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.
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.
Continue reading “Retrotechtacular: How Television Worked In The 1950s”
have a neat trick of presenting a definite yellowish hue when not fully cured, which is very helpful. This is particularly useful when removing support structures as you can use the color change during the curing process to judge the right moment to snap off the thicker sections, minimizing the risk of damaging the print. The resulting printed part is also tough enough to withstand subsequent traditional post-processing, such as milling, giving greater final finishing tolerances. Try doing that with an FDM print.
