television and the then-future of television from a technological standpoint
09:26
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
Loren Jones on the early mechanical television system
04:07
Loren Jones on the early television development team at RCA, headed by David Sarnoff and including Vladimir Zworykin
09:53
Loren Jones on working on the development of television transmitters, and on installing equipment on top of the Empire State Building
04:20
Loren Jones on early experimental television broadcasts in the 1930, who could see them, and the programming
04:05
Loren Jones on scientist Edward Armstrong's role in the development of television, and his patent feud with David Sarnoff
05:40
Loren Jones on the feeling about the future of television in the RCA Lab in the 1930s
01:41
Loren Jones on using balloons to test television transmission signals
01:44
Loren Jones on going to the Soviet Union the help develop their television system
03:58
Loren Jones on being sent to the Soviet Union to help with their development of television, and being followed by the KGB
04:53
Loren Jones on America's interest in helping the Soviet Union set up its television system
01:37
Loren Jones on transmitting RCA's first broadcast service W2XBS
02:32
Loren Jones on the first television set he owned and on the early development of color television
03:02
Loren Jones on developing the "television bomb"
04:19
Loren Jones on the development of color television and the battle over it
01:56
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"
02:46
Loren Jones on being in charge of the new products division of RCA after World War II
02:12
Loren Jones on various scientists involved with the development of television
11:37
Loren Jones on various scientists involved with the development of television
00:44
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
Arthur Schneider on the kinescope, and how it was used for television, and his other responsibilities at NBC
06:22
Arthur Schneider on NBC's early television facilities at Sunset and Vine, and the editing equipment he used there
03:49
Arthur Schneider on how the transcontinental cable impacted television broadcasting in the United States, and on NBC moving to Burbank in 1954
03:39
Arthur Schneider on the advent of video tape and its impact on television
02:40
Arthur Schneider on editing on video tape
07:39
Arthur Schneider on editing color videotape
04:07
Arthur Schneider on his role in creating the instant replay
04:18
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
