Television Series By Fremantle (company)

Television, sometimes shortened to TV, is a telecommunication medium for transmitting moving images and sound. The term can refer to a television set, or the medium of television transmission. Television is a mass medium for advertising, entertainment, news, and sports.

Television became available in crude experimental forms in the late 1920s, but only after several years of further development was the new technology marketed to consumers. After World War II, an improved form of black-and-white television broadcasting became popular in the United Kingdom and the United States, and television sets became commonplace in homes, businesses, and institutions. During the 1950s, television was the primary medium for influencing public opinion.Diggs-Brown, Barbara (2011
''Strategic Public Relations: Audience Focused Practice''
p. 48 In the mid-1960s, color broadcasting was introduced in the U.S. and most other developed countries.

The availability of various types of archival storage media such as Betamax and VHS tapes, LaserDiscs, high-capacity hard disk drives, CDs, DVDs, flash drives, high-definition HD DVDs and Blu-ray Discs, and cloud digital video recorders has enabled viewers to watch pre-recorded material—such as movies—at home on their own time schedule. For many reasons, especially the convenience of remote retrieval, the storage of television and video programming now also occurs on the cloud (such as the video-on-demand service by Netflix). At the end of the first decade of the 2000s, digital television transmissions greatly increased in popularity. Another development was the move from standard-definition television (SDTV) (576i, with 576 interlaced lines of resolution and 480i) to high-definition television (HDTV), which provides a resolution that is substantially higher. HDTV may be transmitted in different formats: 1080p, 1080i and 720p. Since 2010, with the invention of smart television, Internet television has increased the availability of television programs and movies via the Internet through streaming video services such as Netflix, Amazon Prime Video, iPlayer and Hulu.

In 2013, 79% of the world's households owned a television set. The replacement of earlier cathode-ray tube (CRT) screen displays with compact, energy-efficient, flat-panel alternative technologies such as LCDs (both fluorescent-backlit and LED), OLED displays, and plasma displays was a hardware revolution that began with computer monitors in the late 1990s. Most television sets sold in the 2000s were flat-panel, mainly LEDs. Major manufacturers announced the discontinuation of CRT, Digital Light Processing (DLP), plasma, and even fluorescent-backlit LCDs by the mid-2010s. In the near future, LEDs are expected to be gradually replaced by OLEDs. Also, major manufacturers have announced that they will increasingly produce smart TVs in the mid-2010s. Smart TVs with integrated Internet and Web 2.0 functions became the dominant form of television by the late 2010s.

Television signals were initially distributed only as terrestrial television using high-powered radio-frequency television transmitters to broadcast the signal to individual television receivers. Alternatively television signals are distributed by coaxial cable or optical fiber, satellite systems and, since the 2000s via the Internet. Until the early 2000s, these were transmitted as analog signals, but a transition to digital television was expected to be completed worldwide by the late 2010s. A standard television set consists of multiple internal electronic circuits, including a tuner for receiving and decoding broadcast signals. A visual display device which lacks a tuner is correctly called a video monitor rather than a television.

Etymology

The word ''television'' comes . The first documented usage of the term dates back to 1900, when the Russian scientist Constantin Perskyi used it in a paper that he presented in French at the first International Congress of Electricity, which ran from 18 to 25 August 1900 during the International World Fair in Paris.

The anglicised version of the term is first attested in 1907, when it was still "...a theoretical system to transmit moving images over telegraph or telephone wires". It was "...formed in English or borrowed from French ." In the 19th century and early 20th century, other "...proposals for the name of a then-hypothetical technology for sending pictures over distance were telephote (1880) and televista (1904)."

The abbreviation ''TV'' is from 1948. The use of the term to mean "a television set" dates from 1941. The use of the term to mean "television as a medium" dates from 1927.

The slang term ''telly'' is more common in the UK. The slang term "the tube" or the "boob tube" derives from the bulky cathode-ray tube used on most TVs until the advent of flat-screen TVs. Another slang term for the TV is "idiot box".

Also, in the 1940s and throughout the 1950s, during the early rapid growth of television programming and television set ownership in the United States, another slang term became widely used in that period and continues to be used today to distinguish productions originally created for broadcast on television from films developed for presentation in movie theaters.Johnson, Richard (2018)
“Big movie stars are not making the cut on the small screen”
p. 6, '' The New York Post'', 11 October 2018. Retrieved 24 November 2018. The "small screen", as both a compound adjective and noun, became specific references to television, while the "big screen" was used to identify productions made for theatrical release.

