Pictured above are an "E" and "S", from Simonson's Bookmania and Kinescope typefaces, respectively.
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A kinescope of the black-and-white broadcast, not great quality but good enough, was finally made available on DVD in 2004.
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A kinescope of Game 7 of the 1960 World Series between the Pittsburgh Pirates and the New York Yankees was discovered in Bing Crosby's wine cellar.
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She mentions tracking down a broadcast of the musical "Junior Miss" that starred Don Ameche, Carol Lynley and Jill St. John in 1957, and a kinescope of a rehearsal of Rodgers and Hammerstein's "Cinderella," also from 1957.
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Kinescope tubes intended for photographic use were coated with phosphors rich in blue and ultra-violet radiations. This permitted the use of positive type emulsions for photographing in spite of their slow film speeds. The brightness range of kinescope tubes were about 1 to 30. Kinescope images were capable of great flexibility.
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A single kinescope of the series survives at the UCLA Film and Television Archive.
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A single kinescope of a 1950 episode survives at the UCLA Film and Television Archive.
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At least some of the episodes exist as kinescope recordings, representing early examples of television comedy.
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An episode or two may be held as kinescope recordings by National Film and Sound Archive.
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Telerecordings (also known as Kinescope recordings) of Stormy Petrel are held by National Archives of Australia.
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A single kinescope of this series survives at the Paley Center for Media in New York City.
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Whereas a kinescope records television to film, a telecine is used to play film back on television.
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Back That Fact is believed not to have been recorded on kinescope. No episodes are known to exist.
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The show was broadcast live and a kinescope was created for a later airing on the West Coast.
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There is no information available as to whether any kinescope recordings (also known as telerecordings) exist of the series (kinescope recording/telerecording being the method used to record live television in Australia prior to the introduction of video-tape). However, it is confirmed that kinescopes exist of rival series Hit Parade.
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The UCLA Film and Television Archive holds several kinescope recordings of this series, including a few episodes from 1948.
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Only a portion of episode #191 (January 24, 1954) w/Dean Martin & Jerry Lewis as mystery guests exists, and was shown in What's My Line? at 25. Episode #195 (February 21, 1954) only exists among collectors as a second-hand kinescope, as the official kinescope is missing from the Goodson-Todman archive.
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This then passes the image to the various display or recording devices, e.g. a videotape recorder, kinescope, TV, or display.
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Typically, the term Kinescope can refer to the process itself, the equipment used for the procedure (a 16 mm or 35 mm movie camera mounted in front of a video monitor, and synchronized to the monitor's scanning rate), or a film made using the process. The term originally referred to the cathode ray tube used in television receivers, as named by inventor Vladimir K. Zworykin in 1929.Albert Abramson, Zworykin, Pioneer of Television, University of Illinois Press, 1995, p. 84. . Hence, the recordings were known in full as kinescope films or kinescope recordings.
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It is not known if kinescope recordings exist of either special. Kinescope recording was the method used to record live and as- live television in the days before video-tape, involving recording the television screen image onto 16mm film using special equipment. HSV-7 appears to have not had video-tape equipment until the early 1960s.
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Only eight episodes were produced and all were believed lost, until the mid-1990s when a kinescope of one episode was discovered.
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A later Swallow's-sponsored talent contest, a special from 1959 that was hosted by Bert Newton, exists as a 16mm kinescope recording.
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In television's early days, live broadcasts were not routinely recorded, but a few minutes of Kinescope film of the conventions has survived.
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A kinescope recording of the production exists."Title No: 19490, Title: 'Seagulls Over Sorrento'." National Film and Sound Archives. Retrieved: 21 April 2016.
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The original Vampira Show has never aired outside the Los Angeles area due to it being originally broadcast live and not being preserved as kinescopes for future airings. No footage of the show is known to exist, however, in the 1990s a kinescope advertising the station's ability to draw clients to advertisers featuring Nurmi in character was discovered. The clips used in the kinescope were re-shot segments using a previous episode's script. Scenes from the kinescope film were featured in the 1995 Finnish documentary about Nurmi, About Sex, Death and Taxes, and in the 2006 film Vampira: The Movie.
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In 1957, she appeared on a Dinah Shore show on NBC that also featured Boris Karloff; the program has been preserved on a kinescope.
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Three of the episodes exist as kinescope recordings at the National Film and Sound Archive. There is very little information about this series available online.
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The kinescope from this show would provide the footage for the Hank Williams Jr. video "There's A Tear In My Beer" some 37 years later.
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Approximately 303 episodes of the original series were made. There are records of 238 episodes, and kinescope films from 186 episodes, stored in Special Collections of the Milton Eisenhower Library at Johns Hopkins University. The title, original date of broadcast, an abstract, and credits are given for each episode with a surviving kinescope. This means it has the most surviving episodes of any DuMont Network program.
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The play was adapted for television on the ABC in the 1950s.Leslie Rees, Australian Drama in the 1970s, Angus & Robertson, 1978 p 232 Broadcast live in Sydney on 9 September 1959, a kinescope recording ("telerecording") was made of the broadcast and shown in Melbourne on 24 September 1959. Cast included Madi Hedd, James Condon and Queenie Ashton. It is not known if the kinescope recording still exists.
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The first official home video release, a DVD including both the kinescope and color videotape material from Lewis' personal holdings, was released on February 7, 2012.
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In 1974, SLON became I.S.K.R.A. (Images, Sons, Kinescope, Réalisations, Audiovisuelles, but also the name of Vladimir Lenin's political newspaper Iskra, which also is a Russian word for "spark").
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This technique was dubbed a "two-bit kine". After the show was sold to CBS, a standard kinescope was produced to further develop the concept of the show.
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The Army–McCarthy hearings came about when the Army accused Senator Joseph McCarthy of improperly pressuring the Army for special privileges for Private G. David Schine, formerly of McCarthy's investigative staff. McCarthy counter-charged that the Army was holding Schine hostage to keep him from searching for Communists in the Army. The hearings were broadcast live on television in their entirety and also recorded via kinescope. This film was created from those kinescope recordings.
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Screenshot from 1949 kinescope Kinescopes were intended to be used for immediate rebroadcast, or for an occasional repeat of a prerecorded program; thus, only a small fraction of kinescope recordings remain today. Many television shows are represented by only a handful of episodes, such as with the early television work of comedian Ernie Kovacs, and the original version of Jeopardy! hosted by Art Fleming. Another purpose of Kinescopes involved satisfying show sponsors.
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The 1950s brought the first 35mm kinescope camera with sound-on-film rather than separate, from Photo-Sonics, with a Davis Loop Drive mechanism built within the camera box. This camera was essential for TV network time-shifting in the years before Videotape. The sound galvanometer was made by RCA and was designed for good to excellent results when the kinescope negative was projected, thereby avoiding making a print before the delayed replay.
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It originated at KNBH in Los Angeles and was shown in the Midwest and East via Kinescope. In the years following, she had shows in both Chicago and New York City.
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The 1st, 2nd, 3rd, 4th, 5th, 6th and 7th episodes are stored at the Paley Center for Media. The archive also has a "rough rehearsal kinescope" of one of the episodes.
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Rudolph L. Hanau (1881–1930) was an American dentist. He is credited with developing the Hanau Articulator. Hanau is also credited with developing the first Kinescope in the field of prosthodontics.
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No episodes are known to exist, as almost all television broadcasts from the first year of United States network television are lost due to a lack of means to preserve such content. The known exceptions are a few episodes of Kraft Television Theatre from early 1947 which were made to test the kinescope process which allowed television series to be preserved. Even after the kinescope process was created, many shows were still not regularly preserved until the late 1960s.
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It was written by W. Graeme-Holder, and had previously been presented on radio during the 1930s. It is not known if the kinescope recording of the television version is still extant.
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Out of the hundreds of episodes produced, only about 15 survive. Five episodes, dating from May 1953 through June 1955, survive on Kinescope at the Walter J. Brown Media Archives, University of Georgia.
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A Doll's House is a 1959 live telecast based on Henrik Ibsen's 1879 play A Doll's House directed by George Schaefer which was broadcast on 15 November 1959 and is preserved as a kinescope.
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Is it not known how many episodes exist as Kinescope recordings. An episode from 24 October 1957 is held by National Film and Sound Archive, along with an additional episode from an unknown date.
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The earliest surviving kinescope is from November 21, 1950. At least three episodes survive at the UCLA Film and Television Archive. In addition, Johns Hopkins University has records and films of the three successor series.
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NBC, CBS, and DuMont set up their main kinescope recording facilities in New York City, while ABC chose Chicago. By 1951, NBC and CBS were each shipping out some 1,000 16mm kinescope prints each week to their affiliates across the United States, and by 1955 that number had increased to 2,500 per week for CBS.Wesley S. Griswold, "Why TV Is Going Movie-Mad", Popular Science, February 1955, p. 118. By 1954 the television industry's film consumption surpassed that of all of the Hollywood studios combined.
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One episode from October 1949 is stored at the Library of Congress, along with three other episodes from that year, plus an episode from 1950. There are five kinescope recordings of 1948 programs also archived at Library of Congress, and an interview with one of the people involved in the production appears on the Archives of American Television Web Site. However, these aging 69+ year old kinescope film prints have yet to be transferred to modern media to ensure the survival of the episodes.
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The Outcasts was a 1961 Australian television serial. A period drama, it was broadcast live, though with some film inserts. All 12 episodes of the serial survive as kinescope recordings. It was a sequel to Stormy Petrel.
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The show was performed at CBS Television City in the afternoon in California and broadcast live in the eastern part of the country. A videotape was made of the performance and was played back three hours later for western audiences. As videotape was a new technology, CBS made a film- based kinescope of the show and played it back alongside the videotape, so that the broadcast could switch to the kinescope if problems were encountered with the tape; there were none. Videotape was a technology that had interested Crosby for several years.
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Intersync module 1021 service manual, scanned document in PDF. The promoters of Electronovision gave the impression that this was a new system created from scratch, using a high-tech name (and avoiding the word kinescope) to distinguish the process from conventional film photography. Nonetheless the advances in tape-to-reel time were, at the time, a major step ahead. By capturing more than 800 lines of resolution at 25 frame/s, raw tape could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement.
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Several award shows from the 1950s and 1960s, such as the Academy Awards and the Emmy Awards, only survive in kinescope format. From 1957 to 1965, the Academy Awards were taped in black and white, but only survive in kinescope format for overseas distribution, especially for the European TV audiences, which used another system (625 lines as opposed to 525 lines), as the tapes used for late broadcasting were reused. All of the taped broadcasts of the Academy Awards from 1966 onward (the first to be broadcast in color) remain intact.
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Even after the introduction of Quadruplex videotape machines in 1956 removed the need for "hot kines", the television networks continued to use kinescopes in the "double system" method of videotape editing. It was impossible to slow or freeze frame a videotape at that time, so the unedited tape would be copied to a kinescope, and edited conventionally. The edited kinescope print was then used to conform the videotape master. More than 300 videotaped network series and specials used this method over a 12-year period, including the fast-paced Rowan & Martin's Laugh-In.
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Therefore, in order to maintain successful kinescope photography, a camera must expose one frame of film for exactly 1/30th or 1/25th of a second, the time in which one frame of video is transmitted, and move to another frame of film within the small interval of 1/120 of a second. In some instances, this was accomplished through means of an electronic shutter which cuts off the TV image at the end of every set of visible lines. Most U.S. kinescope situations, however, utilized a mechanical shutter, revolving at 24 revolutions per second.
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Unlike some Australian television of the early 1960s, the program still exists, as a kinescope recording held by the National Film and Sound Archive.Reflections in Dark Glasses at National Film and Sound Archive The program was much acclaimed.
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In 1976, long after the series ended, Koeppen mysteriously vanished. One of the earliest cooking shows on Australian television, there is little information available on the series, and it is unlikely that any kinescope recordings exist of it.
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Solomon, Brian. WWE Legends. New York: Simon & Schuster, 2006. (pg. 224) The match was recorded on kinescope and, later featured on Wrestling's Greatest Villains of the Golden Era, is one of the oldest surviving matches from that era.
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It is available as part of the Shout Factory DVD box set Red Skelton: The Early Years. When her KABC series was cancelled in 1955, Nurmi retained rights to the character of Vampira and took the show to a competing Los Angeles television station, KHJ-TV. Several episode scripts and a single promotional kinescope of Nurmi re-creating some of her macabre comedy segments are held by private collectors. Several clips from the rare kinescope are included in the documentaries American Scary and Vampira: The Movie. The entire KABC kinescope, plus selections of the KABC pitchman who introduced the clips, is available in the 2012 documentary Vampira and Me. Vampira and Me also features extensive clips from two previously unknown 16mm kinescopes of Nurmi as Vampira on national TV shows, including her starring guest spot on the April 2, 1955 episode of The George Gobel Show, a top 10 hit.
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Even with those artistic sacrifices, the eventual savings amounted to only $6,000 per episode, far less than the cost of a single episode. The experiment was not attempted again. Kinescope versions of the video taped episodes were rerun in syndication.
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The 26 filmed episodes were aired from December 18, 1955 through June 10, 1956. There was a 2-year hiatus between the end of the 51-episode kinescope series and the 26 episodes later recorded on film and distributed by Atlas.
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A television version aired 21 May 1959 on Australian broadcaster ABC. This version aired live in Melbourne, and was kinescoped for interstate broadcasts. It is not known if the kinescope still exists. It was made when Australian drama was very rare.
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NBC televised the game, with announcers Mel Allen for the Yankees and Vin Scully for the Dodgers. In 2006, it was announced that a nearly-complete kinescope recording of the telecast had been preserved and discovered by a collector. That black and white kinescope recording aired during the MLB Network's first night on the air on January 1, 2009, supplemented with an interview of both Larsen and Yogi Berra by Bob Costas. The first inning of the telecast is still considered lost and was not aired by the MLB Network or included in a subsequent DVD release of the game.
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NBC televised the Series, with announcers Mel Allen (for the Yankees) and Vin Scully (for the Dodgers). In 2006, it was announced that a nearly-complete kinescope recording of the Game 5 telecast (featuring Larsen's perfect game) had been preserved and discovered by a collector. That kinescope recording aired during the MLB Network's first night on the air on January 1, 2009, supplemented with an interview of both Larsen and Yogi Berra by Bob Costas. The first inning of the telecast is still considered lost and was not aired by the MLB Network or included in a subsequent DVD release of the game.
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The Jazz Singer was produced on color videotapeThe Jazz Singer (color, 1959) on YouTube and aired as a one- hour episode of the short-lived TV series Lincoln-Mercury Startime (aka Ford Startime). It was preserved on black & white kinescope film.The Jazz Singer (1959, kinescope) on YouTube It has never been rebroadcast on NBC. Eduard Franz, who played the role of the aged and ailing cantor battling his son, had played the same role in the similar theatrical film version of the story starring Danny Thomas that had been released just seven years earlier, in 1952.
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For several years it was assumed that the film (kinescope) of the original telecast had been lost, but a copy was found, transferred to video, and is now available at The Paley Center for Media (formerly The Museum of Television & Radio) and online at the Museum of Broadcast Communications. The original 1951 telecast has never been rebroadcast, although bootleg recordings have been made. A kinescope of the 1955 broadcast starring Bill McIver as Amahl was digitized in 2007 and is available commercially on DVD. The 1955 and 1978 productions are the only ones released on video.
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The series was broadcast live from KTTV in Los Angeles and using the kinescope film process, the films were sent to New York and transmitted on the CBS Eastern and Midwestern stations a week later. The Ed Wynn Show was also one of the first television series to use the kinescope process in an effort to preserve episodes for later distribution. Sometimes after the live broadcast was finished, some re-takes were kinescoped and edited into the film to improve the east coast version. The series was known for its list of prominent guest stars every week.
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After the network of coaxial cable and microwave relays carrying programs to the West Coast was completed in September 1951,"Coast to Coast", Time, August 13, 1951. CBS and NBC instituted a "hot kinescope" process in 1952, where shows being performed in New York were transmitted west, filmed on two kinescope machines in 35 mm negative and 16 mm reversal film (the latter for backup protection) in Los Angeles, rushed to film processing, and then transmitted from Los Angeles three hours later for broadcast in the Pacific Time Zone.Arthur Schneider, Jump Cut!: Memoirs of a Pioneer Television Editor, McFarland, 1997, p. 23–32. .
