Randy Hoffner

In the 1950s, the movie studios made major efforts to lure people away from their newfangled TV sets and back into the theaters.

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

It is still difficult and expensive to manufacture large-screen OLED displays.

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.

The broadcast station business suddenly seems to be less of a financial sure thing than it used to be.

Audio-video synchronization has been one of the major casualities of the DTV era. The industry has become well-aware of this problem.

If you have attended any recent tradeshow featuring displays or paid attention to the display press, you will have seen and heard about 1080p displays.

Principal shortcomings, we will recall, include narrow viewing angles and slow response times. Let's look at how one shortcoming is being addressed.

Today, it is apparent that the venerable CRT television set that we have been watching since the 1950s is living on borrowed time.

"How did 48 kHz emerge as the professional digital audio sample rate?" As we will see, television had a great influence on this number.

As we celebrate TV Technology's 20th anniversary, it seems the perfect time to take a look back over our collective shoulders and see just how far television technology has come in the past 20 years.

The search for a higher quality, more robust and more "processable" video signal ultimately led us to component digital video.

When we looked at color and color mixing, one of the things we examined was the fact that when red, green and blue lights are mixed in equal proportions, the result is neutral gray light.