History

Mechanical

Facsimile transmission systems for still photographs pioneered methods of mechanical scanning of images in the early 19th century. Alexander Bain introduced the facsimile machine between 1843 and 1846. Frederick Bakewell demonstrated a working laboratory version in 1851. Willoughby Smith discovered the photoconductivity of the element selenium in 1873. As a 23-year-old German university student, Paul Julius Gottlieb Nipkow proposed and patented the Nipkow disk in 1884. This was a spinning disk with a spiral pattern of holes in it, so each hole scanned a line of the image. Although he never built a working model of the system, variations of Nipkow's spinning-disk " image rasterizer" became exceedingly common. Constantin Perskyi had coined the word ''television'' in a paper read to the International Electricity Congress at the International World Fair in Paris on 24 August 1900. Perskyi's paper reviewed the existing electromechanical technologies, mentioning the work of Nipkow and others. However, it was not until 1907 that developments in amplification tube technology by Lee de Forest and Arthur Korn, among others, made the design practical."Sending Photographs by Telegraph"
''The New York Times'', Sunday Magazine, 20 September 1907, p. 7.

The first demonstration of the live transmission of images was by Georges Rignoux and A. Fournier in Paris in 1909. A matrix of 64 selenium cells, individually wired to a mechanical commutator, served as an electronic retina. In the receiver, a type of Kerr cell modulated the light and a series of differently angled mirrors attached to the edge of a rotating disc scanned the modulated beam onto the display screen. A separate circuit regulated synchronization. The 8x8 pixel resolution in this proof-of-concept demonstration was just sufficient to clearly transmit individual letters of the alphabet. An updated image was transmitted "several times" each second.

In 1911, Boris Rosing and his student Vladimir Zworykin created a system that used a mechanical mirror-drum scanner to transmit, in Zworykin's words, "very crude images" over wires to the "Braun tube" (cathode-ray tube or "CRT") in the receiver. Moving images were not possible because, in the scanner: "the sensitivity was not enough and the selenium cell was very laggy".

In 1921, Edouard Belin sent the first image via radio waves with his belinograph.

By the 1920s, when amplification made television practical, Scottish inventor John Logie Baird employed the Nipkow disk in his prototype video systems. On 25 March 1925, Baird gave the first public demonstration of televised silhouette images in motion, at Selfridges's department store in London. Since human faces had inadequate contrast to show up on his primitive system, he televised a ventriloquist's dummy named "Stooky Bill", whose painted face had higher contrast, talking and moving. By 26 January 1926, he had demonstrated the transmission of an image of a face in motion by radio. This is widely regarded as the world's first public television demonstration. Baird's system used the Nipkow disk for both scanning the image and displaying it. A brightly illuminated subject was placed in front of a spinning Nipkow disk set with lenses which swept images across a static photocell. The thallium sulphide (Thalofide) cell, developed by Theodore Case in the U.S., detected the light reflected from the subject and converted it into a proportional electrical signal. This was transmitted by AM radio waves to a receiver unit, where the video signal was applied to a neon light behind a second Nipkow disk rotating synchronized with the first. The brightness of the neon lamp was varied in proportion to the brightness of each spot on the image. As each hole in the disk passed by, one scan line of the image was reproduced. Baird's disk had 30 holes, producing an image with only 30 scan lines, just enough to recognize a human face. In 1927, Baird transmitted a signal over of telephone line between London and Glasgow.

In 1928, Baird's company (Baird Television Development Company/Cinema Television) broadcast the first transatlantic television signal, between London and New York, and the first shore-to-ship transmission. In 1929, he became involved in the first experimental mechanical television service in Germany. In November of the same year, Baird and Bernard Natan of Pathé established France's first television company, Télévision-Baird-Natan. In 1931, he made the first outdoor remote broadcast, of The Derby. In 1932, he demonstrated ultra-short wave television. Baird's mechanical system reached a peak of 240-lines of resolution on BBC telecasts in 1936, though the mechanical system did not scan the televised scene directly. Instead a 17.5 mm film was shot, rapidly developed and then scanned while the film was still wet.

A U.S. inventor, Charles Francis Jenkins, also pioneered the television. He published an article on "Motion Pictures by Wireless" in 1913; transmitted moving silhouette images for witnesses in December 1923; and on 13 June 1925 publicly demonstrated synchronized transmission of silhouette pictures. In 1925 Jenkins used the Nipkow disk and transmitted the silhouette image of a toy windmill in motion, over a distance of 5 miles (8 km), from a naval radio station in Maryland to his laboratory in Washington, D.C., using a lensed disk scanner with a 48-line resolution. He was granted U.S. Patent No. 1,544,156 (Transmitting Pictures over Wireless) on 30 June 1925 (filed 13 March 1922).