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The surviving episode has been confirmed to be the second-oldest television game show episode known to exist, the oldest being from the mid-1947 game Party Line hosted by Bert Parks (which is held on kinescope at the Library of Congress).
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A version was broadcast on ABC on Australian television in 1957. It was aired live in Melbourne on 18 December 1957, and was kinescoped to be shown in Sydney on Christmas Day. It is not known if the kinescope recording still exists.
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As with most DuMont series, not many episodes of the DuMont version are known to survive. The March 27, 1949, episode of original NBC version of the series is preserved from kinescope recordings at the Paley Center for Media in New York City.
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The series consisted of poetry and inspirational prose read by host David Ross (1891-1975). At least one Kinescope from December 1950 is known to exist at UCLA, and is narrated by Fred Scott, long time DuMont announcer and Communications Officer Rogers on Captain Video.
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Several professional features, such as "rackover" and variable shutter were also offered. TV-T (Television Transcription Shutter) offered for kinescope recording for delayed re-transmission. Sapphire inserts in the film gate (all other models had steel ball bearings as inserts.) Electrical torque motor take-up.
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An Australian adaptation aired 25 February 1959 in Melbourne on ABC station ABV-2, a kinescope of the program was shown in Sydney on ABN-2 on 11 March 1959. It was produced by Christopher Muir. Australian TV drama was relatively rare at the time.
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The program was presented by Australian footballers Doug Elliot and Jack Dyer, along with fellow VFL football players.Friday Television, The Age, 6 June 1957. It was a 30-minute program. It is unlikely (though not impossible) that any of the episodes exist as Kinescope recordings.
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Bacall, Bogart and Henry Fonda in the televised version of The Petrified Forest (1955) Bogart rarely performed on television, but he and Bacall appeared on Edward R. Murrow's Person to Person and disagreed on the answer to every question. He also appeared on The Jack Benny Show, where a surviving kinescope of the live telecast captures him in his only TV sketch-comedy performance (October 25, 1953). Bogart and Bacall worked on an early color telecast in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase. Bogart received top billing, and Henry Fonda played Leslie Howard's role; a black and white kinescope of the live telecast has survived.
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One of these interviews concerned What's My Line? and included audio from the mystery guest segment featuring Betty Grable from that now-lost episode. The existing kinescope films (now digitized) have subsequently rerun on television. The series has been seen on Game Show Network at various times.
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Electronovision was a process used by producer/entrepreneur H. William "Bill" Sargent, Jr. to produce a handful of motion pictures, theatrical plays, and specials in the 1960s and early 1970s using a high-resolution videotape process for production, later transferred to film via kinescope for theatrical release.
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In the late 1990s, Bacall donated the only known kinescope of the 1955 performance to the Museum Of Television & Radio (now the Paley Center for Media), where it remains archived for viewing in New York City and Los Angeles. It is now in the public domain.
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Hollywood Wrestling, also known as Wrestling From Hollywood, was an American professional wrestling television series which originally aired locally in Los Angeles on KTLA in the early 1950s, and by 1952 nationally (via kinescope) on the improvised Paramount Television Network. It was produced by Klaus Landsberg.
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Programmes Of Famous Magicians. New York City. p. 17 Dunninger appeared on radio starting in 1943. In 1948, Dunninger and Paul Winchell were featured on Floor Show on NBC TV. Recorded via kinescope and replayed on WNBQ-TV in Chicago, Illinois, the 8:30-9 p.m.
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The New York Times, 31 March 1957. The show was broadcast in colour from CBS Studio 72, at 2248 Broadway in New York City. Only a black-and-white kinescope remains, which has been released on DVD. Andrews was nominated for an Emmy Award for her performance.
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Videotape engineer Frederick M. Remley wrote of kinescope recordings, :Because of the many variables in the combined electronic/photographic process, the quality of such recordings often leaves much to be desired. Defects often encountered in photographic recording include relatively poor image resolution; a compressed brightness range often limited by kinescope display technology to a brightness ratio of about 40:1; nonlinearity of recordings, as exemplified by lack of gradation in both the near-white and near-black portions of the reproduced pictures; and excessive image noise due to film grain and video processing artifacts. The final signal-to-noise ratio is often less than 40 dB, especially in the case of 16 mm film.In Magnetic Recording: The First Hundred Years, IEEE Press, 1998, p. 128. . Because each field is sequential in time to the next, a kinescope film frame that captured two interlaced fields at once often showed a ghostly fringe around the edges of moving objects, an artifact not as visible when watching television directly at 50 or 60 fields per second.
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Gould, Jack. "TV Review Mickey Rooney Scores as Bitter Comedian" (The New York Times, February 15, 1957) The show was captured on kinescope and is available on DVD.Kienzle, Rich. "Mickey Rooney Plays A Heavy: Rod Serling's 'The Comedian" (Community Voices, April 8, 2014)Rosenbaum, Jonathan (April 11, 2009).
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Health and business problems forced Sargent to retire in the 1980s. The process became a footnote in history, though several other attempts were made to revive the essential concept—a higher-resolution videotape system, using modified video cameras, recording to videotape and then making a kinescope for theatrical release.
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In later years, film and television producers were often reluctant to include kinescope footage in anthologies because of its inherent inferior quality. While it is true that kinescopes did look inferior to live transmissions in the 1950s, it was due to the industry's technical limitations at that time.
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This show has one of the oldest live television episodes preserved, with a kinescope of a 1947 transmission in the collection of the Library of Congress. This program is also credited as one of the first television programs with a sustaining sponsor: Swift and Company, the meat and food products company. The series lasted only one season. According to Library of Congress and concurrent press sources, the program debuted in May 1947 at 1pm ET. There is a 3-minute segment of a live broadcast captured on early kinescope in the Library of Congress archives as part of the Hubert Chain collection from October 31, 1947, one of the earliest surviving recordings of live television.
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A music video for the single was released in 1986. The video was directed by Mellencamp and Faye Cummings, and it was filmed using a kinescope camera. It featured an African American-vocal group and a Caucasian- instrumental group with the two groups playing together at the end of the video.
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The Wraith is a live television comedy play presented on Australian television in 1957. Broadcast on ABC, it was originally telecast in Sydney, and shown in Melbourne via a kinescope recording. It was made at a time when Australian drama was rare. Duration was 30 minutes, in black and white.
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Many of the episodes were performed and broadcast live, and although the series was transmitted in color, only black-and-white kinescope copies of some episodes survive to the present day. The series finished at #22 in the Nielsen ratings for the 1955-1956 season and #26 for 1956-1957.
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Methods to record live television (such as kinescope recording) did not exist until late 1947, and were rarely used to record local programs for many years (though a small handful of local kinescopes are known to exist from the late-1940s). No copy of Bright Star Shining is known to exist.
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Toscanini's ten NBC Symphony telecasts from 1948 until 1952 were preserved in kinescope films of the live broadcasts. These films, issued by RCA on VHS tape and laser disc and on DVD by Testament, provide unique video documentation of the passionate yet restrained podium technique for which he was well known.
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DUMONT TELEVISION 1951 matchbook cover art DuMont programs aired in 32 cities by 1949. The live coaxial cable feed stretched from Boston to St. Louis. Other stations received programs via kinescope recordings. DuMont Laboratories was founded in 1931 by Dr. Allen B. DuMont with only $1,000, and a laboratory in his basement.
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These include a 45-minute installment from February 2, 1956, and a half-hour installment from October 25, 1956. In 2005, First Look Media released a three-disc DVD set of seven episodes transferred from their original kinescope elements plus rare footage of an additional five episodes; the total runtime is 210 minutes.
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Attempts were made for many years to take television images, convert them to film via kinescope, then project them in theaters for paying audiences. In the mid-1960s, Producer/entrepreneur H. William "Bill" Sargent, Jr. used conventional analog Image Orthicon video camera tube units, shooting in the B&W; 819-line interlaced 25fps French video standard, using modified high-band quadruplex VTRs to record the signal. The promoters of Electronovision (not to be confused with Electronicam) gave the impression that this was a new system created from scratch, using a high-tech name (and avoiding the word kinescope) to distinguish the process from conventional film photography. Nonetheless, the advances in picture quality were, at the time, a major step ahead.
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Among the episodes aired by GSN is the pilot for the 1969 series. The format features only one celebrity couple (Gene Rayburn and his wife Helen) playing against three civilian couples. The pilot exists as a black-and-white kinescope, although virtually all American television production had fully converted to color by this point.
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Poole produced three successor series through 1960, when Johns Hopkins ended production. Kinescope films survived for many episodes of these series, which is unusual for early live television. Copies have been archived at the Johns Hopkins library. Poole documented the techniques he developed for television programming devoted to science in a 1950 book, Science via Television.
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The Case of Private Hamp is a 1962 Australian television film which aired on the ABC. Despite the wiping of the era, a copy of the presentation exists as a kinescope recording. Australian TV drama was relatively rare at the time. It was based on a novel which was turned into the 1964 film King and Country.
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Jimmy Dorsey broke up his big band in 1953. Tommy invited him to join as a feature attraction. In 1953, the Dorseys focused their attention on television. On December 26, 1953, the brothers appeared with their orchestra on Jackie Gleason's CBS television show, which was preserved on kinescope and later released on home video by Gleason.
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Ira Levin's adaptation of the novel appeared live on 15 March 1955, on The United States Steel Hour, a television anthology series.. It starred Andy Griffith as Will Stockdale, Harry Clark as his nemesis and inadvertent mentor Sergeant Orville King, Robert Emhardt, Eddie Le Roy, and Alexander Clark. The kinescope recording of the broadcast is available.
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Well known in Australia at the time, he was also heard on radio during the 1950s. Given the main performer and the title, it was most likely a music series. Although kinescope recording and later video-tape was available during the run of the series, it is not known if any such recordings were made or still exist today.
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A single kinescope recording of this series survives at the Paley Center for Media, dating from August 25, 1948, when the show was still on a local DuMont station.Paley Center for Media This in fact is one of the oldest surviving records of a live television program and runs a total of 55 minutes, and may represent two episodes.
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Joseph A. Flaherty, Jr. is the son of a television engineer. He earned a degree in physics from Rockhurst College. From 1953 to 1955 Flaherty served at the United States Army Signal Corps Photographic Center. As Technical Director and Design Engineer of the U.S. Army's first television station, Flaherty designed the studio wherein training films were made through kinescope.
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NBC's lead sponsor, Chrysler said no when Williams, a Sears spokesman, was pictured putting stuff in a Ford truck. A black and white kinescope (saved by Armed Forces Television) of a July 12, between the Philadelphia Philles and Chicago Cubs is believed to be the oldest surviving complete telecast of the Saturday afternoon Game of the Week.
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Its original call sign was CKSO-TV. The station was a CBC affiliate, receiving programs by kinescope until a microwave relay system linked the station to Toronto in 1956. The station originally broadcast only from 7 to 11 p.m., but by the end of its first year in operation it was on the air from 3:30 p.m.
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Televised programming (especially that which was not considered viable for reruns) was still considered disposable. What was recorded was routinely destroyed by wiping and reusing the tapes until the rise of the home video industry in the 1970s. The ability for home viewers to record programming was extremely limited; although a home viewer could record the video of a broadcast by kinescope recording onto 8 mm film throughout television history or record the audio of a broadcast onto audiotape beginning in the 1950s, one could generally not capture both on the same medium until super-8 debuted in the 1960s. Attempting to film a television broadcast using the kinescope process required positioning the camera directly in front of the screen, blocking the view of other people trying to watch.
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Kiernan's Corner was an American television series which aired from 1948 to 1949. Not much is known about this early series, which was hosted by Walter Kiernan, and was broadcast on ABC. No kinescope recordings of the series are held by the major American television archives (such as Paley Center for Media), suggesting the series may possibly have been wiped.
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Still from Captain Video and His Video Rangers, one of DuMont's most popular programs. The DuMont Television Network was launched in 1946 and ceased broadcasting in 1956. Allen DuMont, who created the network, preserved most of what it produced in kinescope format. By 1958, however, much of the library had been destroyed to recover the silver content of the film prints.
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I'll Bet is presumed to have been wiped, much like all NBC daytime shows of the period. One episode, with guest stars Richard Long, his wife actress Mara Corday and fellow actress Beverly Garland, circulates among collectors as a black-and- white kinescope. A color episode from September 6, featuring Denise Darcel and Robert Culp, was discovered in February 2009.
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As with What's My Line?, early episodes from the original series' first season in 1952 appear to have been lost. From late 1952 until the 1967 cancellation, most episodes appear to exist as a digital transfer of the original black-and-white kinescope films. However, the premiere episode, which featured a drastically different set-up, is presumed to be lost.
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The production was staged in New York City and aired live on September 20, 1954, as the first episode in the seventh season of the program, Studio One. A kinescope recording was made for rebroadcast later on the west coast. It was written by Reginald Rose especially for Studio One. Felix Jackson was the producer and Franklin Schaffner the director.
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Pioneer television station KTLA broadcast pro wrestling matches as early as 1947, when the station began airing televised wrestling from the Grand Olympic Auditorium. Originally, the bouts were sponsored by the Ford Motor Company. By 1952, the matches were being syndicated nationally on the Paramount Television Network. The series was filmed (via kinescope) and then delivered to stations in the network.
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Beyond This Place is a 1957 American television adaptation from A. J. Cronin's 1950 novel, Beyond This Place. It is a live television production, possibly preserved on kinescope. The show was directed by Sidney Lumet and produced by David Susskind. It was the third episode of the first season of The DuPont Show of the Month, which was broadcast on CBS.
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Three episodes appear on the Internet Archive, and several additional episodes appear on YouTube. Although daytime series were routinely wiped during the 1950s, couples who appeared on the show were sometimes given a 16mm kinescope print of their appearance. In 2012 a couple married on the show celebrated their 60th wedding anniversary, and clips from their episode appeared on CBS This Morning: Saturday.
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Bennett Cerf, the head of Random House publishing who was also a regular panelist on the network television series, initiated talk of Hemingway's new bestselling book. Cerf, who was two years younger than Fitzgerald and one year older than Hemingway, had the following exchange with Graham, according to the kinescope of the telecast that is available for viewing on YouTube.
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Columbia Records recorded the musical selections from the first telecast of Cinderella on March 18, 1957, nearly two weeks before the show aired, in monaural and stereophonic sound, releasing the mono version in 1957 and then the stereo version in 1958. The stereo version was later reissued on CD by Sony. The black-and-white kinescope recording made during the telecast was broadcast on PBS in December 2004 as part of its Great Performances series. It was later released on DVD with a documentary including most of its original players, as well as a kinescope of Rodgers and Hammerstein's appearance on The Ed Sullivan Show the preceding Sunday, featuring Hammerstein reciting one of the songs to orchestral accompaniment. In 1959 RCA Victor released an abridged Cinderella with Mary Martin and The Little Orchestra Society, which was released on CD in 2010 (Sepia 1144).
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A black and white kinescope of the first hour has long been available for viewing at the Museum of Television and Radio in New York and Los Angeles, but the second half of the broadcast was, for many years, on the Museum's list of "lost treasures." In 2004, writer/director Robert Armin met with actress Dina Merrill to talk about the broadcast. When Ms Merrill, a Trustee of the Museum, learned that the second hour (in which she has her strongest scenes) could not be found, she contacted the Museum's curators, who then made locating the missing footage a priority. At their urging, the Library of Congress, which has a large collection of NBC footage, made a thorough search of its holdings and discovered eight film cans labeled Sunday Showcase which contained a complete kinescope of the entire two-hour broadcast.
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In producing the special, the only existing master 16mm prints of the original series kinescope films were removed from storage and brought to a Manhattan editing facility that Goodson-Todman Productions rented. There, company employees Gil Fates, Bob Bach, Pamela Usdan and Bill Egan worked round-the-clock for three days to compile the 90-minute special under deadline pressure from ABC network official Bob Shanks.Fates p.
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At least some episodes with all four regular hosts were saved as kinescope films. Most recently, the show aired in reruns on GSN at 3:30 AM ET every morning following What's My Line? in GSN's "Black & White Overnight" block. The latest run began on July 14, 2008, with an episode from August 6, 1952, and ended on December 2 with the series finale.
