Bringing Back The CRT TV Experience In Software

Cathode-Retro is a collection of shaders and sample C++ code for reliving the glorious days when graphics were composite video signals displayed on a CRT screen. How? By faking it in software and providing more configuration options than any authentic setup ever had.

Love it or don’t, there’s nothing quite like it.

Not satisfied with creating CRT-style color images with optional scanlines and TV picture controls like tint and saturation, Cathode-Retro can emulate more nuanced elements as well.

The tool includes the ability to imitate things like the slight distortion of a period-correct curved screen, the subtle effects of different methods CRT displays used to actually work (such as shadow mask vs aperture grille), and even taking into account the slight distortion of light refracting imperfectly through the glass face of the CRT. There’s even options for adding noise and ghosting, which may spark some artistic ideas.

If all you need is software to recreate an old-school CRT terminal, we have you covered. But if your needs are a bit more low-level, Cathode-Retro might be what you’re missing.

New Motherboard Improves Old CRT Television

While browsing AliExpress from his digital basement, [Adrian Black] stumbled upon what seemed like a brand-new mainboard for a CRT television set. He decided to take a gamble and ordered one. It finally arrived, and was indeed a brand new product from 2023.

DIGITAL MAIN BOARD OF TV, Work ath [sic] HONGXUN products with the care and precision of a sculptor in each step, wonderful have no limits

CRT Mainboard Transplant in Progress

Dubious marketing descriptions like “High Definition Digital Color TV Driver Board” aside, this turned out to be a fairly well-designed analog TV board. [Adrian] pulls a 20-year-old Magnavox ( Philips ) color television set from storage and begins the transplant operation. One interesting observation is the Magnavox board has almost the same layout as the new board, except for the orientation of the sections. The new CRT neck board had a different connector than the Magnavox set, but was designed to accept multiple sized sockets. [Adrian] just removed the new socket and replaced it with one from the old set. The mechanical issues were a bit more complicated, but nothing that a Dremel tool and a bit of hot glue can’t fix. The 220 VAC power supply was eventually modified to accept 110 VAC, which also enabled him to reconnect the degaussing coil.

[Adrian] has collected some relevant documentation in this GitHub repository, including schematics. Why bother with this at all? Well, until now, he didn’t have any way to test / view PAL RF signals in his lab. He was gambling on the new mainboard having a PAL tuner. It does, but as an unadvertised bonus, it supports NTSC and SECAM as well — but still not “HD digital color TV”, as far as we know. If you want a multi-standard TV in your lab, this solution may be worth considering. It appears there is still a market somewhere for new CRT televisions. If you have any background on this, please let us know down below in the comments.

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System Essentially Contradicting American Methods

Today, acronyms such as PAL and initialisms such as NTSC are used as a lazy shorthand for 625 and 525-line video signals, but back in the days of analogue TV broadcasting they were much more than that, indeed much more than simply colour encoding schemes. They became political statements of technological prowess as nations vied with each other to demonstrate that they could provide their citizens with something essentially home-grown. In France, there was the daddy of all televisual symbols of national pride, as their SECAM system was like nothing else. [Matt’s TV Barn] took a deep dive into video standards to find out about it with an impressive rack of test pattern generation equipment.

At its simplest, a video signal consists of the black-and-while, or luminance, information to make a monochrome picture, along with a set of line and frame sync pulses. It becomes a composite video signal with the addition of a colour subcarrier at a frequency carefully selected to fall between harmonics of the line frequency and modulated in some form with the colour, or chrominance, information. In this instance, PAL is a natural progression from NTSC, having a colour subcarrier that’s amplitude modulated and with some nifty tricks using a delay line to cancel out colour shifting due to phase errors.

SECAM has the same line and frame frequency as PAL, but its colour subcarrier is frequency modulated instead of amplitude modulated. It completely avoids the NTSC and PAL phase errors by not being susceptible to them, at the cost of a more complex decoder in which the previous line’s colour information must be stored in a delay line to complete the decoding process. Any video processing equipment must also, by necessity, be more complex, something that provided the genesis of the SCART audiovisual connector standard as manufacturers opted for RGB interconnects instead. It’s even more unexpected at the transmission end, for unlike PAL or NTSC, the colour subcarrier is never absent, and to make things more French, it inverted the video modulation found in competing standards.

The video below takes us deep into the system and is well worth a watch. Meanwhile, if you fancy a further wallow in Gallic technology, peer inside a Minitel terminal.

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Encoding NTSC With Your Hands Tied

Generally, when trying to implement some protocol, you are constrained by your hardware and time. But for someone like [EMMIR], that’s not enough. For example, NTSC-CRT is a video signal encoding/decoding simulator with no hardware acceleration, floating point math, or third-party libraries. Just basic C.

While NTSC has officially gone dark in America, people still make their own ATTiny-powered transmitters. NTSC is a bit of a strange standard and is sometimes referred to as never-twice-the-same color, but it does produce a distinct look.

That look is what [EMMIR] was going for. It encodes a message in a ppm format into NTSC and then back in ppm with some configurable noise. It can do this in real-time as an effect in [EMMIR’s] engine or on a rendered image via a CLI. It looks incredible, and there’s something very satisfying. There’s a video after the break showing off the effect. The code is pretty short and easy to read.

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Reverse Engineering “The Seven Words (and More) You Can’t Say On TV”

For as visionary as he was, [George Carlin] vastly underestimated the situation with his classic “Seven Words You Can’t Say on TV” bit. At least judging by [Ben Eater]’s reverse engineering of the “TVGuardian Foul Language Filter” device, it seems like the actual number is at least 20 times that.