Herbert E. Ives and Frank Gray of Bell Telephone Laboratories gave a dramatic demonstration of mechanical television on 7 April 1927. Their reflected-light television system included both small and large viewing screens. The small receiver had a 2-inch-wide by 2.5-inch-high screen (5 by 6 cm). The large receiver had a screen 24 inches wide by 30 inches high (60 by 75 cm). Both sets could reproduce reasonably accurate, monochromatic, moving images. Along with the pictures, the sets received synchronized sound. The system transmitted images over two paths: first, a copper wire link from Washington to New York City, then a radio link from Whippany, New Jersey. Comparing the two transmission methods, viewers noted no difference in quality. Subjects of the telecast included Secretary of Commerce Herbert Hoover. A flying-spot scanner beam illuminated these subjects. The scanner that produced the beam had a 50-aperture disk. The disc revolved at a rate of 18 frames per second, capturing one frame about every 56 milliseconds. (Today's systems typically transmit 30 or 60 frames per second, or one frame every 33.3 or 16.7 milliseconds respectively.) Television historian Albert Abramson underscored the significance of the Bell Labs demonstration: "It was in fact the best demonstration of a mechanical television system ever made to this time. It would be several years before any other system could even begin to compare with it in picture quality."

In 1928, WRGB, then W2XB, was started as the world's first television station. It broadcast from the General Electric facility in Schenectady, NY. It was popularly known as " WGY Television". Meanwhile, in the Soviet Union, Léon Theremin had been developing a mirror drum-based television, starting with 16 lines resolution in 1925, then 32 lines and eventually 64 using interlacing in 1926. As part of his thesis, on 7 May 1926, he electrically transmitted, and then projected, near-simultaneous moving images on a screen.

By 1927 Theremin had achieved an image of 100 lines, a resolution that was not surpassed until May 1932 by RCA, with 120 lines.

On 25 December 1926 Kenjiro Takayanagi demonstrated a television system with 40-line resolution that employed a Nipkow disk scanner and CRT display at Hamamatsu Industrial High School in Japan. This prototype is still on display at the Takayanagi Memorial Museum in Shizuoka University, Hamamatsu Campus. His research in creating a production model was halted by the SCAP after World War II.''Kenjiro Takayanagi: The Father of Japanese Television''
, NHK (Japan Broadcasting Corporation), 2002. Retrieved 23 May 2009.

Because only a limited number of holes could be made in the disks, and disks beyond a certain diameter became impractical, image resolution on mechanical television broadcasts was relatively low, ranging from about 30 lines up to 120 or so. Nevertheless, the image quality of 30-line transmissions steadily improved with technical advances, and by 1933 the UK broadcasts using the Baird system were remarkably clear. A few systems ranging into the 200-line region also went on the air. Two of these were the 180-line system that Compagnie des Compteurs (CDC) installed in Paris in 1935, and the 180-line system that Peck Television Corp. started in 1935 at station VE9AK in Montreal. The advancement of all-electronic television (including image dissectors and other camera tubes and cathode-ray tubes for the reproducer) marked the start of the end for mechanical systems as the dominant form of television. Mechanical television, despite its inferior image quality and generally smaller picture, would remain the primary television technology until the 1930s. The last mechanical telecasts ended in 1939 at stations run by a lot of public universities in the United States.

Electronic

In 1897, English physicist J. J. Thomson was able, in his three well-known experiments, to deflect cathode rays, a fundamental function of the modern cathode-ray tube (CRT). The earliest version of the CRT was invented by the German physicist Ferdinand Braun in 1897 and is also known as the "Braun" tube. It was a cold-cathode diode, a modification of the Crookes tube, with a phosphor-coated screen. Braun was the first to conceive the use of a CRT as a display device. In 1906 the Germans Max Dieckmann and Gustav Glage produced raster images for the first time in a CRT. In 1907, Russian scientist Boris Rosing used a CRT in the receiving end of an experimental video signal to form a picture. He managed to display simple geometric shapes onto the screen.

In 1908, Alan Archibald Campbell-Swinton, fellow of the Royal Society (UK), published a letter in the scientific journal '' Nature'' in which he described how "distant electric vision" could be achieved by using a cathode-ray tube, or Braun tube, as both a transmitting and receiving device,

He expanded on his vision in a speech given in London in 1911 and reported in '' The Times'' and the Journal of the Röntgen Society.

Shiers, George and May (1997), ''Early television: a bibliographic guide to 1940''
New York: Garland, p. 56. Retrieved 13 June 2010.
In a letter to '' Nature'' published in October 1926, Campbell-Swinton also announced the results of some "not very successful experiments" he had conducted with G. M. Minchin and J. C. M. Stanton. They had attempted to generate an electrical signal by projecting an image onto a selenium-coated metal plate that was simultaneously scanned by a cathode ray beam.