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However, they were "truck feeds" in that they do not contain the original commercials, but show a static image of the Shea Stadium field between innings. Games 1 and 2 were saved only as black-and-white kinescopes provided by the CBC. CBC also preserved all seven games of the and 1968 World Series (plus the 1968 All-Star Game) in black-and-white kinescope.
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The Vampira and Me restoration of the Gobel kinescope was documented in a 2013 short film entitled Restoring Vampira. Examination of Nurmi's diaries in 2014 by filmmaker and journalist R. H. Greene verify longtime rumors that in 1956 she was the model for Maleficent, the evil witch in the Disney conception of the classic fairy tale "Sleeping Beauty." The Disney archivist subsequently confirmed these findings.
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The program also featured Peter Lorre as Le Chiffre, the primary villain. Nelson later noted the opportunity to work with Lorre was the reason he took the role. Originally broadcast live, the production was believed lost until a kinescope emerged in the 1980s. It was released to home video and is currently available on DVD as a bonus feature with the 1967 film adaptation of the novel.
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It also holds the entire Hearst Metrotone News Library. The archive is also known for holding over 300 kinescope prints from the now-defunct DuMont Television Network. The archive also holds restored prints of Paramount Pictures' cartoon library. Much of the Archive's collection is available for onsite research by appointment at the Archive's Research & Study Center (ARSC), located on the UCLA campus in Powell Library.
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The network invested more than $1 million to enable production of this and other live programs. All scenes were shot indoors, with projectors used to create background images — stationary or moving — for outdoor action. Geared toward a children's audience, the program was telecast live to West Coast stations and viewed via kinescope elsewhere. Even in 1950, the production of the program seemed unusually primitive.
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The Edge of Night's ABC debut is believed to have survived. Overall, the number of surviving monochrome episodes recorded on kinescope outnumber color episodes for these programs. Agnes Nixon initially produced her series One Life to Live and All My Children through her own production company, Creative Horizons, Inc., and kept a complete archive of monochrome kinescopes until ABC bought the shows from her in 1975.
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Hollywood A Go-Go was a Los Angeles-based music variety show that ran in syndication from 1965 to 1966. The show was hosted by Sam Riddle, with music by The Sinners and dancing by The Gazzarri Dancers. It was filmed at the KHJ- TV studios in Los Angeles. Rights to surviving footage of the show (preserved on kinescope film) are now represented by Research Video.
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The series was broadcast live from New York City. It broadcast in only twelve cities across the United States because the writers of the properties used in the series refused to allow the show to be broadcast using kinescope. Prudential Family Playhouse aired on alternate Tuesdays opposite the highly rated Texaco Star Theater, hosted by Milton Berle. As a result, the series struggled in the ratings.
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Although kinescope recording had been invented, it is not known if any of the live episodes were recorded, and the series is possibly lost (Hit Parade, a Seven Network series which started 1957 in which hit recordings were danced to and lip-synced by the cast, does have preserved episodes, as do later 1950s variety series like The Bobby Limb Show (1959-1961) which featured live music).
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The Complete Directory to Prime Time Network TV Shows (9th ed.). New York: Ballantine. . Due to the large number of musical series broadcast from WGN-TV during the early years of television, it is not exactly clear which performers appeared regularly on This Is Music, and kinescope recordings do not exist for most DuMont Network series. According to McNeil (1996), regulars included Colin Male and Alexander Gray.
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Deford 1971:107–108. Ronnie Robinson, son of boxer Sugar Ray Robinson, was designated the team's star player. Dixie Devils games had to be recorded with kinescope, when TV audiences had already grown accustomed to the relatively clean, clear appearance of videotape, and the result was disastrous; no loyal TV audiences were grown, fan attendance was low, and the venture folded after one month.
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Beginning on September 5, 1950, the show aired as TV Club (aka Don McNeill's TV Club) on ABC in the 1950-51 prime time season in a 60-minute version, Wednesdays at 9pm ET. From September to December 1951, the show returned to ABC in a 30-minute version, Wednesdays from 9pm to 9:30pm ET. Beginning on February 22, 1954, and ending on February 25, 1955, Don McNeill's Breakfast Club was simulcast in its regular morning slot on ABC Radio and ABC Television. However, it failed to make a successful transition to television in either version. On May 12, 1948, the program was shown on the DuMont television station WABD in New York, "simulcast" with the ABC radio show, as an experiment. At least two kinescope recordings survive of these telecasts, including a February 17, 1954 "test kinescope," produced a week before the regular ABC simulcasts began.
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The Honeymooners was filmed using three Electronicams. In 1955, many television shows (including The Jackie Gleason Show) were performed live and recorded using kinescope technology, though sitcoms already largely were recorded on film, e.g., Amos 'n' Andy, The Adventures of Ozzie and Harriet, My Little Margie, and I Married Joan. I Love Lucy, which was recorded directly onto 35mm film, had influenced television production companies to produce directly on film.
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Mark Goodson, Arlene Francis and John Charles Daly appeared on-camera in 1975 having a conversation that introduced the old kinescope clips. Hosts of the syndicated version, Wally Bruner and Larry Blyden, were alive at the time but did not participate. With the exception of Bruner's 1969 appearance with mystery guest Gerald Ford, the 25th anniversary special consisted entirely of highlights from the CBS Sunday night version of the series.
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Only 11 episodes of the 1962–69 series are known to survive—the pilot and 10 kinescope recordings, all of which are archived at the Paley Center for Media. Nine of these are black-and-white kinescopes and one is a color episode (from 1969 and on videotape). The pilot has since fallen into the public domain. Episodes from 1973–82 currently air on both Buzzr and GSN.
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It featured his piano playing along with monologues and interviews with top-name guests such as Fred Astaire and Linus Pauling. Full recordings of only two shows are known to exist, one with Astaire, who paid to have a kinescope recording of the broadcast made so that he could assess his performance. In 1960, Levant was awarded a star on the Hollywood Walk of Fame in recognition of his recording career.
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Rooftop Rendezvous is an Australian television series which aired on ABC during 1959. It was a half-hour variety series hosted by Bill Brady and produced by Harry Pringle. Produced in Sydney, it was regularly kinescoped for broadcast in Melbourne (it is not known if it was also shown on ABC's stations in Brisbane and Adelaide). It is not known if any of these kinescope recordings still exist.
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Several notable programs debuted during the season and within the preceding summer. The preservation of these telecasts on kinescope film vary. The Texaco Star Theater proved to be one of the most notable hits of the year with its host, Milton Berle, credited with encouraging consumers to purchase their first television set. The 1948 episodes of the Berle show are missing, but many of the 1949 episodes still exist.
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In 2007, the kinescope film of Nurmi in character was restored by Rerunmedia, whose restorations include The Ed Sullivan Show and Dark Shadows. The restoration utilized the groundbreaking LiveFeed Video Imaging process developed exclusively for the restoration of kinescopes. The restoration was funded by Spectropia Wunderhaus and Coffin Case. A reconstructed episode of The Vampira Show was released on DVD by the Vampira's Attic web site in October 2007.
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Virtually all of the series is believed to have been destroyed due to network practices of the era, with the videotapes wiped and re-used. One episode distributed for broadcast on November 8, 1967, in color, and the first half of a 1968 episode (before the "Stop and Go" bonus format), in monochrome kinescope, exist in the hands of collectors. Game Show Network has aired the color episode.
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Kahane warned the Stooges that a contract stipulation restricted them from performing in a TV series that might compete with their two-reel comedies. Columbia further threatened to cancel the boys' contract and take them to court if they tried to sell the series. To avert a legal hassle, the pilot was shelved and the project abandoned. The kinescope film is now in the public domain and widely available.
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There were numerous problems with the arrangement. The first, and most difficult to solve, was that the resulting system was enormous. One example system using three 10-inch kinescope monitors, was 40-inches high, 38-inches wide and 21-inches deep. This was the smallest of the Triniscope models produced with a reasonable display size; others had smaller chassis, but only at the cost of much smaller displays.
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A kinescope of the 1958 broadcast survives and can be viewed at both the New York City and Beverly Hills, California, branches of The Paley Center For Media and in October 2014 was placed on YouTube. The musical was later presented on stage in London, premiering on December 17, 1959, at the Coliseum. Bob Monkhouse, Doretta Morrow, Ian Wallace & Ronald Shiner starred. The Musical Director was Bobby Howell.
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Electronicam was a television recording system that shot an image on film and television at the same time through a common lens. It was developed by James L. Caddigan for the DuMont Television Network in the 1950s, before electronic recording on videotape was available. Since the film directly captured the live scene, its quality was much higher than the commonly used kinescope films, which were shot from a TV screen.
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In 2007, the kinescope film of Nurmi in character was restored by Rerunmedia, whose previous work includes restoring footage from The Ed Sullivan Show and Dark Shadows. The restoration utilized the LiveFeed Video Imaging process developed exclusively for the restoration of kinescopes. The restoration was funded by Spectropia Wunderhaus and Coffin Case. A reconstructed episode of The Vampira Show was released from the Vampira's Attic web site in October 2007.
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Programs originally shot with film cameras (as opposed to kinescopes) were also used in television's early years, although they were generally considered inferior to the big-production "live" programs because of their lower budgets and loss of immediacy. In 1951, the stars and producers of the Hollywood-based television series I Love Lucy, Desi Arnaz and Lucille Ball, decided to film the show directly onto 35 mm film using the three-camera system, instead of broadcasting it live. Normally, a live program originating from Los Angeles would be performed live in the late afternoon for the Eastern Time Zone, and seen on a kinescope three hours later in the Pacific Time Zone. But as an article in American Cinematographer explained, :In the beginning there was a very definite reason for the decision of Desilu Productions to put I Love Lucy on film instead of doing it live and having kinescope recordings carry it to affiliate outlets of the network.
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The Astronauts is a television film, or rather a live television play, which aired in Australia during 1960 on ABC. Broadcast originally in Melbourne on 18 May 1960, a kinescope recording was made of the broadcast and shown in Sydney on 27 July 1960 (it is not known if it was also shown on ABC's stations in Brisbane, Adelaide and Perth). 'Filmink magazine said it may be the only Australian drama about the space race.
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A restoration of the program won a technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein. They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage."Emmys" by Thomas O'Neil; Perigee Trade; 3 edition 2000; pp. 61–62 Astaire played Julian Osborne, a non-dancing character, in the nuclear war drama On the Beach (1959).
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Due to wiping, a run- through taped in December 1960 and an episode from 1961 are the only regular episodes in existence. The latter show was discovered in 2014 and uploaded to YouTube. In the 1960 run-through, the format was somewhat different: two games were played, and the winners of those games competed head-to-head; the goal in each game was $2,000. Both episodes were kept using the Kinescope format.
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Rains' narration was used "to bridge the almost limitless number of sequences of life aboard the doomed liner", as a reviewer put it, and closed with his declaration that "never again has Man been so confident. An age had come to an end." The production was a major hit, attracting 28 million viewers, and greatly boosted the book's sales. It was rerun on kinescope on 2 May 1956, five weeks after its first broadcast.
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In 1951, singer Bing Crosby’s company Bing Crosby Enterprises made the first experimental magnetic video recordings; however, the poor picture quality and very high tape speed meant it would be impractical to use. In 1956, Ampex introduced the first commercial Quadruplex videotape recorder, followed in 1958 by a color model. Offering high quality and instant playback at a much lower cost, Quadruplex tape quickly replaced kinescope as the primary means of recording television broadcasts.
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"I Need You Now" is a popular song written by Al Jacobs and Jimmie Crane. The recorded version by Eddie Fisher, issued by RCA Victor Records as catalog number 20-5830, reached #1 on the Billboard and Cash Box charts in 1954. The song was also performed by Russell Arms on several 1954 episodes of the popular TV series Your Hit Parade. A kinescope of one of these performances survives and can be viewed online.
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While a kinescope was responsible for filming this race to an audience that could not see it live, ABC's Wide World of Sports kept a copy of this race on VHS. For superstition reasons from NASCAR driver Joe Weatherly, this race is historically known as the 12th Revival of the Southern 500 instead of the 13th Southern 500. He would collide with David Pearson although they would go on to finish the race.
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Reginald Rose's screenplay for 12 Angry Men was initially produced for television (starring Robert Cummings as Juror 8), and was broadcast live on the CBS program Studio One in September 1954. A complete kinescope of that performance, which had been missing for years and was feared lost, was discovered in 2003. It was staged at Chelsea Studios in New York City. The success of the television production resulted in a film adaptation.
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While waiting for the broadcasting tower to be completed, a number of programs were recorded using kinescope recording technology (the same as used for The Honeymooners). Once on the air, there were a number of award-winning programs produced by Mayo Simon, Bill Hartzell, Ran Lincoln and Guggenheim. They included the first live broadcast of the St. Louis City Council. Another featured the St. Louis Post-Dispatch nature columnist Leonard Hall of Possum Trot Farm.
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Saint's introduction to television began as an NBC page. She appeared in the very early live NBC TV show Campus Hoopla in 1946-47\. Her performances on this program are recorded on rare kinescope, and audio recordings of these telecasts are preserved in the Library of Congress. She also appeared in the Bonnie Maid's Versa-Tile Varieties on NBC in 1949 as one of the original singing "Bonnie Maids" used in the live commercials.
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Produced by ABC's Melbourne station, it was produced in the Rippon Lea studios, and expected to reach 1600 children in 40 schools. However, in Melbourne the episodes were also shown in the evening on Thursdays (presumably via kinescope recordings), thus giving the series a much wider potential audience. TV listings show these evening broadcasts at 7:30PM, aired against imported series Passport to Danger on HSV-7 and The Perry Como Show on GTV-9.
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Shortly after signing to the Serjical Strike label, The Drawn and Quartered EP was released, featuring demo and live tracks from inter.funda.stifle, and a mini-documentary titled The Drawn and Quartered Kinescope, which served as an introduction of the band, including interviews and past concert footage. Meanwhile, the band worked on recording their third album with music producer David Bottrill. For it, the band chose to rerecord many of the songs from inter.funda.
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Most were taped in New York City either at NBC's Studio 8H (built for Arturo Toscanini and the NBC Symphony Orchestra and which would later house Saturday Night Live), or in NBC's color studio in the Midwood section of Brooklyn. Much of the series' color videotaped footage was later transferred over to kinescope on film - as such copied in black and white. Only three half-hour episodes are known to exist in their original color videotaped form.
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In 1963, WGBH-TV, Boston's public television station, aired an interview with Ouimet at The Country Club in Brookline, Massachusetts, to mark the 50th anniversary of his win at the 1913 U.S. Open. The kinescope of that interview was included in the DVD of the Walt Disney film The Greatest Game Ever Played. Disney's film took artistic license, portraying the win as having been by a single stroke when, in reality, Ouimet won by five strokes.
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The archival status of the series is also not known, although being a daytime series aired in a single city means it is unlikely (though not impossible) that kinescope recordings exist of it. For some time, the series was preceded on HSV-7's schedule by documentary series Australia Wide and followed by Gadget Man (which consisted of demonstrations of gadgets). On Australian television of the 1950s, music programmes were typically aired in a single city, with some exceptions.
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Jamie has never been available on home media. Of the pilot and 22 episodes of Jamie broadcast live, at least some are known to have survived on film by the Kinescope process. (Videotape was not introduced until 1956.) The pilot of Jamie and four episodes, including the final, October 4, 1954, airing, are available for viewing at The Paley Center For Media (formerly The Museum of Television and Radio) in New York City and in Beverly Hills, California.
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In the late 1990s, Bacall donated the only known kinescope of the 1955 performance to The Museum of Television & Radio (now the Paley Center for Media), where it remains archived for viewing in New York City and Los Angeles. Bacall starred in two feature films, The Cobweb and Blood Alley, which were both released in 1955. Directed by Vincente Minnelli, The Cobweb takes place at a mental institution in which Bacall's character works as a therapist.
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A part-owner of the Pittsburgh Pirates, who was too superstitious to watch the Series live, Crosby listened to the decisive contest with his wife Kathryn and two friends on a shortwave radio in Paris, France. Wanting to watch the game at a later date only if the Pirates won, he arranged for a company to record it. After viewing the kinescope, he placed it in his wine cellar, where it went untouched for 49 years.
