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for later transmission. The Bing Crosby Laboratories played a key role in the development and testing of video technology. The Sarnoff Institute called upon the capabilities of several companies to reach its goal of creating what Sarnoff dubbed the Hear-See machine. One of them was Ampex, developer of the first commercial audiotape recorder. The Sarnoff team believed that audiotape technology could be applied to video recording. To a certain extent, they were correct. Marvin Camras, a Sarnoff team member and scientist who developed the ability to record audio signals on steel wire used during WWII, soon discovered that the video signal was dramatically broader than the relatively narrow spectrum of the audio signal. Early audiotape machines typically moved the tape along at a stately 15 inches per second (ips). To meet the bandwidth requirements of the video signal, the tape had to be accelerated to somewhere between 300 and 400 ips roughly 25 miles per hour. To put this into perspective, a tape that would accommodate an hour s worth of audio in those days would hold one minute of video which did not take into account the length of the leader that had to be in place to allow the recorder to reach its ridiculously high tape transport speed. To hold 15 minutes of video, a reel of quarter-inch tape would have had to be three feet in diameter not exactly portable. Put another way, a one-hour show would require 25 miles of tape! To get around this problem, Camras invented the spinning record head. Instead of moving the tape rapidly past the recording head, he moved the tape slowly, and rapidly spun the head. By attaching the head to a 20,000 rpm Hoover vacuum cleaner motor (stolen, by the way, from his wife s vacuum cleaner), he was able to use two-inch tape and reduce the tape transport speed to 30 to 40 inches per second a dramatic improvement. The first video demonstrations were admirable, but rather funny. First of all, the resolution of the television was only 40 lines per inch, compared to more than 250 on modern systems. The images were so poor that audiences required a narrator to tell them what they were seeing on the screen. Luckily, other advances followed. The original video systems rendered black and white images, but soon a color system was developed. It recorded five tracks (red, blue, green, synch, and audio) on half-inch tape and ran at the original speed of 360 ips. The system was a bit unwieldy: It required a mile of color tape to capture a 4-minute recording. Obviously, mile-long tapes were unacceptable, especially if they would only yield 4-minute programs. As a result, the Sarnoff/Ampex team reex-
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Downloaded from Digital Engineering Library @ McGraw-Hill (www.digitalengineeringlibrary.com) Copyright 2004 The McGraw-Hill Companies. All rights reserved. Any use is subject to the Terms of Use as given at the website.
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amined the design of the recording mechanism. Three scientists Charles Ginsburg, Alex Maxey, and Ray Dolby (later to be known for his work in audio) redesigned the rotating record head, rotating it about 90 degrees so that the video signal was now written on the tape in a zigzag design. This redesign, combined with FM instead of AM signal modulation, allowed the team to reduce the tape speed to a remarkable 17.5 inches per second. For comparison s sake, modern machines consume tape at about 2.5 inches per second. This, by the way, is why the record head in your home VCR sits at a funny angle. (It s that big silver cylinder you see when you open the slot where the tape is inserted.) By 1956, Sarnoff and Ampex had created a commercially viable product. They demonstrated the Mark IV to 200 CBS affiliate managers in April of that year. When David Sarnoff walked out on the stage and stood next to his own prerecorded image playing on the television next to him, the room went berserk. In 4 days, Ampex took $5 million in video machine orders.
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