These experiments were conducted before March 1914, when Minchin died,

but they were later repeated by two different teams in 1937, by H. Miller and J. W. Strange from EMI,

and by H. Iams and A. Rose from RCA.

Both teams succeeded in transmitting "very faint" images with the original Campbell-Swinton's selenium-coated plate. Although others had experimented with using a cathode-ray tube as a receiver, the concept of using one as a transmitter was novel. The first cathode-ray tube to use a hot cathode was developed by John B. Johnson (who gave his name to the term Johnson noise) and Harry Weiner Weinhart of Western Electric, and became a commercial product in 1922.

In 1926, Hungarian engineer Kálmán Tihanyi designed a television system using fully electronic scanning and display elements and employing the principle of "charge storage" within the scanning (or "camera") tube.United States Patent Office, Patent No. 2,133,123, 11 October 1938.United States Patent Office, Patent No. 2,158,259, 16 May 1939 The problem of low sensitivity to light resulting in low electrical output from transmitting or "camera" tubes would be solved with the introduction of charge-storage technology by Kálmán Tihanyi beginning in 1924.
"Kálmán Tihanyi (1897–1947)", ''IEC Techline'', International Electrotechnical Commission (IEC), 15 July 2009. His solution was a camera tube that accumulated and stored electrical charges ("photoelectrons") within the tube throughout each scanning cycle. The device was first described in a patent application he filed in Hungary in March 1926 for a television system he called "Radioskop"."Kálmán Tihanyi's 1926 Patent Application 'Radioskop'"
''Memory of the World'', United Nations Educational, Scientific and Cultural Organization ( UNESCO), 2005. Retrieved 29 January 2009. After further refinements included in a 1928 patent application, Tihanyi's patent was declared void in Great Britain in 1930,Tihanyi, Koloman, ''Improvements in television apparatus''
European Patent Office, Patent No. GB313456. Convention date UK application: 1928-06-11, declared void and published: 11 November 1930. Retrieved 25 April 2013. so he applied for patents in the United States. Although his breakthrough would be incorporated into the design of RCA's "iconoscope" in 1931, the U.S. patent for Tihanyi's transmitting tube would not be granted until May 1939. The patent for his receiving tube had been granted the previous October. Both patents had been purchased by RCA prior to their approval. Charge storage remains a basic principle in the design of imaging devices for television to the present day. On 25 December 1926, at Hamamatsu Industrial High School in Japan, Japanese inventor Kenjiro Takayanagi demonstrated a TV system with a 40-line resolution that employed a CRT display. This was the first working example of a fully electronic television receiver. Takayanagi did not apply for a patent.

In the 1930s, Allen B. DuMont made the first CRTs to last 1,000 hours of use, which was one of the factors that led to the widespread adoption of television.

On 7 September 1927, U.S. inventor Philo Farnsworth's image dissector camera tube transmitted its first image, a simple straight line, at his laboratory at 202 Green Street in San Francisco.Postman, Neil, "Philo Farnsworth"
''The TIME 100: Scientists & Thinkers'', ''Time'', 29 March 1999. Retrieved 28 July 2009.
, ''The Virtual Museum of the City of San Francisco''. Retrieved 15 July 2009. By 3 September 1928, Farnsworth had developed the system sufficiently to hold a demonstration for the press. This is widely regarded as the first electronic television demonstration. In 1929, the system was improved further by the elimination of a motor generator, so that his television system now had no mechanical parts. That year, Farnsworth transmitted the first live human images with his system, including a three and a half-inch image of his wife Elma ("Pem") with her eyes closed (possibly due to the bright lighting required).

Meanwhile, Vladimir Zworykin was also experimenting with the cathode-ray tube to create and show images. While working for Westinghouse Electric in 1923, he began to develop an electronic camera tube. But in a 1925 demonstration, the image was dim, had low contrast, and poor definition, and was stationary. Zworykin's imaging tube never got beyond the laboratory stage. But RCA, which acquired the Westinghouse patent, asserted that the patent for Farnsworth's 1927 image dissector was written so broadly that it would exclude any other electronic imaging device. Thus RCA, on the basis of Zworykin's 1923 patent application, filed a patent interference suit against Farnsworth. The U.S. Patent Office examiner disagreed in a 1935 decision, finding priority of invention for Farnsworth against Zworykin. Farnsworth claimed that Zworykin's 1923 system would be unable to produce an electrical image of the type to challenge his patent. Zworykin received a patent in 1928 for a color transmission version of his 1923 patent application;Zworykin, Vladimir K., Television System
. Patent No. 1691324, U.S. Patent Office. Filed 1925-07-13, issued 13 November 1928. Retrieved 28 July 2009 he also divided his original application in 1931.Zworykin, Vladimir K., Television System
. Patent No. 2022450, U.S. Patent Office. Filed 1923-12-29, issued 26 November 1935. Retrieved 10 May 2010. Zworykin was unable or unwilling to introduce evidence of a working model of his tube that was based on his 1923 patent application. In September 1939, after losing an appeal in the courts, and determined to go forward with the commercial manufacturing of television equipment, RCA agreed to pay Farnsworth US$1 million over a ten-year period, in addition to license payments, to use his patents.Everson, George (1949), ''The Story of Television, The Life of Philo T. Farnsworth'' New York: W.W. Norton & Co,. , 266 pp.