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There are also two appearances by Judy Garland in 1968 that still survive. John Lennon and Paul McCartney's joint appearance on the May 14, 1968 episode guest-hosted by Joe Garagiola, with a guest appearance by Tallulah Bankhead (one of her last), was preserved on poor-quality home kinescope and audiotape in separate recordings by Beatles fans. The program archive is virtually complete from 1973 to 1992.Johnny Carson: The Official Tonight Show Website, Clip Licensing.
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At the time, the NTSC broadcast was recorded on many videotapes and kinescope films. Many of these low-quality recordings remain intact. As the real-time broadcast worked and was widely recorded, preservation of the backup video was not deemed a priority in the years immediately following the mission. In the early 1980s, NASA's Landsat program was facing a severe data tape shortage and it is likely the tapes were erased and reused at this time.
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Viewers were then treated to a film of the Queen's Birthday Procession from the military barracks at Duntroon (filmed earlier that day), followed by an hour of variety with The B.P. Super Show hosted by Margaret Fonteyn. The detective series Michael Shayne made its premiere on CTC then a kinescope of the opening ceremony was screened. The first night's programming concluded with an epilogue and a preview of the following day's programmes before ending transmission at 10:30pm.
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Anything they tried turned out to be a fiasco, which was the source of the comedy. The pilot took a single day to film and was never aired. It was actually a kinescope film of a three-camera television production, most likely to replicate a proposed live broadcast. Moe Howard (left) in Malice in the Palace (1949) with Shemp Howard and Larry Fine B.B. Kahane, Columbia Pictures' vice president of business affairs, stopped the show from being broadcast.
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Although the shadow mask worked, it had a number of practical drawbacks. Notable among these was the dim images it produced as a side-effect of the mask blocking off most of the power from the electron guns. Development of other solutions to the color problem continued throughout the 1950s and 60s, including commercial development of the Triniscope. The Triniscope was first used as a color analog of the existing kinescope systems it was originally developed from.
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By capturing more than 800 lines of resolution at 25 frame/s, raw tape could be converted to film via kinescope recording with sufficient enhanced resolution to allow big-screen enlargement. The 1960s productions used Marconi image orthicon video cameras, which have a characteristic white "glow" around black objects (and a corresponding black glow around white objects), which was a defect of the pickup. Later vidicon and plumbicon video camera tubes produced much cleaner, more accurate pictures.
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It was possible to filter the chroma out, but this was not always done. Consequently, the color information was included (but not in color) in the black & white film image. Using modern computing techniques, the color may now be recovered, a process known as color recovery. In recent years, the BBC has introduced a video process called VidFIRE, which can restore kinescope recordings to their original frame rate by interpolating video fields between the film frames.
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Video Artists International has formed joint ventures with Showcase Productions, Inc. for the release of a number of Producers' Showcase programs, as well as Showcase programs from other "Golden Age of Television" series, complete with their commercial announcements, on DVD: Festival of Music (#4244), Festival of Music II (#4245), The Sleeping Beauty (#4295) and Cinderella (#4296). Although these episodes were broadcast live and in color, the kinescope process by which they were preserved is black-and-white.
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Upshot–Knothole Annie was a nuclear weapons test conducted by the United States as part of Operation Upshot–Knothole. It took place at the Nevada Test Site on 17 March 1953, and was nationally televised. The live TV coverage was recorded on a kinescope, so it is a rare record of the sound an actual atomic bomb makes. Operation Doorstep was a civil defense study conducted by the Federal Civil Defense Administration in conjunction with Annie.
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The Brussels Symphony Orchestra recorded some of his work, and in 1956 he conducted the Los Angeles Philharmonic in a performance of his first symphony, Reflections d'Un Comique.Obituary: Donald O'Connor: Dynamic dancer and comedian Bergan, Ronald. The Guardian 29 Sep 2003: 1.21. He hosted a color television special on NBC in 1957, one of the earliest color programs to be preserved on a color kinescope; an excerpt of the telecast was included in NBC's 50th anniversary special in 1976.
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This made complex productions problematic. Single-stage shows, such as The Honeymooners, were relatively easy since they had few sets and generally small casts. In the studio, when two or three Electronicam cameras were used, a kinescope system recorded the live feed (as broadcast), so the Electronicam films could later be edited to match. The audio was recorded separately, onto either a magnetic fullcoat (1952, and all later) or as an optical soundtrack negative (pre-1952).
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In the United States, most television shows from the late 1940s and early 1950s were performed live, and in many cases they were never recorded. However, television networks in the United States began making kinescope recordings of shows broadcast live from the East Coast. This allowed the show to be broadcast later for the West Coast. These kinescopes, along with pre-filmed shows, and later, videotape, paved the way for extensive reruns of syndicated television series.
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The basic cable channel GSN has rebroadcast the kinescope of an appearance that Sheilah Graham made on the American television show What's My Line? 23 years after the death of her boyfriend F. Scott Fitzgerald. She appeared on an episode that was telecast live on CBS on June 7, 1964, when A Moveable Feast was on bestseller lists. Graham appeared on the show to promote a book she had written, and she did not bring up A Moveable Feast.
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In some cases, network shows were recorded (either as a kinescope or, starting in the late 1950s and early 1960s, on videotape) and sent to the station via mail or courier, to be aired on a delayed basis (usually a one-week delay). This was a less than satisfactory situation for these stations because of the inferior quality of kinescope recordings, the possibility of a recording being lost or damaged in transit, and the fact that they would be unable to broadcast episodes of a given series on the same date and at the same time as most other network affiliates. Additionally, live broadcasts such as sporting events and breaking news coverage could not be carried, as they would be dated by the time a recording could be received and broadcast. Some of these stations, therefore, entered into an agreement with another affiliate of the same network located in a nearby market to pick up their broadcast signal off the air and relay it via their own transmitter during network programming.
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Apart from Phonovision experiments by John Logie Baird, and some 280 rolls of 35mm film containing a number of Paul Nipkow television station broadcasts, no recordings of transmissions from 1939 or earlier are known to exist. In 1947, Kinescope films became a viable method of recording broadcasts, but programs were only sporadically filmed or preserved. Tele-snaps of British television broadcasts also began in 1947 but are necessarily incomplete. Magnetic videotape technologies became a viable method to record and distribute material in 1956.
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A kinescope of the very first episode survives and Allen's opening monologue has been rebroadcast many times on Tonight Show anniversary specials and in documentaries such as Television. In his opening remarks, Allen makes the prescient statement that Tonight! "is going to go on forever" (an apparent reference to the show's run time, then clocking in at 105 minutes with commercials). With several hosts over the decades, it has done just that, albeit with a much different meaning than Allen intended.
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Like most DuMont programs, no known episodes of The Gallery of Madame Liu-Tsong exist today, the majority of the network's footage having been dumped into the Hudson River upon closure. Although a few kinescope episodes of various DuMont series survive at Chicago's Museum of Broadcast Communications, New York's Paley Center for Media, and the UCLA Film and Television Archive, there are no copies of Madame Liu-Tsong in these archives.Ingram, C. (2002). "The DuMont Television Network Historical Web Site" .
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The broadcast was long believed to have no surviving copies, but a kinescope was discovered at the Library of Congress where it was shown in December 2005. Susan Gordon who played Mary Healy's daughter and was ten at the time of the broadcast, attended the screening.Details regarding the Library of Congress screening of Miracle on 34th Street She was 56 and died six years later at the age of 62. Mary Healy lived to be 96 and died in 2015.
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Hank Jr. then walks through the door and magically appears by his father's side to finish the song together. The footage of Hank Sr. was a digitally modified kinescope of a 1952 performance of "Hey, Good Lookin'" on the Kate Smith Evening Hour. The editing team made several hundred minute tweaks to lay a new mouth (that of an actor dressed like Hank, Sr.) over the mouth of the original Hank. What now seems quaint was at the time quite groundbreaking.
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The American series is believed to be destroyed as per network practices of the era. A photo of Russell and the wheel was used in the A&E; Biography TV Game Shows. The Australian version likely suffered the same fate, although clips of an episode were used in the 2006 special 50 Years: 50 Stars.Clip of Grundy's Wheel of Fortune An episode (missing the opening and closing titles) is held by National Film and Sound Archive as a kinescope recording.
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Classic authors such as Edgar Allan Poe, Agatha Christie, and Charles Dickens all had stories adapted for the series, while contemporary authors such as Roald Dahl and Gore Vidal also contributed. Many notable actors appeared on the program, including Bela Lugosi, Boris Karloff, Cloris Leachman, Brian Keith, Franchot Tone, Robert Emhardt, Leslie Nielsen, Lloyd Bridges, and many more. The program was a live television series, but most episodes were recorded on kinescope. However, only 90 of the 260 episodes survive today.
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The Triniscope was an early color television system developed by RCA. It used three separate video tubes with colored phosphors producing the primary colors, combining the images through dichroic mirrors onto a screen for viewing. As a consumer system it was enormous, expensive, impractical, and dropped as soon as the shadow mask system was successful. However, the Triniscope idea was used commercially in several niche roles for years, notably as a color replacement for the kinescope, from which it took its name.
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Today however, efforts are made to preserve the few surviving DuMont kinescopes, with the UCLA Film and Television Archive having collected over 300 for preservation. In September 2010, a kinescope of game 7 of the 1960 World Series was found in the wine cellar of Bing Crosby. The game was thought lost forever, but was preserved due to Crosby's superstition about watching the game live. The film was transferred to DVD and was broadcast on the MLB Network shortly afterwards.
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Because "Lucy" was filmed in front of a live audience there were restrictions on where the camera could be placed. He also used film cameras as opposed to traditional TV cameras in the filming to allow greater control in editing, and also to provide a better image than the live video and kinescope images available in the 1950s. Shooting on film gave "Lucy" new life in syndication, and extended the lifespan of the show for many generations after the original broadcast.
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Denzil Howson who was then Assistant Programme Manager at GTV9, was asked by Norman Spencer to develop a daily children's programme. A pilot of the show was kinescope recorded onto film. The program started on Melbourne's GTV-9 on 21 January 1957"You, Me and Gerry Gee" by Ron Blaskett p.88 (only two days after the official opening of GTV9), debuting from the Myer Emporium Lonsdale St store window, as the GTV9 studios in Bendigo Street, Richmond were still under construction.
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With the advent of television, broadcasters quickly realised the limitations of live television broadcasts and they turned to broadcasting feature films from release prints directly from a telecine. This was before 1956 when Ampex introduced the first Quadruplex videotape recorder (VTR) VRX-1000. Live television shows could also be recorded to film and aired at different times in different time zones by filming a video monitor. The heart of this system was the kinescope, a device for recording a television broadcast to film.
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After 12 years with NBC, Dinah signed with ABC-TV in the fall of 1964 hosting four hour long specials sponsored by Purex. In 1970 Dinah Shore returned as a staple of American television in various daytime talk shows for NBC and syndication for more than twenty years after the conclusion of this series. The show won four Emmy Awards during its run. Beginning in 2011 black- and-white kinescope episodes of the series aired on the Jewish Life Television network.
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Overall, the picture quality was still considered inferior to the best kinescope recordings on film."Tape-Recorded TV Nears Perfection," New York Times, Dec. 31, 1952, p. 10. Bing Crosby Enterprises hoped to have a commercial version available in 1954, but none came forth."New Deal on TV Seen at Parley," New York Times, May 1, 1953, p. 30. BCE demonstrated a color model in February 1955, using a longitudinal recording on half-inch (1.3 cm) tape, essentially similar to what RCA had demonstrated in 1953.
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Treason is a 1959 Australian television live drama, which aired on ABC about the 20 July plot during World War Two. Originally broadcast 16 December 1959 in Melbourne, a kinescope ("telerecording") was made of the program and shown in Sydney on 13 January 1960. It was an adaptation of a stage play by Welsh writer Saunders Lewis, which had previously been adapted as an episode of BBC Sunday-Night Theatre.1959 British TV version at IMDb Australian TV drama was relatively rare at the time.
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It had been believed that on the night of the live broadcast the show was preserved on both kinescope and videotape and then transmitted to the West Coast. Seeking either of these, Jane Klain, the Director of Research at the New York facility, asked CBS to search their vaults. The CBS database listed three 16mm films featuring five-minute segments of Julie Andrews performing in the show. When the earliest one was brought from the CBS vault, it was discovered to be the full dress rehearsal.
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It is likely that the experience gained from these productions allowed ABC to later produce dramatic programs with more local interest, such as Stormy Petrel. The program was originally shown in Sydney (on ABN-2) on 15 July 1959. A kinescope ("telerecording") was made of the program and later shown in Melbourne on 5 August 1959 (on ABV-2). In 1959, two additional ABC stations began operations, in Adelaide and Brisbane respectively, and it is not known of the program was also shown in these two cities.
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The Nativity was a 58-minute United States television drama with music about the birth of Jesus Christ, presented on the television anthology Westinghouse Studio One. Directed by Franklin Schaffner, it is a rare modern network television production of an authentic mystery play, mostly culled from the York and Chester mystery plays of the 14th and 15th centuries in England. The adaptation was by Andrew Allan. The presentation, originally telecast live the evening of December 22, 1952 on CBS, has been preserved on kinescope.
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Curtain Call is an Australian variety series which aired in Sydney on ATN-7 during 1960, which featured comedy and music. It was followed-up in 1961 with the popular Revue '61. The show aired in an hour-long time-slot (running time excluding commercials is not known). It was not live, but recorded in advance on video-tape, which at the time was cutting-edge technology (prior to video- tape, stations used the more primitive kinescope system) English comedian Digby Wolfe appeared in several episodes.
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Mr. Wizard always had some kind of laboratory experiment going that taught something about science. The experiments, many of which seemed impossible at first glance, were usually simple enough to be re-created by viewers. The show was very successful; by 1954 it was broadcast live by 14 stations, and by kinescope (a film made from the television monitor of the original live broadcast) by an additional 77. Mr. Wizard Science Clubs were started throughout North America, numbering 5,000 by 1955 and 50,000 by 1965.
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The operator could make the image brighter or darker, adjust contrast, width and height, turn left, right or upside down, and positive or negative. Since kinescopes were able to produce a negative picture, direct positive recordings could be made by simply photographing a negative image on the kinescope tube. When making a negative film, in order for final prints to be in the correct emulsion position, the direction of the image was reversed on the television. This applied only when double system sound was used.
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He recorded complete sets of Lakmé (with Mado Robin, 1952) and Mignon (1953) for Decca Records; and Thaïs (with Géori Boué, 1952) and Werther (with Suzanne Juyol, 1952) for Urania. His best-known recording may be, however, that of excerpts from Carmen (1946), with Risë Stevens, Nadine Conner, Raoul Jobin and Robert Weede, for Columbia Records. Among Sébastian's "pirate" recordings are Elektra (1966) and Salome (1967), both with Anja Silja. EMI has published the kinescope of the Callas debut, "La Grande Nuit de l'Opéra," on DVD.
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KTVA only broadcast for a few hours a day in its early years. All of its network programming had to be physically flown in as film or kinescope from the mainland United States, since there were no satellite broadcasting or nearby antenna broadcasts available in Alaska in those days. In 1955, just two years after launching KTVA, Hiebert founded KTVF, Alaska's second television station, in Fairbanks. Hiebert worked behind the scenes to bring live coverage of Neil Armstrong's walk on the moon on July 20, 1969.
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Filmed by Grant Productions at Hal Roach Studios, Your Show Time was American television's first dramatic series to be shot on film instead of being aired on live television or as a kinescope. The series Public Prosecutor was produced on film in 1947–48, for a planned September 1948 debut, but remained unaired until DuMont aired that series in 1951–52.Stanley Rubin, "A (Very) Personal History of the First Sponsored Film Series on National Television", E-Media Studies, vol. 1, issue 1 (2008).
