Randy Hoffner

The book by Susan J. Douglas is part of the “Johns Hopkins Studies in the History of Technology” series.

To understand H.265, let's look at a little MPEG history, to see where it came from

A brief view on measurement gates and the loudness meter.

Or could it be the next Teletext?

Video of comparable quality can be compressed to a considerably lower bit rate, often claimed to be half the bit rate, of MPEG-2.

Although there is little equipment supporting it available, the interest in 1080p/60 as a future scanning format has been high enough to result in a SMPTE standard for an interface to accommodate it.

4:4:4, 4:2:2, 4:2:0 -- what do these numbers mean, and where did they come from?

A lot of television technology has come and gone since 1985, and we will take a quick look at some of the high points in those two decades.

Cable is frequently worse than broadcast for loud commercials and uneven commercial loudness. The worst, of course, is commercially-supported online TV.

You may be hearing about the demise of the venerable CRT, which has been the display device used in most of the TV sets we have watched since television became a commercial reality.

 A/85 addresses the "Anchor Element" and loudness over a specified time interval.

Let's talk about silicon—semiconductors, that is.

These won't be broadcast or put on cable any time soon, but those in front of SMPTE are intended to be used in digital cinema capture.

Currently, 1920x1080 is the HD video scanning format with the highest spatial resolution, but there are efforts underway to change this.

These people obviously don’t read my column, do they?

Perceived loudness, particularly of commercials, has been a problem and a complaint as long as commercial television has been with us.