In 1933, RCA introduced an improved camera tube that relied on Tihanyi's charge storage principle. Called the "Iconoscope" by Zworykin, the new tube had a light sensitivity of about 75,000 lux, and thus was claimed to be much more sensitive than Farnsworth's image dissector. However, Farnsworth had overcome his power issues with his Image Dissector through the invention of a completely unique "multipactor" device that he began work on in 1930, and demonstrated in 1931.Abramson, Albert (1987), ''The History of Television, 1880 to 1941''. Jefferson, NC: Albert Abramson. p. 148. .Everson, George (1949), ''The Story of Television, The Life of Philo T. Farnsworth'' New York: W.W. Norton & Co,. , pp. 137–141. This small tube could amplify a signal reportedly to the 60th power or betterEverson, George (1949), ''The Story of Television, The Life of Philo T. Farnsworth'' New York: W.W. Norton & Co,. , p. 139. and showed great promise in all fields of electronics. Unfortunately, an issue with the multipactor was that it wore out at an unsatisfactory rate.Everson, George (1949), ''The Story of Television, The Life of Philo T. Farnsworth'' New York: W.W. Norton & Co,. , p. 141.

At the Berlin Radio Show in August 1931, Manfred von Ardenne gave a public demonstration of a television system using a CRT for both transmission and reception. However, Ardenne had not developed a camera tube, using the CRT instead as a flying-spot scanner to scan slides and film. Philo Farnsworth gave the world's first public demonstration of an all-electronic television system, using a live camera, at the Franklin Institute of Philadelphia on 25 August 1934, and for ten days afterwards.Burns, R.W. ''Television: An international history of the formative years''. (1998). IEE History of Technology Series, 22. London: IEE, p. 370. . Mexican inventor Guillermo González Camarena also played an important role in early television. His experiments with television (known as telectroescopía at first) began in 1931 and led to a patent for the "trichromatic field sequential system" color television in 1940. In Britain, the EMI engineering team led by Isaac Shoenberg applied in 1932 for a patent for a new device they called "the Emitron",

which formed the heart of the cameras they designed for the BBC. On 2 November 1936, a 405-line broadcasting service employing the Emitron began at studios in Alexandra Palace, and transmitted from a specially built mast atop one of the Victorian building's towers. It alternated for a short time with Baird's mechanical system in adjoining studios, but was more reliable and visibly superior. This was the world's first regular "high-definition" television service.Burns, R.W., ''Television: An international history of the formative years''. (1998). IEE History of Technology Series, 22. London: IEE, p. 576. .

The original U.S. iconoscope was noisy, had a high ratio of interference to signal, and ultimately gave disappointing results, especially when compared to the high definition mechanical scanning systems then becoming available. The EMI team, under the supervision of Isaac Shoenberg, analyzed how the iconoscope (or Emitron) produces an electronic signal and concluded that its real efficiency was only about 5% of the theoretical maximum.

They solved this problem by developing, and patenting in 1934, two new camera tubes dubbed super-Emitron and CPS Emitron.


The super-Emitron was between ten and fifteen times more sensitive than the original Emitron and iconoscope tubes and, in some cases, this ratio was considerably greater. It was used for outside broadcasting by the BBC, for the first time, on Armistice Day 1937, when the general public could watch on a television set as the King laid a wreath at the Cenotaph.
This was the first time that anyone had broadcast a live street scene from cameras installed on the roof of neighboring buildings, because neither Farnsworth nor RCA would do the same until the 1939 New York World's Fair.