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At this time, however, he was also experimenting with an improved cathode ray receiving tube, filing a patent application for this in November 1929, and introducing the new receiver that he named the "kinescope", reading a paper two days later at a convention of the Institute of Radio Engineers. Having developed the prototype of the receiver by December, Zworykin met David Sarnoff, who eventually hired him and put him in charge of television development for the Radio Corporation of America (RCA) at its factories and laboratories in Camden, New Jersey. The move to the RCA's Camden laboratories occurred in the spring of 1930, and the difficult task of developing a transmitter could begin. There was an in-house evaluation in mid-1930, where the kinescope performed well (but with only 60 lines definition), and the transmitter was still of a mechanical type. A "breakthrough" would come when the Zworykin team decided to develop a new type of cathode ray transmitter, one described in the French and British patents of 1928 priority by the Hungarian inventor Kalman Tihanyi whom the company had approached in July 1930, after the publication of his patents in England and France.
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In 1998, the start times were moved ahead to 7 p.m. ET and PT. CBC claims that Instant replay made its debut on a 1955 HNIC broadcast. CBC director George Retzlaff made a kinescope recording of a goal, and replayed it to the television audience seconds later. Olympic women's ice hockey champion Cassie Campbell joined Hockey Night in Canada in 2006 as a rinkside reporter, becoming (on October 14, 2006) the first woman to do colour commentary on a Hockey Night in Canada broadcast.Immodest and Sensational: 150 Years of Canadian Women in Sport, p.
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The episode first aired over CBS on January 28, 1956. When the quiz show scandals exploded in 1958, among the materials a federal grand jury investigated was a series of 1957 Tic-Tac-Dough episodes hosted by Jackson and preserved on kinescope, featuring U.S. Army captain Michael O'Rourke winning over $140,000 during his reign as champion. Jackson himself was never accused of any wrongdoing; it was noted that he left the show well before the investigations began in earnest. One episode in that series of shows is available through classic video sellers.
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The film was the second of a small number of productions that used the system. By capturing more than 800 lines of resolution at 25 frames per second, the video could be converted to film by kinescope recording with sufficiently enhanced resolution to allow big-screen enlargement. It is considered one of the seminal events in the pioneering of music films, and more importantly, the later concept of music videos. T.A.M.I. Show is particularly well known for James Brown and the Famous Flames' performance, which features his legendary dance moves and explosive energy.
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He ran the experimental station from 1942 to 1947, during which time he produced Paramount's first kinescope. Also in 1947, KTLA (Channel 5), a Los Angeles Television station funded by Paramount and helmed by Klaus Landsberg, began regular commercial broadcasts, with the first such KTLA commercial broadcast was January 22, 1947, hosted by Bob Hope. By 1948, KTLA boasted a show lineup that included Spade Cooley, The Ina Ray Hutton Show, The Continental Lover, Time for Beany, Korla Pandit's Adventures in Music and Hollywood Wrestling. Landsberg died of cancer in 1956 in Los Angeles.
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All My Children had always aired in color since its 1970 debut. The episodes were initially only saved for a short time on cartridge tapes and were eventually erased in order to tape other productions. Beginning in 1976, all the episodes were saved on cartridge tape and then digitally since the late 1990s. A few early episodes were saved on kinescope in black and white, one of which aired on ABC in 1997 on a special "A Daytime To Remember", which showcased all TV shows that aired on ABC Daytime.
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During his Met career, in 1956, he appeared on Ed Sullivan's television program in an abridged version of act 2 of Tosca, opposite Maria Callas, conducted by Dimitri Mitropoulos. A kinescope of that performance was preserved. Another black-and-white videotape of him in the same role, opposite Renata Tebaldi in a complete performance, is sometimes available. In 1958, London performed the leading role of Wotan, in the groundbreaking recording of Richard Wagner's opera Das Rheingold, conducted by Sir Georg Solti, and produced by John Culshaw for Decca.
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In 1946, Messel designed the sets and costumes for the Royal Ballet's new and highly successful production of Tchaikovsky's ballet The Sleeping Beauty, a production which famously starred Margot Fonteyn. It became the first production of the ballet shown on American television, on the program Producers' Showcase. That production, the first ever televised in color, survives on black-and-white kinescope and has been released on DVD. In 2006, it was revived by the Royal Ballet, starring Alina Cojocaru, with some new additions to the scenic design by Peter Farmer, and released on DVD.
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The effect was accomplished by painting eyes and a nose on his chin, then adding a "body" covering the rest of his face, and finally electronically turning the camera image upside down. In 1961, Berwin Novelties introduced a home version of the character that included an Oswald body, creative pencils to draw the eyes and nose and a "magic mirror" that automatically turned a reflection upside down. In 1948, Winchell and Joseph Dunninger were featured on Floor Show on NBC. Recorded via kinescope and replayed on WNBQ-TV in Chicago, the 8:30-9 p.m.
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When MGM eventually obtained the rights to the 1967 film version of Casino Royale, it also received the rights to this television episode. The Casino Royale episode was lost for decades after its 1954 broadcast until a black and white kinescope of the live broadcast was located by film historian Jim Schoenberger in 1981. The episode aired on TBS as part of a Bond film marathon. The original 1954 broadcast had been in color, and the VHS release and TBS presentation did not include the last two minutes, which were at that point still lost.
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The special effect to represent time travel was a simple dissolve shot, set among flashing lights, blinking oscilloscopes and numerous levers and knobs. Early episodes (1951-1953) were kinescope recordings (film shot off a TV monitor). Later shows for syndication (1955-1956) were shot directly to 16mm film at W.A. Palmer Film, as the show moved from a 15-minute kinescoped format on local station KRON in San Francisco/ KTTV in Los Angeles to a 30-minute nationally syndicated film format distributed by the Atlas Television Corporation. The kinescoped shows ended sometime in 1953.
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Speaking notes for Hubert T. Lacroix regarding measures announced in the context of the Deficit Reduction Action Plan None of CBC or Radio-Canada's rebroadcasters were converted to digital. CBWT began extending its signal using various methods, beginning in June 1962 with CBWBT in Flin Flon and CBWBT-1 in The Pas using kinescope recordings from CBWT. Later on, CBTA in Lynn Lake became part of the Frontier Coverage Package in September 1967\. From 1968 onwards, CBWT used the province-wide microwave system to provide live television signals.
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"'The Other Man's Grass Is Always Greeener' Review and Tracks" AllMusic.com, accessed August 23, 2011 The song was performed by Jane Powell in the 1959 NBC television special Sunday Showcase "Give My Regards to Broadway","'Sunday Showcase' Give My Regards to Broadway (1959) - Soundtracks" Internet Movie Database, accessed August 23, 2011 for which a kinescope recording still exists. In 1976, Florence Henderson performed the song on The Brady Bunch Variety Hour. The song was performed by Jayma Mays as her character Emma Pillsbury on the FOX television show Glee in the episode "Mash- Up".
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Certain performers or production companies would require that a kinescope be made of every television program. Such is the case with performers Jackie Gleason and Milton Berle, for whom nearly complete program archives exist. As Jackie Gleason's program was broadcast live in New York, the show was kinescoped for later rebroadcast for the West Coast. Per his contract, he would receive one copy of each broadcast, which he kept in his vault, and only released them to the public (on home video) shortly before his death in 1987.
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The opening title card displayed a painted design of comedy/tragedy masks with a quill pen positioned in the mouth of the tragedy mask. Advertising for the series also used comedy/tragedy masks but in a more simplified line-art version minus the quill pen. The series was telecast live, but in some areas it was shown two weeks later as captured on kinescope film. It initially presented hour-long dramas from October 1950 to June 1951; the series was reduced to a 30-minute format from December 1951 to June 1952.
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51 Rodgers and Hammerstein originally signed to work with NBC, but CBS approached them, offering the chance to work with Julie Andrews, and the two quickly agreed. Rodgers stated, "What won us over was the chance to work with Julie." Andrews played Cinderella, with Edith Adams as the Fairy Godmother, Kaye Ballard and Alice Ghostley as stepsisters Joy and Portia, and Jon Cypher as Prince Christopher. Though it was broadcast in color, and the major networks all had the new (B&W;) videotape recorders from Ampex, a black and white kinescope is all that remains.
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The photomultiplier, subject of intensive research at RCA and in Leningrad, Russia, would become an essential component within sensitive television cameras. On April 24, 1936, RCA demonstrated to the press a working iconoscope camera tube and kinescope receiver display tube (an early cathode ray tube), two key components of all-electronic television. The final cost of the enterprise was closer to $50 million. On the road to success they encountered a legal battle with Farnsworth, who had been granted patents in 1930 for his solution to broadcasting moving pictures.
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The audio portion of the sound was taken, not from the noisy kinescopes, but from 33-1/3 rpm 16-inch transcription disc and high fidelity audio tape recordings made simultaneously by RCA technicians during the televised concerts. The hi-fi audio was synchronized with the kinescope video for the home video release. Original introductions by NBC's longtime announcer Ben Grauer were replaced with new commentary by Martin Bookspan. The entire group of Toscanini videos has since been reissued by Testament on DVD, with further improvements to the sound.
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This was the first Grey Cup match to be televised as CBC Television's Toronto flagship station, CBLT, paid CAD$7,500 to the Canadian Rugby Union for the rights to broadcast the game. The broadcast was only available locally on CBLT which had only begun broadcasts less than three months earlier. Live network television connections with other CBC stations were not available until 1953, although kinescope films of the game were produced for movie theatres and other television stations. A technical failure prevented viewers from seeing 29 minutes of the game video.
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The Twelve Pound Look is a 1956 live television play which aired on Sydney Australia station ABN-2 (part of ABC) during the opening night of the station. Based on a British stage play by J.M. Barrie, it is significant as it was the very first drama produced for Australian TV. In the early days of Australian television it was common for dramas to be versions of overseas stories. Kinescope recording existed at the time, and a copy of the play was made - it survives, albeit without sound.
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DuMont's network of stations stretched from Boston to St. Louis. These stations were linked together via AT&T;'s coaxial cable feed, allowing the network to broadcast live television programming to all the stations at the same time. Stations not yet connected received kinescope recordings via physical delivery. AT&T; made its first postwar addition in February 1946, with the completion of a cable between New York City and Washington, D.C., although a blurry demonstration broadcast showed that it would not be in regular use for several months.
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Tim Brooks and Earle Marsh, The Complete Directory to Network and Cable TV Programs, 1946-Present, 2003, p. 241 Other regulars were Regina Gleason, Joyce Holden, Jan Orvan, Olan Soule, and the Al Goodman Orchestra. Most musical programs at the time were shown live or on Kinescope. However, The Donald O'Connor Show was shot on film. Guest stars included the dancer Sharon Baird, singer Mitzi Gaynor, singer and musical composer Johnny Mercer, 8-year-old Tim Rooney (son of Mickey Rooney), then 11-year-old Harry Shearer, Boris Karloff, Reginald Denny, and Douglas Fowley.
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KPIX, KGO, and KRON all relied on filmed network shows until the completion of the transcontinental microwave relay link in September 1951. They also produced a number of local live shows. Some live network shows originating from New York were preserved on kinescope films, then shipped to the West Coast for later airing. After the microwave radio relay connections were completed, work proceeded on the development of videotape, which was first used extensively by CBS for its West Coast feed of the nightly network newscast hosted by Douglas Edwards, beginning in November 1956.
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Fred Bechly began his career at RCA Corporation in Camden, New Jersey in 1944, and he worked there for 40 years in the field of color television broadcasting.RCA Family, December 1969, Camden, New Jersey Bechly was recognized early in his career, along with engineer H.J. Benzuly, for development of the Tri-color Kinescope Monitor. This development offered significant advantage over the RCA prior technology that used three kinescopes which combined three images using a mirror system to produce a single color picture. J. Burgess Davis, Broadcast Studio Engineering, pp.
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Wood also appeared in the NBC-TV Hallmark Hall of Fame live color telecast of Kiss Me, Kate on November 20, 1958. A black-and-white kinescope of the telecast (Episode #8–2; Hallmark #29) was released on DVD (Release date: February 8, 2011). The telecast starred Drake and Morison (two of the show's four original leads) and also featured Jack Klugman. Although Wood appeared just as he had in the Broadway original a decade earlier, the role he created was played in the broadcast by Jerry Duane.
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During a 1955 Hockey Night in Canada broadcast on CBC Television, producer George Retzlaff used a "wet-film" (kinescope) replay, which aired several minutes later. Videotape was introduced in 1956 with the Ampex Quadruplex system. However, it was incapable of displaying slow motion, instant replay, or freeze-frames, and it was difficult to rewind and set index points. The end of the March 24, 1962 boxing match between Benny Paret and Emile Griffith was reviewed a few minutes after the bout ended, in slow motion, by Griffith and commentator Don Dunphy.
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As was the case with several such programs (but a declining number, even at this early stage of network television), Stanley was aired live. The Complete run of the series, preserved on kinescope film, is known to exist. The program aired on Monday nights at 8:30 pm EST opposite the popular Arthur Godfrey's Talent Scouts on CBS and the long-running The Voice of Firestone on ABC. After 19 weeks of low ratings, Stanley was canceled at mid-season replaced by Tales of Wells Fargo, a western which ran on NBC for the next five and a half years.
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Live television is still essentially produced in the same manner as it was in the 1950s, although transformed by modern technical advances. Before videotape, the only way of airing the same shows again was by filming shows using a kinescope, essentially a video monitor paired with a movie camera. However, kinescopes (the films of television shows) suffered from various sorts of picture degradation, from image distortion and apparent scan lines to artifacts in contrast and loss of detail. Kinescopes had to be processed and printed in a film laboratory, making them unreliable for broadcasts delayed for different time zones.
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Additional color kinescope footage from 1965 came from a vintage WGN-TV sales film which also includes some scenes from Bozo's Circus. The broadcast garnered #1 ratings in the Chicago market and is rerun annually during the holiday season. In 2005, the Museum of Broadcast Communications awarded WGN-TV's Studio 1 a plaque to commemorate the forty years of children's television broadcast from the studio. Garfield Goose and Friends with a likeness of Frazier Thomas and Garfield, is on the plaque along with Ray Rayner for Ray Rayner and Friends and Bob Bell with Bozo's Circus.
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The original marionette now resides at the Detroit Institute of Arts. There were duplicate Howdy Doody puppets, designed to be used expressly for off-the-air purposes (lighting rehearsals, personal appearances, etc.), although surviving kinescope recordings clearly show that these duplicate puppets were indeed used on the air occasionally. "Double Doody", the Howdy stand-in puppet, now is in the collection of the Division of Culture and the Arts at the Smithsonian National Museum of American History. Photo Doody is the near- stringless marionette that was used in personal appearances, photos, parades, and the famed NBC test pattern.
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Like other live broadcast series of the time, It's News to Me was recorded via kinescope onto film and the status of most of the episodes is unknown. As of summer 2009, only two John Daly-hosted episodes have aired on GSN as part of its black and white programming blocks, and a portion of a Walter Cronkite-hosted episode exists as part of a 1992 birthday tribute tape for producer Mark Goodson.Mark Goodson Birthday-1992 , The Television Production Music Museum On September 15, 2017, BUZZR aired an episode as part of their "Lost and Found" series.
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At the channel's launch on January 1, 2009, Costas hosted the premiere episode of All Time Games, a presentation of the recently discovered kinescope of Game5 of the 1956 World Series. During the episode, he held a forum with Don Larsen, who pitched MLB's only postseason perfect game during that game, and Yogi Berra, who caught the game. Costas joined the network full-time on February 3, 2009. He hosted a regular interview show titled MLB Network Studio 42 with Bob Costas as well as special programming and provides play-by-play for select live baseball game telecasts.
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It also is probable that since the use of videotape (not widespread at the time) preserved a "live" feel, so that discussion of the programs could be easily adapted to the standards introduced by the New York television critics.Dowler, Kevin. Museum of Broadcast Communications: Playhouse 90 Normally, the program was telecast in black-and-white, but on Christmas night, 1958, it offered a color production of Tchaikovsky's The Nutcracker, starring the New York City Ballet and choreographed by George Balanchine. The program was presented live, rather than on videotape, however, and it has survived only on a black-and-white kinescope version.
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It was rerun on kinescope on 2 May 1956, five weeks after its first broadcast. The second adaptation was the 1958 British drama film A Night to Remember starring Kenneth More, which is still widely regarded as "the definitive cinematic telling of the story." The film came about after its eventual director, Roy Ward Baker, and its producer, Belfast-born William MacQuitty both acquired copies of the book – Baker from his favorite bookshop and MacQuitty from his wife – and decided to obtain the film rights. MacQuitty had actually seen Titanic being launched on 31 May 1911 and still remembered the occasion vividly.