To begin at the beginning, a couple of weeks ago [Alec] over at everyone’s favorite nerd hangout Technology Connections did a video on the TVGuardian, a device that attempted to clean up the language of live TV and recorded programming. Go watch that video for the details, but for a brief summary, TVGuardian worked by scanning the closed caption text for naughty words and phrases, muted the audio when something suggestive was found in a lookup table, and inserted a closed caption substitute for the offensive content. In his video, [Alec] pined for a way to look at the list of verboten words, and [Ben] accepted the challenge.

The naughty word list ended up living on a 93LC86 serial EEPROM, which [Ben] removed from his TVGuardian for further exploration. Rather than just plug it into a programmer and dumping the contents, he decided to roll his own decoder with an Arduino, because that’s more fun. And can we just point out our ongoing amazement that [Ben] is able to make watching someone else code interesting?

The resulting NSFW word list is titillating, of course, and the video would be plenty satisfying if that’s where it ended. But [Ben] went further and figured out how the list is organized, how the dirty-to-clean substitutions are made, and even how certain words are whitelisted. That last bit resulted in the revelation that Hollywood legend [Dick Van Dyke] gets a special whitelisting, lest his name becomes sanitized to a hilarious [Jerk Van Gay].

Hats off to [Alec] for inspiring [Ben]’s fascinating reverse engineering effort here.

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A small green circuit board with a tiny OLED display

An Oscilloscope Trigger For Vintage Video Processors

Working on retro computers is rarely straightforward, as [ukmaker] recently found out while designing a new display interface. Their oscilloscope was having trouble triggering on the video signal produced by older video circuitry, so they created the Video Trigger for Retrocomputers.

The Texas Instruments TMS9918 video display controller was used across a range of 1980s game consoles and home computers, from the well-known ColecoVision to Texas Instruments’ own TI-99/4. Substantial retro computing heritage notwithstanding, the video output from this chip was (for reasons unknown) not quite compatible with the Hantek DSO1502P oscilloscope. And without a better understanding of the video signal, it was difficult to use the chip with newer TFT displays, being designed for CRT televisions with more forgiving NTSC tolerances.

Maybe a different scope would have solved the problem, but [ukmaker] had a feeling that the ‘scope needed an external trigger signal. The Video Trigger project uses a LM1881 sync separator to tease out the horizontal and vertical sync signals from the vintage video chip, with the output piped into an ATmega 328P. Along with a smattering of discrete components, the ATmega aids the user in selecting which line to frame a trigger on, and the slope of the horizontal sync signal to align to. A tiny OLED display makes configuration easy.

If this has piqued your interest, [ukmaker] also has a great write-up over on GitHub with all the gory details. Maybe it will help you in your next vintage computing caper. Having the right tool can make all the difference, like this homebrew logic meter for hobby electronics troubleshooting. Or if you want to know more about the mystical properties of analog NTSC video, we’ve covered that, too.

Retrotechtacular: How Television Worked In The 1950s

Watching television today is a very different experience from that which our parents would have had at our age, where we have high-definition digital on-demand streaming services they had a small number of analogue channels serving linear scheduled broadcasting. A particular film coming on TV could be a major event that it was not uncommon for most of the population to have shared, and such simple things as a coffee advert could become part of our common cultural experience. Behind it all was a minor miracle of synchronised analogue technology taking the signal from studio to living room, and this is the subject of a 1952 Coronet film, Television: How It Works!  Sit back and enjoy a trip into a much simpler world in the video below the break.

Filming a TV advert: 1950s housewife sells cooker
Production values for adverts had yet to reach their zenith in the 1950s.

After an introduction showing the cultural impact of TV in early-50s America there’s a basic intro to a cathode-ray tube, followed by something that may be less familiar to many readers, the Image Orthicon camera tube that formed the basis of most TV signals of that era.

It’s written for the general public, so the scanning raster of a TV image is introduced through the back-and-forth of reading a book, and then translated into how the raster is painted on the screen with the deflection coils and the electron gun. It’s not overly simplified though, for it talks about how the picture is interlaced and shows how a synchronisation pulse is introduced to keep all parts of the system working together.

A particularly fascinating glimpse comes in a brief mention of the solid copper co-axial cable and overland microwave links used to transmit TV signals across country, these concrete towers can still be seen today but they no longer have the colossal horn antennas we can see in the film.

A rather obvious omission in this film is the lack of any mention of colour TV, as while it would be late 1953 before the NTSC standard was formally adopted and early 1954 before the first few colour sets would go on sale. Colour TV would have been very much the Next Big Thing in 1952, but with no transmissions to watch and a bitter standards war still raging between the field-sequential CBS system and RCA’s compatible dot-sequential system that would eventually evolve into the NTSC standard  it’s not surprising that colour TV was beyond the consumer audience of the time.

Thus we’re being introduced to the 525-line standard which many think of as NTSC video, but without the NTSC compatible colour system that most of us will be familiar with. The 525-line analogue standard might have disappeared from our living rooms some time ago, but as the last few stations only came off-air last year we’d say it had a pretty good run.

We like analogue TV a lot here at Hackaday, and this certainly isn’t the first time we’ve gone all 525-line. Meanwhile for a really deep dive into the inner workings of TV signal timing, get ready to know your video waveform.

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