On the other hand, in 1934, Zworykin shared some patent rights with the German licensee company Telefunken. The "image iconoscope" ("Superikonoskop" in Germany) was produced as a result of the collaboration. This tube is essentially identical to the super-Emitron. The production and commercialization of the super-Emitron and image iconoscope in Europe were not affected by the patent war between Zworykin and Farnsworth, because Dieckmann and Hell had priority in Germany for the invention of the image dissector, having submitted a patent application for their ''Lichtelektrische Bildzerlegerröhre für Fernseher'' (''Photoelectric Image Dissector Tube for Television'') in Germany in 1925,
two years before Farnsworth did the same in the United States.
The image iconoscope (Superikonoskop) became the industrial standard for public broadcasting in Europe from 1936 until 1960, when it was replaced by the vidicon and plumbicon tubes. Indeed, it was the representative of the European tradition in electronic tubes competing against the American tradition represented by the image orthicon.
The German company Heimann produced the Superikonoskop for the 1936 Berlin Olympic Games,

later Heimann also produced and commercialized it from 1940 to 1955;
finally the Dutch company Philips produced and commercialized the image iconoscope and multicon from 1952 to 1958.

U.S. television broadcasting, at the time, consisted of a variety of markets in a wide range of sizes, each competing for programming and dominance with separate technology, until deals were made and standards agreed upon in 1941.Everson, George (1949), ''The Story of Television, The Life of Philo T. Farnsworth'' New York: W.W. Norton & Co,. , p. 248. RCA, for example, used only Iconoscopes in the New York area, but Farnsworth Image Dissectors in Philadelphia and San Francisco.Abramson, Albert (1987), ''The History of Television, 1880 to 1941''. Jefferson, NC: Albert Abramson. p. 254. . In September 1939, RCA agreed to pay the Farnsworth Television and Radio Corporation royalties over the next ten years for access to Farnsworth's patents.Schatzkin, Paul (2002), ''The Boy Who Invented Television''. Silver Spring, Maryland: Teamcom Books, pp. 187–88. . With this historic agreement in place, RCA integrated much of what was best about the Farnsworth Technology into their systems. In 1941, the United States implemented 525-line television. Electrical engineer Benjamin Adler played a prominent role in the development of television.

The world's first 625-line television standard was designed in the Soviet Union in 1944 and became a national standard in 1946."On the beginning of broadcast in 625 lines 60 years ago"
''625'' magazine (in Russian). The first broadcast in 625-line standard occurred in Moscow in 1948. The concept of 625 lines per frame was subsequently implemented in the European CCIR standard. In 1936, Kálmán Tihanyi described the principle of plasma display, the first flat panel display system.

Early electronic television sets were large and bulky, with analog circuits made of vacuum tubes. Following the invention of the first working transistor at Bell Labs, Sony founder Masaru Ibuka predicted in 1952 that the transition to electronic circuits made of transistors would lead to smaller and more portable television sets. The first fully transistorized, portable solid-state television set was the 8-inch Sony TV8-301, developed in 1959 and released in 1960. This began the transformation of television viewership from a communal viewing experience to a solitary viewing experience. By 1960, Sony had sold over 4million portable television sets worldwide.

Color

The basic idea of using three monochrome images to produce a color image had been experimented with almost as soon as black-and-white televisions had first been built. Although he gave no practical details, among the earliest published proposals for television was one by Maurice Le Blanc, in 1880, for a color system, including the first mentions in television literature of line and frame scanning. Polish inventor Jan Szczepanik patented a color television system in 1897, using a selenium photoelectric cell at the transmitter and an electromagnet controlling an oscillating mirror and a moving prism at the receiver. But his system contained no means of analyzing the spectrum of colors at the transmitting end, and could not have worked as he described it. Another inventor, Hovannes Adamian, also experimented with color television as early as 1907. The first color television project is claimed by him, and was patented in Germany on 31 March 1908, patent No. 197183, then in Britain, on 1 April 1908, patent No. 7219, in France (patent No. 390326) and in Russia in 1910 (patent No. 17912).A. Rokhlin, Tak rozhdalos' dal'novidenie (in Russian)

Scottish inventor John Logie Baird demonstrated the world's first color transmission on 3 July 1928, using scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with filters of a different primary color; and three light sources at the receiving end, with a commutator to alternate their illumination. Baird also made the world's first color broadcast on 4 February 1938, sending a mechanically scanned 120-line image from Baird's Crystal Palace studios to a projection screen at London's Dominion Theatre. Mechanically scanned color television was also demonstrated by Bell Laboratories in June 1929 using three complete systems of photoelectric cells, amplifiers, glow-tubes, and color filters, with a series of mirrors to superimpose the red, green, and blue images into one full color image.

The first practical hybrid system was again pioneered by John Logie Baird. In 1940 he publicly demonstrated a color television combining a traditional black-and-white display with a rotating colored disk. This device was very "deep", but was later improved with a mirror folding the light path into an entirely practical device resembling a large conventional console. However, Baird was unhappy with the design, and, as early as 1944, had commented to a British government committee that a fully electronic device would be better.