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Although earlier incarnations of I Remember Mama had focused primarily on the relationship between Marta and Katrin, the television series typically dealt with a specific family member's problem and eventually drew the whole family into helping with its resolution. The program aired live, and kinescope recordings were prepared for West Coast broadcasts. The popularity and high ratings of Mama prompted a national re-release of the I Remember Mama film in 1956. In some theaters, this reissue included a stage presentation of "Dish Night", a recreation of the dinnerware giveaways theaters held during the 1930s to attract ticket-buyers.
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Hearings before a subcommittee of the Committee on Interstate and Foreign Commerce, House of Representatives, Eighty-sixth Congress, first session, PN I992.8.U5IJ, October 6–12, 1959 Stempel told the U.S. House Subcommittee on Legislative Oversight what he told Stone. Particularly jarring was Stempel's revelation that he was strong-armed into incorrectly identifying what was, in fact, one of his favorite films: The kinescope that has survived of that episode shows that the round in which Stempel was ordered to provide the wrong answer actually ended in a tie. Stempel and Van Doren went on to yet another game during the same show.
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Most episodes of the original nighttime run of the series were preserved on black-and-white kinescope, along with a few color videotape episodes."The G-T Big 4: To Tell the Truth (CBS Nighttime)" Retrieved 3 July 2007 Only a handful of shows remain from the CBS daytime series' first three years because of the then- common practice of wiping videotapes and reusing them due to tight storage space and even tighter budgets. Many daytime episodes (including some in color) from 1966 to 1968 exist, including the color finale. Reruns of the black-and-white kinescopes have been shown on Buzzr.
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Were you, Frances?" Farmer's reply was, "No, I was never an alcoholic", an adamant denial that also applied to Edwards's subsequent question about "dope." In August 1957, Farmer returned to the stage in New Hope, Pennsylvania, for a summer stock production of Enid Bagnold's The Chalk Garden. Through the spring of 1958, Farmer appeared in several live television dramas, some of which are preserved on kinescope; the same year, she made her last film, The Party Crashers, a potboiler drama produced by Paramount and described by one writer as "a crappy B-movie about wild teenagers and stupid adults.
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The longer-running prime-time series was produced on black and white videotape which was later disposed of by ABC. Eighty-two of the surviving 1960s reference 16mm Kinescope copies of the series were salvaged from the UCLA Archives by the Jimmy Dean Estate and restored by Donna Dean Stevens Entertainment in 2016 and 2017. In January 2017, the painstakingly remastered Season 1 of the show, which had not been seen in over 50 years, was released as a DVD set. The set includes exclusive interviews with Merle Haggard, Bobby Bare, Bill Anderson, and Donna Dean Stevens.
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The first topics covered were: "The Slums of Winnipeg", "Civic Politics – A Sick Joke" and "Interview – Two Young Ladies". Eye-To-Eye was produced by Ken Black and Warner Troyer. On April 24, 1960, the station became English-only, while French programming moved to the newly launched CBWFT. At the same time two video tape recorders, worth $75,000 each, were installed at the station to replace the kinescope system used previously. The local version of Reach for the Top debuted in 1962 and was hosted by Bill Guest, alternately by Ernie Nairn. The program ran until 1985.
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In the early 1950s, a similar transition occurred in television. Initially, most television broadcasts were either live performances or broadcasts of older films originally produced for theaters. Kinescope recordings were made of live west coast performances so they could be broadcast several hours later on the east coast, which also made it possible to broadcast these shows later as many times as they wanted. In 1952, residual payments were extended to these television reruns, thanks in large part to Ronald Reagan, whose first term as president of the Screen Actors Guild (SAG) ran from 1947 to 1952.
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The Ed Wynn Show was an American comedy/variety show originally broadcast from September 22, 1949-July 4, 1950 on the CBS Television Network. Comedian and former vaudevillian Ed Wynn was the star of the program. 39 episodes were produced and broadcast live from Hollywood, making The Ed Wynn Show the first program to do so, and transmitted via kinescope to New York. The show also served as the commercial television debuts of comedian Groucho Marx, singer/actress Dinah Shore, comedy team The Three Stooges, Hattie McDaniel, Buster Keaton, Leon Errol and husband and wife comedy team Lucille Ball and Desi Arnaz.
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Other television stations across the United States received Paramount programs via kinescope recording for airing; these filmed series allowed stations to "fill in" their schedules during hours when ABC, NBC, CBS and DuMont were not broadcasting shows, or when station managers preferred Paramount's filmed offerings to those of the four networks. Station managers at WBKB-TV in Chicago also had plans to distribute their own kinescoped programs. Paramount management planned to acquire additional owned-and-operated stations ("O&Os;"); the company applied to the FCC for additional stations in San Francisco, Detroit and Boston. Officials at the FCC, however, denied Paramount's applications.
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Wanting to watch the game at a later date only if the Pirates won, he arranged for the telecast to be recorded by Ampex, in which he also held a financial investment. After viewing the kinescope, he placed it in his wine cellar, where it sat untouched for 49 years. It was finally found by Robert Bader, vice-president of marketing and production for Bing Crosby Enterprises, while looking through videotapes of Crosby's television specials which were to be transferred to DVD. The five-reel set is the only known complete copy of the historic game, which was originally broadcast in color.
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As with most DuMont network series, no episodes are known to exist. In an era when most game shows were owned by their sponsors instead of by networks that broadcast them, such might have been the case with Guess What. The decision to cancel the series after a short run could have been made by a sponsor, and the decision to avoid saving kinescopes could have been, too. But the show's sponsor cannot be determined because not a single kinescope can be viewed, therefore nobody has been motivated to look for paper documents related to the series.
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Non-celebrities include the lifelong Los Angeles-area resident who challenged the panel with her line, afterward reminiscing how 43 years earlier she had traveled to New York, where Arlene Francis identified her as a meter maid. A clip from the kinescope was played. In addition, the show has featured relatives of the original cast: Jill Kollmar (daughter of Dorothy Kilgallen and Richard Kollmar), Nina Daly (daughter of John Charles Daly), and Vinton Cerf (co- inventor of the Internet and distant cousin of Bennett Cerf). It also included a segment in which Vint Cerf's son Bennett (named after the panelist) appeared as a guest.
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The documentary series World War 1 in Colour (2003) was broadcast on television and released on DVD in 2005. There had previously been full-color documentaries about World War II using genuine color footage, but since true color film was not practical for moving pictures at the time of World War I, the series consists of colorized contemporary footage (and photographs). Several documentaries on the Military Channel feature colorized war footage from the Second World War and the Korean War. The 1960 Masters Tournament, originally broadcast in black-and-white and recorded on kinescope, was colorized by Legend Films for the documentary Jim Nantz Remembers.
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"Derby To Go On The Air", The New York Times, May 16, 1925, p. 11 On May 7, 1949, the first television coverage of the Kentucky Derby took place, produced by WAVE-TV, the NBC affiliate in Louisville. This coverage was aired live in the Louisville market and sent to NBC as a kinescope newsreel recording for national broadcast. On May 3, 1952, the first national television coverage of the Kentucky Derby took place, aired from then-CBS affiliate WHAS-TV. In 1954, the purse exceeded US$100,000 for the first time. In 1968, Dancer's Image became the first horse to win the race and then faced disqualification.
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Channel 62 aired programming (on kinescope) from all networks, but reflecting the association of WISE radio with NBC, it was a primary affiliate of that network. The original studio facilities were on land leased from Asheville- Biltmore College, which received two hours a week in air time for educational programming; the channel 62 transmitter was located on Beaucatcher Mountain. Competition arrived the next year when WLOS-TV, operating on VHF channel 13, started up; the new station assumed the ABC and DuMont affiliations. WISE-TV attempted to get a VHF channel to improve its competitive position, proposing to operate on channel 2 instead of 62.
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In another publicity stunt, KABC had her cruise around Hollywood in the back of a chauffeur-driven 1932 Packard touring car with the top down, where she sat, as Vampira, holding a black parasol. The show was an immediate hit, and in June 1954 she appeared as Vampira in a horror-themed comedy skit on The Red Skelton Show along with Béla Lugosi, and Lon Chaney, Jr..FILMFAXplus, April/June 2007 That same week Life magazine ran an article on her, including a photo-spread of her show-opening entrance and scream.Life, June 14, 1954, pp. 107-10 A kinescope of her The Red Skelton Show appearance was discovered in 2014.
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The station's first mid-week broadcast came the month following its sign-on when Paul Winchell and Joseph Dunninger were featured on the NBC variety series, The Floor Show. The half- hour program was recorded via kinescope and rebroadcast on WNBQ at 8:30 p.m. on Thursdays. WMAQ-TV originated several programs for the NBC television network from its original studio facilities—a studio on the 19th floor of the Merchandise Mart on the city's Near North Side—during the 1950s, including Kukla, Fran, and Ollie, featuring Burr Tillstrom and Fran Allison; Garroway at Large, starring Dave Garroway; and Studs' Place, hosted by Studs Terkel.
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In the early 1950s, the bold upper case NBC letters (later used in the 1953 "Xylophone" logo) were also used as an animated "light-up letters" logo in synchronization with the NBC chimes in front of a gray background. This closing sequence was edited in at the end of a network program. Another variant was later used with a darker gray background and a disclaimer underneath the light-up letters: "This program was reproduced by the Kinephoto process," a reference to a live program put onto black and white film identified as a Kinescope recording. This variant was widely used throughout the 1950s and 1960s.
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The collection culled from various episodes (preserved digitally at UCLA Film and Television Archive) includes a short clip from the episode with Shelley Winters, Jackie Robinson, May Craig and William F. Buckley. Several people seem to be ridiculing Winters, and the studio audience cheers efforts to keep her quiet, but not enough of the kinescope was saved for viewers to understand exactly why. A transcript of the rest of this episode does not exist, and what the participants said during the remainder is unknown. The collection excludes Malcolm X, evidently because the collection has only clips from August 1964, and he appeared in December 1964.
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Wallis then joined Blodwyn Pig, which changed its name to Lancaster's Bombers (later shortened to Lancaster) with Jack Lancaster. They were a short-lived band although they toured supporting Yes in 1971. In February 1972, Wallis joined UFO, but left in October 1972, after a tour by Europe. Wallis did not record with the band, although a bootlegged live recording of a UFO performance featuring Wallis is known to exist, as does a black and white kinescope print of a live set on French TV show Rock En Stock. Sometime during 1972 Wallis recorded sessions with Steve Peregrin Took at Took’s basement flat in Mayfair.
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Errol's best known non-series appearance is in the nonsensical comedy feature Never Give a Sucker an Even Break (1941), released by Universal Pictures and starring fellow vaudeville and Ziegfeld alumnus W. C. Fields. Universal also kept Errol busy in 14 feature films. On February 4, 1950, Errol appeared on television as a guest on The Ed Wynn Show, broadcast live to the West Coast on CBS (seen on kinescope film to the East and Midwest on February 18, 1950). Errol's next-to-last film, Lord Epping Returns (1951), reprised his famous characterization (and some of the gags) introduced in the 1939 feature Mexican Spitfire.
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Dark Shadows has the distinction of being one of the few classic television soap operas to have all of its episodes survive intact except one, although a handful of early episodes are available only in 16 mm kinescope format. For the one lost episode (#1219), only a home audio recording exists. The home video version and cable reruns of this episode were reconstructed from a combination of this soundtrack, video still frames sourced from other episodes, and the closing and opening scenes from episodes #1218 and #1220 respectively. The search for the preserved episodes of this series also uncovered several hundred episodes thought lost of another series, The Hollywood Squares.
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Using the avante-garde magazine Playboy as his model, Arledge convinced his superiors at WRCA to let him film a pilot of a show he called "For Men Only." While his superiors liked the pilot, they told him WRCA couldn't find a place in the programming schedule for it. But the WRCA weatherman, Pat Hernon, who hosted the pilot episode of "For Men Only", began showing the kinescope to people around New York City who might want the program. One of them was a former account executive at the ad agency Dancer Fitzgerald Sample, Edgar J. Scherick, who as far as Hernon knew, was doing something at ABC.
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With the advent of popular broadcast television, producers realized they needed more than live television programming. By turning to film-originated material, they would have access to the wealth of films made for the cinema in addition to recorded television programming on film that could be aired at different times. However, the difference in frame rates between film (generally 24 frames/s) and television (30 or 25 frames/s, interlaced) meant that simply playing a film into a television camera would result in flickering. Originally the kinescope was used to record the image from a television display to film, synchronized to the TV scan rate.
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Prior to the mid-1970s, television networks and stations generally did not preserve their telecasts of sporting events, choosing instead to tape over them. As a result, the broadcasts of the first six games are no longer known to exist. The lone exception is a black-and-white kinescope of the entire telecast of Game 7, which was discovered in a wine cellar in Bing Crosby's former home in Hillsborough, California in December 2009. A part-owner of the Pirates who was too superstitious to watch the Series live, Crosby listened to the decisive contest with his wife Kathryn and two friends on a shortwave radio in Paris, France.
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Ed Wynn first appeared on television on July 7, 1936 in a brief, ad-libbed spot with Graham McNamee during an NBC experimental television broadcast. In the 1949–50 season, Wynn hosted one of the first network, comedy-variety television shows, on CBS, and won both a Peabody Award and an Emmy Award in 1949. Buster Keaton, Lucille Ball, and The Three Stooges all made guest appearances with Wynn. This was the first CBS variety television show to originate from Los Angeles, which was seen live on the west coast, but filmed via kinescope for distribution in the Midwest and East, as the national coaxial cable had yet to be completed.
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113 In the process of viewing and editing the films for the special, they accidentally damaged or destroyed several kinescope films which spanned the entire run of the original series, including a few that did not make the final cut of the retrospective. In addition, some unspooled film remained on the floor after the group's rented time at the facility ran out. An April 1967 episode featuring Candice Bergen as the mystery guest was lost in its entirety, as was a June 1967 episode featuring both Betty Grable and F. Lee Bailey. Other episodes sustained only partial damage, such as a 1965 episode that is mainly damaged during the mystery guest appearance of Marian Anderson.
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The now-common montage sequence often appeared as a notation in Hollywood screenplays of the 1930s and 40s as the "Vorkapich" because of his mastery of the dynamic visual montage sequence wherein time and space are compressed using a variety of cinematic techniques, such as kinetic montage, camera tricks, optical printer effects, dolly shots, & stylized graphics. Sometimes moviemakers will simply refer to the technique as "a Vorkapich". Vorkapich's protege Art Clokey learned kinescope animation techniques under him at USC Film School and went on to use them to create the Gumby animated series. Two of his many master drawings, his gift during a visit to Yugoslavia, are kept in the Srem Museum in Sremska Mitrovica.
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KVOS signed on June 3, 1953; owned by Bellingham businessman Rogan Jones along with KVOS radio (AM 790, now KGMI). Jones had owned the radio station since 1928, and was best known for being the focus of a case that established broadcasters' right to the same news reports as newspapers. Its first broadcast was a kinescope of Queen Elizabeth II's coronation. Since Canada had no television stations operating west of Ontario at that point (it wasn't until that December that Vancouver would get a locally-operated TV station of their own in CBUT), the British government flew film of the BBC's coverage to Vancouver, where the Mounties escorted it to the border.
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Created essentially as a one-man production, Rafferty followed a simple production plan by inter- cutting broadcast video of the game with interviews he'd done with close to 50 of the surviving players. The broadcast video was a color kinescope of the WHDH telecast, with Don Gillis doing the play-by-play. The film was set to celebrate the 40th anniversary of the 1968 game between Yale and Harvard. The documentary includes game footage with contemporary interviews with the men who played that day, as well as contextual commentary about the Vietnam War, the sexual revolution, Garry Trudeau's Yale cartoons, and various players' relationships with George W. Bush (Yale), Al Gore (Harvard), and Meryl Streep (Vassar).
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The third problem was trying to keep a sole sponsor. In 1950, it wasn't yet possible to broadcast coast-to-coast, so Four Star Revue, like most live shows, originated from New York (with viewers in other time zones watching a delayed kinescope). At the start of the season, Ed Wynn was the only host to use the Center Theatre (formerly a venue for ice shows but recently converted to a TV studio) at Rockefeller Center in Manhattan. The others at first declined to follow suit because of the theater's huge, 3700-seat capacity, fearing that the audience wouldn't have a good view of the stage and might not laugh at the appropriate moments.
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These programs are rebroadcast on the American cable TV's Game Show Network. All of the NBC Symphony Orchestra telecasts with Arturo Toscanini, from 1948 to 1952, were preserved on kinescopes and later released on VHS and LaserDisc by RCA and on DVD by Testament. The original audio from the kinescopes, however, was replaced with high fidelity sound that had been recorded simultaneously either on transcription discs or magnetic tape. In the mid-90s, Edie Adams, wife of Ernie Kovacs, claimed that so little value was given to the kinescope recordings of the DuMont Television Network that after the network folded in 1956 its entire archive was dumped into upper New York bay.
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Lucille Ball and Arnaz in Los Angeles, 1953 With Ball, Arnaz founded Desilu Productions in 1950, initially to produce the vaudeville-style touring act that led to I Love Lucy. At that time, most television programs were broadcast live, and as the largest markets were in New York, the rest of the country received only kinescope images. Karl Freund, Arnaz's cameraman, and even Arnaz himself have been credited with the development of the multiple-camera setup production style using adjacent sets in front of a live audience that became the standard for subsequent situation comedies. The use of film enabled every station around the country to broadcast high-quality images of the show.
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The only reason this game exists is because the CBC and the French version on Radio-Canada in Canada and in Québec carried the broadcast and because the Vikings were located so close to Canada and had a lot of Canadian and Québec fans (and Bud Grant was a legendary player and coach in the CFL), the CBC decided to save it for their archives. As previously mentioned, as videotape was too expensive in those days to save, they transferred the footage to black & white film (kinescope). This therefore, enabled them to reuse the videotape. In 1970, after the NFL and AFL completed their merger, NBC signed a contract with the league to broadcast games from the American Football Conference (AFC).
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Until the late 1990s, programs shot on video always possessed high motion, while programming shot on film never did. (The exceptions: Certain motion simulators and amusement park rides included film projected at 48–60 frames per second, and video recorded on kinescope film recorders lost its high motion characteristic.) This had the result of high motion being associated with news coverage and low-budget programming such as soap operas and some sitcoms. Higher-budget programming on television was usually shot on film. In the 1950s, when Hollywood experimented with higher frame rates for films (such as with the Todd AO process) some objected to the more video-like look (although the inability to convert such films for projection in regular theaters was a more serious problem).
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This low-quality optical conversion of the Apollo 11 moonwalk video images—made with a TV camera taking pictures of a video monitor—is what was widely recorded in real-time onto kinescope film and NTSC broadcast-quality two-inch quadruplex videotape. Recordings of this conversion were not lost and have long been available to the public (along with much higher-quality video from later Apollo missions). If the one-inch data tapes, containing the raw unprocessed Apollo 11 SSTV signals, were to be found, modern digital technology would allow for significantly better conversion and processing. The quality would be similar to that viewed by a few technicians and others at SSTV-receiving ground stations before the video was converted to NTSC.
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Another children's show from Barry & Enright was Winky Dink and You, which engaged the young viewers to use their imaginations, as well as a special "magic slate"—a sheet of durable plastic that stuck to the TV screen via static electricity, which enabled the viewer to use crayons to "draw along" with Mr. Barry, as he told stories to the children. A kinescope of this series is available on the tape-trading circuit. In 1953, Barry & Enright created their first game show, Back That Fact hosted by Borscht Belt comedian and syndicated columnist Joey Adams. In 1956 Barry & Enright created the game shows Twenty-One (which was created in response to the highly successful (The $64,000 Question), and Tic-Tac-Dough.
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A screen shot of Captain Video in progress 24 episodes of the series are held by the UCLA Film and Television Archive and are believed to be the only remaining episodes from the series. Of these surviving episodes, only five 30-minute episodes, three featuring Richard Coogan and two featuring Al Hodge, have been available to the public on home video. The other 19 are only available at the archive's facilities by appointment. DuMont's film archive, consisting of kinescope (16 mm) and Electronicam (35 mm), was discarded in the 1970s by Metromedia, the broadcast conglomerate that was the successor company to DuMont; according to Congressional testimony, these films were discarded somewhere between Upper New York Bay and the East River.
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In 1954, Ethel Merman, at the age of forty-six, reprised her role as Reno in a specially adapted live television version of the musical, co-starring Frank Sinatra as the hero, now renamed Harry Dane, Merman's good friend Bert Lahr (who had co-starred with her on Broadway in DuBarry Was a Lady) as Moonface Martin, and Sheree North. This version was broadcast live on February 28, 1954, as an episode of the Colgate Comedy Hour, and has been preserved on kinescope. It used five of the original songs plus several other Porter numbers, retained the shipboard setting, but had a somewhat different plot. It has been reported that Merman and Sinatra did not get along well; this was the only time they worked together.
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Many programs in the early days of television were live broadcasts that are lost because they were not recorded. Most prime-time programs that were preserved used the kinescope recording process, which involved filming the live broadcast from a television screen using a motion-picture camera (videotape, for recording programs, was not perfected until the late 1950s and was not widely used until the late 1960s). This was also a common practice for broadcasting live TV shows to the west coast, as performers often performed a show back-to-back, but never back- to-back-to-back. Daytime programs, however, were generally not kinescoped for preservation (although many were temporarily kinescoped for later broadcast, episodes recorded in this way were often junked).
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Auricon cameras were 16 mm film Single System sound-on-film motion picture cameras manufactured in the 1940s through the early 1980s. Auricon cameras are notable because they record sound directly onto an optical or magnetic track on the same film as the image is photographed on, thus eliminating the need for a separate audio recorder. The camera preceded ENG video cameras as the main AV tool of television news gathering due to its portability–and relatively quick production turn-around–where processed negative film image could be broadcast by electronically creating a positive image. Additionally, the Auricon found studio use as a 'kinescope' camera of live video off of a TV screen, but only on early pre-NTSC line-locked monochrome systems.
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It also offered several professional-type options, such as a variable shutter and rackover focusing. E.M. Berndt manufactured Auricon 16mm sound-on-film cameras for the US Army during WWII (such as the CT-70). Some Auricon 16mm cameras were modified by Bach Auricon to accommodate customers purchasing these cameras for television kinescope use. The camera shutter was replaced with a new, patented "TV-T" shutter, a slight change in shutter angle, but which change allowed recording off of a TV monitor without also encountering a (vertical) "roll bar". This application was only possible on monochrome 60 Hz line-locked TV systems (precisely 60 fields/second, 30 frames/second, interlaced), and not the later NTSC color/monochrome standard (roughly 59.94 fields/second, 29.97 frames/second, interlaced).
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There is also a complete Madama Butterfly (in French) from the Opéra Comique de Paris conducted Albert Wolff from 1957 with Lance as Pinkerton, and scenes from Hérodiade conducted by Georges Prêtre from 1963 with Lance as Jean alongside the Salomé of Régine Crespin and Hérodiade of Rita Gorr. EMI has published the kinescope of the 1958 Paris debut of Maria Callas, "La Grande Nuit de l'Opéra," in which Lance appeared, on DVD. He is heard in an excerpt from Il trovatore, and is seen in a staged Act II of Tosca, opposite Callas and Tito Gobbi, conducted by Georges Sébastian. In March 2011, the French opera community announced that Lance would be the first Australian to be the President of the Paris Opera Jubilee.
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WSAZ-TV was able to cherry-pick live programming from all four networks via its privately owned microwave system, while WKNA-TV had to make do with airing ABC and DuMont programming on a two-week delay via kinescopes. As a result, even though it was obvious by this time that Huntington and Charleston were going to be a single television market, ABC would not even consider giving an exclusive affiliation to channel 49. By the time WKNA-TV was finally able to get a live microwave feed in 1954, WCHS-TV had signed on channel 8 as a CBS affiliate. Not long afterward, ABC pulled all of its programming from channel 49, opting to air on the stronger WSAZ-TV and WCHS-TV via kinescope.
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Kramer told the press at the time that whenever a script came in with a role too difficult for most actors in Hollywood, he called Chaney. One of his best known roles was a 1952 live television version of Frankenstein on the anthology series Tales of Tomorrow for which he allegedly showed up drunk, though that contention is unsubstantiated. During the live broadcast, Chaney, playing the Monster, apparently thought it was just a rehearsal and he would pick up furniture that he was supposed to break, only to gingerly put it back down while muttering, "I saved it for you." A kinescope of the January 18, 1952 broadcast is available on DVD, YouTube, and also open to the public for viewing at The Paley Center for Media in New York City and Los Angeles.
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So in 1969, for example, Mets fans in New York could choose to watch either the NBC telecast or Lindsey Nelson, Bob Murphy and Ralph Kiner on WOR- TV. Games 3, 4, and 5 of the 1969 World Series are believed to be the oldest surviving color television broadcasts of World Series games (even though World Series telecasts have aired in color since ). However, they were "truck feeds" in that they do not contain the original commercials, but show a static image of the Shea Stadium field between innings. Games 1 and 2 were saved only as black-and-white kinescopes provided by the CBC. CBC also preserved all seven games of the and 1968 World Series (plus the 1968 All-Star Game) in black-and- white kinescope.
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Although the pilot had been made as a kinescope, for the series itself, the process was rejected. Owing to the impending birth of their first child, both Lucy and Desi insisted on staying in Hollywood and producing the show on film, something a few Hollywood-based series had begun to do. Both CBS and Philip Morris initially balked at the idea, because of the higher cost that filming the show would incur, yet acquiesced only after the couple offered to take a $1,000 a week pay cut in order to cover the additional expense. In exchange, Lucy and Desi demanded, and were given, 80% ownership in the I Love Lucy films (the other 20% went to producer Jess Oppenheimer who then gave 5% to writer Madelyn Pugh and 5% to writer Bob Carroll Jr.).
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Tony Schwartz reviewed the television production in The New York Times: The acclaimed television drama was honored a decade later when the kinescope of the production was selected for showing at the Museum of Modern Art on February 17–20, 1963, as part of Television USA: Thirteen Seasons, described by MoMA Film Library curator Richard Griffith as "a grand retrospective of the best that has been done in American television."Museum of Modern Art: "Television USA: Thirteen Seasons" It was released on VHS by Wood Knapp Video. The original 1953 telecast is commercially available as part of a three-DVD set, "The Golden Age of Television" (Criterion Collection), a series which aired on PBS in 1981 with Eva Marie Saint as the host of Marty. It features interviews with Steiger, Marchand and Mann.
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In January 1953, former ABC programming executive Alvin George Flanagan filed an application with the FCC to supply programming to XETV via microwave relay from San Diego. Flanagan's request was neither approved nor denied and he took a position with Los Angeles station KLAC-TV (now KCOP-TV) in early 1954. A subsequent petition by ABC to allow it to transmit network programming across the Mexican border to XETV via microwave relay was approved in November 1955. Pending the outcome of an appeal by KFMB-TV and KFSD-TV, ABC signed an affiliation deal with XETV which allowed channel 6 to carry network programming via film and kinescope; that became effective April 5, 1956 and replaced the part-time carriage of ABC programming by the two San Diego- licensed stations.
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The television version was hosted by Doug Elliot and telecast on Melbourne station HSV-7 (early Australian series often aired on a single station as opposed to being networked), and is described as being a talent show, and is notable as one of the first such shows produced for Australian television. It aired at 8:30PM on Saturdays during 1957. During this period, the same station broadcast another, longer-lived talent show, titled Stairway to the Stars, which ran from 1956 to 1958. Although HSV-7 was likely making at least some use of kinescope recording by 1957 (it being the method used to record live television prior to the introduction of video-tape to Australia), it is not known if any such recordings of exist of Swallows Parade or Stairway to the Stars.
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The story begins with Betty pitching the story of swimsuit pioneer Annette Kellerman (who looks a great deal like Betty in the kinescope sequence), the Australian-born swimmer, actress and entertainer, who was arrested in 1907 for indecent exposure after she walked onto a public beach in Boston in a one-piece swimsuit for Mode's upcoming "Fearless" issue. As Wilhelmina reminds the staff about the Bahamas layout and the last shoot she will make for Mode, Marc frets about Nico, Connor, Wilhelmina's and most of all, his future, as this is her last issue. Wilhelmina assures Marc that she has a plan to become an editor at one of Mode's competitors, and that he will continue to be her assistant. Back at Casa Suarez, Hilda shows off a scene from "Extreme Makeover: Home Edition," when Justin arrives with Bobby.
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Australian broadcasters did not gain access to videotape-recording technology until the early 1960s, and as a result nearly all programmes prior to that were broadcast live-to-air. Very little programming survives from the earliest years of Australian TV (1956–1960), as kinescope recording to film was expensive and most of what was recorded in this way has since been lost or destroyed. Some early programmes have survived, however; for example, ATN-7, a Sydney station, prerecorded (via kinescopes) some of their 1950s output such as Autumn Affair (1958–1959), The Pressure Pak Show (1957–1958) and Leave it to the Girls (1957–1958); some of these kinescopes have survived and are now held by the National Film and Sound Archive, with soap opera Autumn Affair surviving near-intact, likely one of the earliest Australian series for which this is the case.
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In September 1972, after Stewart left Goodson- Todman, Mark Goodson retooled The Price is Right, mixing Stewart's original bidding format with elements from Let's Make a Deal to create The New Price Is Right, which debuted in syndication and on CBS' daytime lineup. CBS' To Tell the Truth, emceed by Bud Collyer, hit the air less than one month after the original Price debuted, in December 1956. Stewart said he auditioned the concept to Goodson and his producers by trying to have them guess which one of three men had been in the infantry in World War II and was now managing a grocery store. (The original pilot, hosted by Mike Wallace and existing as a kinescope, was titled Nothing But The Truth.) Five years later, in 1961, Stewart scored again with Password, a word-association guessing game.
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The film was then run through a flying spot scanner (so called because it moved a focused beam of light back and forth across the image), and electronically converted from a negative to a positive image. Depending on the equipment, the time from camera to scanner could be a minute or less. An optical soundtrack was recorded onto the film, between the perforations and the edge of the film, at the same time the image was taken to keep the sound and image in synchronization. The intermediate film system, with its expensive film usage and relatively immobile cameras, did have the advantage that it left a filmed record of the programme which could be rerun at a different time, with a better image quality than the later kinescope films, which were shot from a video monitor.
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Synchronization of the refresh rate to the power incidentally helped kinescope cameras record early live television broadcasts, as it was very simple to synchronize a film camera to capture one frame of video on each film frame by using the alternating current frequency to set the speed of the synchronous AC motor-drive camera. When color was added to the system, the refresh frequency was shifted slightly downward by 0.1% to approximately 59.94 Hz to eliminate stationary dot patterns in the difference frequency between the sound and color carriers, as explained below in "Color encoding". By the time the frame rate changed to accommodate color, it was nearly as easy to trigger the camera shutter from the video signal itself. The actual figure of 525 lines was chosen as a consequence of the limitations of the vacuum-tube-based technologies of the day.
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PARA 1000, a film made for Paraphernalia by The Adventures of Multimedia was exhibited at MoMA during a special screening of avant-garde industrial films in 1967. During the 1960s and 1970s, Snyder made experimental films and collaborated with artists such as Shirley Clarke, who edited his kinescope video CHROMA, and Yayoi Kusama, filming her artistic orgies and other erotic “happenings.” He shot The Living Theatre; and collected hours of documentary footage at Timothy Leary’s Castalia Foundation in Millbrook. He was commissioned to make a feature-length film of experimental erotica for Maurice Girodias, which he shot in the Berkshires. His last known film was a documentary of Jack Smith starring in his original play, “Song for Rent.” The film was shown at the Museum of Modern Art in 2011 and is in the museum’s permanent collection.
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In smaller markets, with a limited number of stations, DuMont and ABC were often relegated to secondary status, so their programs got clearance only if the primary network was off the air or delayed via kinescope recording ("teletranscriptions" in DuMont parlance). Adding to DuMont's troubles was the FCC's 1948 "freeze" on television license applications. This was done to sort out the thousands of applications that had come streaming in, but also to rethink the allocation and technical standards laid down prior to World War II. It became clear soon after the war that 12 channels ("channel 1" had been removed from television broadcasting use because storms and other types of interference could severely affect the quality of its signals) were not nearly enough for national television service. What was to be a six-month freeze lasted until 1952, when the FCC opened the UHF spectrum.