In 1939, Hungarian engineer Peter Carl Goldmark introduced an electro-mechanical system while at CBS, which contained an Iconoscope sensor. The CBS field-sequential color system was partly mechanical, with a disc made of red, blue, and green filters spinning inside the television camera at 1,200 rpm, and a similar disc spinning in synchronization in front of the cathode-ray tube inside the receiver set. The system was first demonstrated to the Federal Communications Commission (FCC) on 29 August 1940, and shown to the press on 4 September."Color Television Success in Test", ''The New York Times'', 30 August 1940, p. 21.

CBS began experimental color field tests using film as early as 28 August 1940, and live cameras by 12 November. NBC (owned by RCA) made its first field test of color television on 20 February 1941. CBS began daily color field tests on 1 June 1941. These color systems were not compatible with existing black-and-white television sets, and, as no color television sets were available to the public at this time, viewing of the color field tests was restricted to RCA and CBS engineers and the invited press. The War Production Board halted the manufacture of television and radio equipment for civilian use from 22 April 1942, to 20 August 1945, limiting any opportunity to introduce color television to the general public.

As early as 1940, Baird had started work on a fully electronic system he called Telechrome. Early Telechrome devices used two electron guns aimed at either side of a phosphor plate. The phosphor was patterned so the electrons from the guns only fell on one side of the patterning or the other. Using cyan and magenta phosphors, a reasonable limited-color image could be obtained. He also demonstrated the same system using monochrome signals to produce a 3D image (called "stereoscopic" at the time). A demonstration on 16 August 1944 was the first example of a practical color television system. Work on the Telechrome continued and plans were made to introduce a three-gun version for full color. However, Baird's untimely death in 1946 ended development of the Telechrome system.
Similar concepts were common through the 1940s and 1950s, differing primarily in the way they re-combined the colors generated by the three guns. The Geer tube was similar to Baird's concept, but used small pyramids with the phosphors deposited on their outside faces, instead of Baird's 3D patterning on a flat surface. The Penetron used three layers of phosphor on top of each other and increased the power of the beam to reach the upper layers when drawing those colors. The Chromatron used a set of focusing wires to select the colored phosphors arranged in vertical stripes on the tube.

One of the great technical challenges of introducing color broadcast television was the desire to conserve bandwidth, potentially three times that of the existing black-and-white standards, and not use an excessive amount of radio spectrum. In the United States, after considerable research, the National Television Systems CommitteeNational Television System Committee (1951–1953), [Report and Reports of Panel No. 11, 11-A, 12–19, with Some supplementary references cited in the Reports, and the Petition for adoption of transmission standards for color television before the Federal Communications Commission, n.p., 1953], 17 v. illus., diagrams., tables. 28 cm. LC Control No.:5402138
Library of Congress Online Catalog
/ref> approved an all-electronic system developed by RCA, which encoded the color information separately from the brightness information and greatly reduced the resolution of the color information to conserve bandwidth. As black-and-white televisions could receive the same transmission and display it in black-and-white, the color system adopted is ackwards"compatible". ("Compatible Color", featured in RCA advertisements of the period, is mentioned in the song "America", of West Side Story, 1957.) The brightness image remained compatible with existing black-and-white television sets at slightly reduced resolution, while color televisions could decode the extra information in the signal and produce a limited-resolution color display. The higher resolution black-and-white and lower resolution color images combine in the brain to produce a seemingly high-resolution color image. The NTSC standard represented a major technical achievement.

The first color broadcast (the first episode of the live program '' The Marriage'') occurred on 8 July 1954, but during the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. It was not until the mid-1960s that color sets started selling in large numbers, due in part to the color transition of 1965 in which it was announced that over half of all network prime-time programming would be broadcast in color that fall. The first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network programs converted to color, resulting in the first completely all-color network season.

Early color sets were either floor-standing console models or tabletop versions nearly as bulky and heavy, so in practice they remained firmly anchored in one place. GE's relatively compact and lightweight Porta-Color set was introduced in the spring of 1966. It used a transistor-based UHF tuner. The first fully transistorized color television in the United States was the Quasar television introduced in 1967. These developments made watching color television a more flexible and convenient proposition.

The MOSFET (metal-oxide-semiconductor field-effect transistor, or MOS transistor) was invented by Mohamed M. Atalla and Dawon Kahng at Bell Labs in 1959, and presented in 1960. By the mid-1960s, RCA were using MOSFETs in their consumer television products. RCA Laboratories researchers W.M. Austin, J.A. Dean, D.M. Griswold and O.P. Hart in 1966 described the use of the MOSFET in television circuits, including RF amplifier, low-level video, chroma and AGC circuits. The power MOSFET was later widely adopted for television receiver circuits.