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An attempt was made to adapt A Day in the Life Of Dennis Day as an NBC filmed series (Sam Berman's caricature of Dennis was used in the opening and closing titles), produced by Jerry Fairbanks for Dennis' sponsor, Colgate-Palmolive, featuring the original radio cast, but got no farther than an unaired 1949 pilot episode. In late 1950, a sample kinescope was produced by Colgate and their ad agency showcasing Dennis as host of a projected "live" comedy/variety series (The Dennis Day Show) for CBS, but that, too, went unsold. He continued to appear as a regular cast member when The Jack Benny Program became a TV series, staying with the show until it ended in 1965. Eventually, his own TV series, The Dennis Day Show (aka The RCA Victor Show), was first telecast on NBC on February 8, 1952, and then in the 1953–1954 season.
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The original decision was stayed by the United States Court of Appeals due to the decision having been made in the absence of hearings by the FCC; after hearings were held, the FCC upheld the grant in October 1956. KFMB-TV again appealed the grant and the Appeals Court remanded the decision to the FCC. The Commission again upheld the grant on April 22, 1958; in November of that year, KFMB-TV again asked for revocation, based on an ad in Broadcasting which XETV identified itself as a San Diego station. Throughout XETV's tenure with ABC, network programs were received via microwave and AT&T; cable at the station's San Diego offices, where they were reproduced (on film or kinescope, and later videotape) and then physically transported to channel 6's transmission facilities in Tijuana, a practice known in the television industry as "bicycling".
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During the later Steve Allen years, regular audience member Lillian Miller (usually referred to as "Miss Miller") became such an integral part that she was forced to join American Federation of Television and Radio Artists, the television/radio performers union. She would continue to perform the same service for most of the major talk shows for decades, including those hosted by Paar, Carson, Merv Griffin (until 1986), and Mike Douglas, among others. Allen and Kovacs departed Tonight in January 1957 after NBC ordered Allen to concentrate all his efforts on his Sunday-night variety program, hoping to combat the dominance of the Sunday night ratings first by CBS's The Ed Sullivan Show then by ABC's Maverick. Unlike the first installment of Johnny Carson's tenure, which is lost except for audio recordings, a kinescope recording of most of the very first Tonight Show under Allen survives.
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Precursors of "television movies" include Talk Faster, Mister, which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures,Television and Hollywood in the 1940s and the 1957 The Pied Piper of Hamelin, based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks. Most "family musicals" of the time, such as Peter Pan, were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only (relatively inexpensive) method of recording a television program until the invention of videotape. Film production was an unstable business with challenges facing early participants.
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It is not known if any of the episodes were kinescoped (note: kinescope recording was an early method of recording live television, used in the days before video-tape was widely available). It was probably the first attempt at a dramatic TV series produced for Australian television, though not the first dramatic TV series produced in that country (overseas-financed children's series The Adventures of Long John Silver was the first in that regard, and pre-dated the introduction of television to Australia) Australian TV drama was relatively rare at the time. ATN next attempted drama with the series with Autumn Affair, a soap opera, and the well-received monthly anthology series Shell Presents (sharing production with GTV-9, which alternated in producing episodes). Other 1950s-era attempts at local television drama included twice-monthly one-off plays on ABC, and the short-lived GTV-produced hospital series Emergency.
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The station first signed on the air on November 20, 1955 as CJLH-TV, broadcasting on VHF channel 7 from a 167,000-watt transmitter atop a 638-foot tower located at what was the city limits of Lethbridge. The station was a joint venture between local radio station CJOC (the "CJ" in the call sign) and the Lethbridge Herald (the "LH"). It was managed by CJOC's owners, Taylor Pearson & Carson, and began life as an affiliate of the Canadian Broadcasting Corporation's (CBC) television network. Network programs on kinescope arrived within a few days to a week after they went to air live in Toronto, Montreal, Vancouver, or the U.S. networks. Three months after CJLH went to air, measurement services showed that the station had a potential audience of 9,400 homes, but within a year, that grew to 19,200, and of those, 16,000 had bought television sets.
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Evie Harris (Jack Plotnick) is a washed-up, alcoholic, aging C-List actress (star of kinescope, stage, television, and film in such works as the TV special Christmas Evie, vaudeville-era appearances promoting 'Dr. Vim's Miracle Elixir,' Court TV: Celebrities Who Kill, Tabitha and the sad 1970s disaster epic Asteroid [tagline: 'Earth Might Get Crushed!']). She lives in a tackily out-of-style bungalow with Coco (Clinton Leupp), a homely, lonely, doormat of a spinster who carries a torch for the handsome young doctor who performed her abortion years ago. Evie's life is turned upside-down by the arrival of a new roommate, Varla Simonds (Jeffery Roberson), the voracious, starry-eyed daughter of Evie's rival, late actress Marla Simonds (whose claims to fame included playing Chesty on Fill Her Up, the short-lived but widely acclaimed spinoff of C.P.O. Sharkey, and almost being cast as the lead in "Asteroid" before Evie captured that "breakout" role).
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DuMont produced more than 20,000 television episodes during the decade from 1946 to 1956. Because the shows were created prior to the launch of Ampex's electronic videotape recorder in late 1956, all of them were initially broadcast live in black and white, then recorded on film kinescope for reruns and for West Coast rebroadcasts. By the early 1970s, their vast library of 35mm and 16mm kinescopes eventually wound up in the hands of "a successor network," who reportedly disposed of all of them in New York City's East River to make room for more recent-vintage videotapes in a warehouse. Although recovery of films that have been submerged for decades has been done (see The Carpet from Bagdad as an example), to date, there have been no salvage-diving efforts to locate or recover the DuMont archive that reportedly sits in the East River, and if it survived in that environment, most of the films were likely damaged.
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During the early days of network television in the 1950s, Serry performed at CBS as a staff member of the original CBS Orchestra (1949–1960) and an accompanist on several live network television programs including The Jackie Gleason Show in 1953, The Ed Sullivan Show in 1959, The Frank Sinatra Show (CBS TV series) in the 1950s, and with organist Billy Nalle, on the prime time drama I Remember Mama in 1953 with Peggy Wood. Shubert Theatre in New York City Shubert Theatre NYC Serry also performed with Mitch Miller at Columbia Records to produce an LP demonstration recording in 1951. In 1951 he also arranged his compositions La Culebra and African Bolero for solo flute. He dedicated the scores to his close friend Julius Baker (first flautist for the Columbia Broadcasting Symphony Orchestra at CBS and for the New York Philharmonic) He appeared under Andre Kostelanetz, the conductor on the Eastman Kodak Kinescope broadcasts in 1951.
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In 1964, Jan and Dean were signed to host what became the first multi-act Rock and Roll show that was edited into a motion picture designed for wide distribution. The T.A.M.I. Show became a seminal and original production – in essence one of the first rock videos – on its release in 1964. Using a high-resolution videotape process called Electronovision (transferred from television directly onto 35mm motion picture stock as a kinescope), new sound recording techniques and having a remarkable cast, The T.A.M.I. Show set the standard for all succeeding music film and video work, including many of the early videos shown by MTV 17 years later. The revolutionary technical achievements of The T.A.M.I. Show and the list of performers (including a performance by James Brown that many critics have called the best of his career) marked a high point for Jan and Dean, as they were the hosts and one of the main featured acts as well.
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In later interviews, Frankenheimer expressed his admiration for Rooney's acting in this memorable drama. A kinescope of The Comedian survives and remains available for viewing at the Paley Center for Media in New York City and Los Angeles. After The Last Tycoon (March 14, 1957), adapted from the F. Scott Fitzgerald novel about a film studio head, Frankenheimer followed with Tad Mosel's If You Knew Elizabeth (April 11, 1957) about an ambitious college professor; another Fitzgerald adaptation, Winter Dreams (May 23, 1957), dramatizing a romantic triangle; Clash by Night (June 13, 1957), with Kim Stanley in an adaptation of the Clifford Odets play; and The Fabulous Irishman (June 27, 1957), a biographical drama tracing events in the life of Robert Briscoe. Frankenheimer used a fake bull's head jutting into the frame when he staged The Death of Manolete (September 12, 1957), Barnaby Conrad's drama about the death of the legendary bullfighter, a production later ranked by Frankenheimer as one of his worst.
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Martin and Lewis in an episode of The Colgate Comedy Hour. An NBC radio series, The Martin and Lewis Show, ran from 1948-53. Martin and Lewis made a key appearance on the first episode of Ed Sullivan's show, Toast of the Town, in June 1948, although they may have appeared on TV earlier on Hour Glass, the first TV variety show which aired from May 1946 – March 1947, during the time the duo first paired up formally. On October 3 and 10, 1948, the team were stars on the first two episodes of the NBC live television variety show Welcome Aboard – kinescope survives of this live TV broadcast in UCLA Film and Television Archive. On April 3, 1949, they debuted on their TV version of their "Martin & Lewis" radio show on the NBC-TV network, with guest Bob Hope, with their inaugural program drawing lackluster reviews in the April 30, 1949, issue of Billboard magazine.
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In one surviving episode (February 15, 1954), available on Internet Archive, the well-dressed female dancers are heard squealing with teenage-like excitement at guest star Johnnie Ray. Buddy Holly and The Crickets performed "Peggy Sue" on the December 29, 1957 telecast, also preserved on a kinescope. The J. Fred and Leslie W. MacDonald Collection at the Library of Congress contains thirteen kinescoped programs and partial programs of the various incarnations of Arthur Murray on TV. These include a complete one-hour show from late 1950 featuring guests The DeMarco Sisters plus Andy and Della Russell; a complete half-hour show from August 17, 1954, featuring guest Don Cornell; a segment from September 27, 1956, in which The Platters perform "You'll Never Know" and Andy Williams sings "Canadian Sunset"; and a segment from August 5, 1957, in which celebrities Jack E. Leonard, Bert Lahr, Paul Winchell, and June Havoc compete in a dance contest.
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U.S. television networks continued to make kinescopes of their daytime dramas available (many of which still aired live into the late 1960s) as late as 1969 for their smaller network affiliates that did not yet have videotape capability but wished to time-shift the network programming. Some of these programs aired up to two weeks after their original dates, particularly in Alaska and Hawaii. Many episodes of programs from the 1960s survive only through kinescoped copies. The last 16 mm kinescopes of television programs ended in the late 1970s, as video tape recorders became more affordable. In Australia, kinescopes were still being made of some evening news programs as late as 1977, if they were recorded at all. A recording of a 1975 episode of Australian series This Day Tonight is listed on the National Archives of Australia website as a kinescope, while surviving episodes of the 1978 drama series The Truckies also exist as kinescopes, indicating that the technology was still being used by ABC at that point.
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NTSC television images are scanned at roughly 60 Hz, with two interlaced fields per frame, displayed at 30 frames per second. A kinescope must be able to: #Convert the 30 frame/s image to 24 frame/s, the standard sound speed of film cameras, #Do so in a way so that the image is clear enough to then re-broadcast by means of a film chain back to 30 frame/s. In kinescoping an NTSC signal, 525 lines are broadcast in one frame. A 35 mm or 16 mm camera exposes one frame of film for every one frame of television (525 lines), and moving a new frame of film into place during the time equivalent of one field of television (131.25 lines). In the British 405-line television system, the French 819-line television system and the greater European 625-line television system, television ran at 25 frames—or more correctly, 50 fields—per second, so the film camera would also be run at 25 frames per second rather than the cinematic film standard of 24 frames.
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The record also served as the sound track of a music video by the same title, which garnered six major awards, including the CMA Vocal Collaboration of the Year, Vocal Event of the Year, and Music Video of the year, the ACM Music Video of the Year, the TNN/MCN Music Video of the Year, and the Country Music Video of the Year. The video utilizes a television kinescope (movie) that captures the elder Williams singing a different song (Hey Good Lookin') that he wrote and recorded with the same time signature but with a faster tempo and, of course, different words. After the video's producer solved both of those problems, he made it appear that the senior Williams was actually performing the song that would appear on the video. After the elder Williams technologically sings the first half of the song as presented in the video, the younger Williams seemingly appears to walk into the picture next to his father, where he joins him in completing the performance.
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All original series shows were recorded via kinescope onto film, but networks in the early 1950s sometimes destroyed such recordings to recover the silver content from the film. CBS regularly recycled What's My Line? kinescopes until July 1952, when Mark Goodson and Bill Todman, having realized it was occurring, offered to pay the network for a film of every broadcast. As a result, only about ten episodes exist from the first two years of the series, including the first three broadcasts. Episode #048 from April 29, 1951 exists at the University of Wisconsin Center For Film and Theater Research. Episode #013 (August 2, 1950), episode #084 (January 6, 1952), and episode #855 (March 26, 1967) exist at The Paley Center for Media. An audio-only portion of episode #079 from December 2, 1951 (only has part of Game 1 with Mrs. Virginia Hendershot as the Steam Shovel Operator from Bound Brook, NJ) exists. A portion of episode #097 (April 6, 1952), the full episode #533 (October 2, 1960), and the full milestone 800th episode (January 23, 1966) exist at the UCLA Film and Television Archive.
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Then still known as the American Forces (or Armed Forces) Radio and Television Service, military bases and facilities throughout Puerto Rico received original radio programming from Army studios at Ft. Brooke in San Juan, Air Force studios at Ramey Air Force Base, and radio and television originating from Navy studios at Roosevelt Roads, in addition to local playback of stateside entertainment radio and television shows. This broadcast service was known as AFCN, the American Forces Caribbean Network in the 1970s (later as the Armed Forces Caribbean Network) served military bases and facilities throughout Puerto Rico from transmitters in San Juan (Fort Brooke, Fort Buchanan), Roosevelt Roads Naval Station, and Ramey Air Force Base. Each of these bases also had their own television transmitters or cable systems that played back stateside TV programming delivered to each location in weekly "packages" of 16mm film, kinescope recordings, video tape, and satellite news programming feeds. AFCN Roosevelt Roads also produced live radio programming featuring Navy Journalist/Broadcaster disc jockeys in a Top 40 hits format, combined with programming from AFRTS Hollywood-sourced stateside shows such as American Top 40.
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The two kinescopes that ABC used to pitch The Les Crane Show to its affiliates in 1964 constitute most of the surviving video and audio of Crane's show. The UCLA Film and Television Archive has a digitized collection of clips from the Les Crane Show early episodes in August 1964. It was assembled using 16 millimeter editing equipment, probably so network executives could use the collection of clips, in addition to the two entire episodes, to pitch the show to affiliates around the United States who had not yet signed up to carry the show. An archive of source material on Malcolm X has only the audio of the civil rights leader's December 1964 appearance with Crane. Audio of Bob Dylan's February 17, 1965 appearance is circulated online, and transcribed.See for instance, in and Videotape of that broadcast was erased but still photographs and portions in silent 8mm film survive. The National Archives has a transcript of the August 1964 Oswald/Belli episode in its documents related to the JFK assassination that were declassified and released publicly in 1993 and 1994. Crane's daughter Caprice Crane has said she believes her father saved until he died a kinescope of this entire episode.
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Same-day episodes would be broadcast on kinescope for Western audiences, as Keeshan would not perform the show live three times a day. For the first three months, Captain Kangaroo was only seen on weekday mornings. From December 1955 until 1968, the show was also seen on Saturday mornings, except in the 1964–1965 season, when it was replaced by a Keeshan vehicle called Mr. Mayor. Except for pre-emption by news or special events, notably the four-day continuous coverage which followed the November 22, 1963 assassination of John F. Kennedy, and a few shows that were 45 minutes, the show aired a full 60 minutes on weekday mornings until 1981. It was broadcast in color from September 9, 1966 onward. The audience of children could never compete in the ratings with such entertainment/news shows as NBC's Today, although Captain Kangaroo won Emmy Awards three times as Outstanding Children's entertainment series in 1978–1979, 1982–1983, and 1983–1984. In the fall of 1981, to make more room for the expansion of The CBS Morning News, the Captain was moved to an earlier time slot of 7:00 am and cut to 30 minutes, sporting the new title Wake Up with the Captain.
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