In 1972, sales of color sets finally surpassed sales of black-and-white sets. Color broadcasting in Europe was not standardized on the PAL format until the 1960s, and broadcasts did not start until 1967. By this point many of the technical issues in the early sets had been worked out, and the spread of color sets in Europe was fairly rapid. By the mid-1970s, the only stations broadcasting in black-and-white were a few high-numbered UHF stations in small markets, and a handful of low-power repeater stations in even smaller markets such as vacation spots. By 1979, even the last of these had converted to color and, by the early 1980s, B&W sets had been pushed into niche markets, notably low-power uses, small portable sets, or for use as video monitor screens in lower-cost consumer equipment. By the late 1980s even these areas switched to color sets.

Digital

Digital television (DTV) is the transmission of audio and video by digitally processed and multiplexed signals, in contrast to the totally analog and channel separated signals used by analog television. Due to data compression, digital television can support more than one program in the same channel bandwidth. It is an innovative service that represents the most significant evolution in television broadcast technology since color television emerged in the 1950s. Digital television's roots have been tied very closely to the availability of inexpensive, high performance computers. It was not until the 1990s that digital television became possible. Digital television was previously not practically possible due to the impractically high bandwidth requirements of uncompressed digital video, requiring around 200 Mbit/s for a standard-definition television (SDTV) signal, and over 1 Gbit/s for high-definition television (HDTV).

A digital television service was proposed in 1986 by Nippon Telegraph and Telephone (NTT) and the Ministry of Posts and Telecommunication (MPT) in Japan, where there were plans to develop an "Integrated Network System" service. However, it was not possible to practically implement such a digital television service until the adoption of DCT video compression technology made it possible in the early 1990s.

In the mid-1980s, as Japanese consumer electronics firms forged ahead with the development of HDTV technology, the MUSE analog format proposed by NHK, a Japanese company, was seen as a pacesetter that threatened to eclipse U.S. electronics companies' technologies. Until June 1990, the Japanese MUSE standard, based on an analog system, was the front-runner among the more than 23 other technical concepts under consideration. Then, a U.S. company, General Instrument, demonstrated the possibility of a digital television signal. This breakthrough was of such significance that the FCC was persuaded to delay its decision on an ATV standard until a digitally-based standard could be developed.

In March 1990, when it became clear that a digital standard was possible, the FCC made a number of critical decisions. First, the Commission declared that the new ATV standard must be more than an enhanced analog signal, but be able to provide a genuine HDTV signal with at least twice the resolution of existing television images.(7) Then, to ensure that viewers who did not wish to buy a new digital television set could continue to receive conventional television broadcasts, it dictated that the new ATV standard must be capable of being " simulcast" on different channels.(8)The new ATV standard also allowed the new DTV signal to be based on entirely new design principles. Although incompatible with the existing NTSC standard, the new DTV standard would be able to incorporate many improvements.

The last standards adopted by the FCC did not require a single standard for scanning formats, aspect ratios, or lines of resolution. This compromise resulted from a dispute between the consumer electronics industry (joined by some broadcasters) and the computer industry (joined by the film industry and some public interest groups) over which of the two scanning processes—interlaced or progressive—would be best suited for the newer digital HDTV compatible display devices. Interlaced scanning, which had been specifically designed for older analogue CRT display technologies, scans even-numbered lines first, then odd-numbered ones. In fact, interlaced scanning can be looked at as the first video compression model as it was partly designed in the 1940s to double the image resolution to exceed the limitations of the television broadcast bandwidth. Another reason for its adoption was to limit the flickering on early CRT screens whose phosphor coated screens could only retain the image from the electron scanning gun for a relatively short duration. However interlaced scanning does not work as efficiently on newer display devices such as Liquid-crystal (LCD), for example, which are better suited to a more frequent progressive refresh rate.

Progressive scanning, the format that the computer industry had long adopted for computer display monitors, scans every line in sequence, from top to bottom. Progressive scanning in effect doubles the amount of data generated for every full screen displayed in comparison to interlaced scanning by painting the screen in one pass in 1/60-second, instead of two passes in 1/30-second. The computer industry argued that progressive scanning is superior because it does not "flicker" on the new standard of display devices in the manner of interlaced scanning. It also argued that progressive scanning enables easier connections with the Internet, and is more cheaply converted to interlaced formats than vice versa. The film industry also supported progressive scanning because it offered a more efficient means of converting filmed programming into digital formats. For their part, the consumer electronics industry and broadcasters argued that interlaced scanning was the only technology that could transmit the highest quality pictures then (and currently) feasible, i.e., 1,080 lines per picture and 1,920 pixels per line. Broadcasters also favored interlaced scanning because their vast archive of interlaced programming is not readily compatible with a progressive format. William F. Schreiber

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