The Shape of Things to Come pertise (for twelve seasons they have provided 40 programming hours per week for in-school use), the next step was to find the right production facility and production staff to actually create a pilot pro- gram. It was decided that The Television Laboratory at WNET/13, with its collection of electronic video equipment so suitable to the project, would be invited to partici- pate. The decision was made to center the pilot program's subject matter around the concept of "shape" - an aesthetic concept which lends itself well to the various image- creating video equipment housed at the Lab's Studio 46 . And the target audience would be primarily second graders - seven to eight year olds. But how does one go about the difficult task of creating such a product and making it effective as well? The first step was to sort the huge body of researched material and mold it into an appealing and informative script. The Lab com- missioned Clark Gessner, an in- This tiny cone, set up for chroma-key, is the center of attraction during the taping of Shapes. dependent writer who often con- tributes segments to Sesame Street The hickory stick was once the WNET/13's School Television Ser- and The Electric Company to script schoolmaster's favorite teaching vice to investigate the possibilities the program. Meanwhile, the search tool. Today, the modern teacher is of a television series which would was on for the right director - a armed with a selection of materials help introduce aesthetics as a magic person who could squeeze ranging from carefully researched formal area of study in the primary from the studio's maze of complex games and toys to highly complex and secondary grades. Hopefully gear and machinery the right bal- systems of video and audio hard- this series will help integrate the ance of imagery and information to ware. Perhaps one reason for the teaching of aesthetics into the exist- captivate an eight year old. The increasing availability of such re- ing American school curriculum Lab's choice was Don Mischer, a sources is an organization called which has traditionally lacked a versatile director (PBS's Great CEMREL, Inc., a national educa- formal approach to the subject. American Dream Machine, ABC's tional laboratory based in St. Louis. With CEMREL ready to provide the in Concert) who had just com- In June 1972, the Aesthetic research and informational material pleted a hl lily successful educa- Education Program, a subdivision and the School Television Service tional pilot for the New York State of CEMREL joined forces with contributing their programming ex- (Continued on Page 7)

The TVTV Story We asked Top Value Television to 635A, an RE 10 and an RE11 - and which are the future. A project write something for VISION NEWS a Sony ECM16 lavalier mike. We which we are editing now is called and the following, in their own wanted to buy a wireless mike but AD LAND . It is a tape about the inimitable style, was the result. The they are too expensive and not all people who make television com- excerpts come from their publica- that reliable . mercials. We have taped the making tion, PRIME TIME. "Our low-cost portable video equip- of TV ads on-location at places like ment has allowed us to explore McDonaldland, ad men like George what television can do uniquely. We Lois and Jerry Della Femina, and have been able to work open- ad stars like Mason Reese who was TVTV is a group of five, seven, nine endedly and take risks which have on the Dick Cavett show the other or more people depending on the often paid off in spontaneous, night. We have decided that TV ads project we're doing. We have just unusual television. " telI you more about the fantasies of moved to a new studio in San Our bank balance today, (Sep- ad men than those of consumers. Francisco near S and tember 18, 1973) is $6,781 .62 but Our finished program will be time- F streets . (We don't want $5,000 of that is a loan from some base corrected and edited on a a lot of visitors.) It is a store front friends. We are not a non-profit Sony 340U or an Ampex 1200. We with 1,800 square feet. We took it group and are trying to guarantee plan to distribute it to broadcast over from a Philippino couple who our overhead for a couple of years. stations as we don't see much point had lived and worked there for It costs $2,500 a month to operate in cable television right now. Of thirty years. They strung tennis including $50 a week salaries. In course, we'll also sell it to universi- rackets and sold tennis accessories New York, you can get more than ties and libraries. for a living. Now they are moving that on unemployment when your "Production-wise we were success- back to the Philippines to retire. grant runs out. ful. But from a distribution view- They took all the leftover tennis "Last year we covered the political point the convention coverage rackets and tennis balls with them. conventions as TVTV. Two dozen project was disappointing. The fault The rent is $250 a month. of us shared living space in a big was partly our own an that we "We work alone, out of our homes, house and covered both conven- didn't hustle the tapes agg'ressively, or cooperatively, as part of an tions for $32,000 complete (includ- but we learned that cable operators informal network of people sharing ing pre and post production simply don't have enough money experiences. We wanted to demon- expenses). Everyone worked for no for original programming, while strate that we could work effi- salary and expenses only, and broadcasters who are willing to ciently without a rigid hierarchy. " loaned us their own equipment. " experiment are the exception, not We think we might want to move Because we need a car we are the rule. " to Los Angeles next year because going to lease either a Datsun, a Another project we're raising you can only live in San Francisco Toyota, or a Mazda. We'll probably money for is called PEACE BOMB so long. Two of us came from New choose the Mazda because the other EXPLOSION which will be a York while the rest have been living two are hard to get right now and documentary about Millenium '73 in northern California. Living in also Mazdas have rotary engines (Continued on page 7) Los Angeles seems like something everyone should do once because M S of TVTV using a S Porta-Pak. southern California is the future. We have four porta-paks right now but only two are really ours. One is on loan from another group we work with and we just paid $150 to have it overhauled and the repairman claims it's as good as new . The second one which isn't really ours needs a new head drum which costs $550 so it hardly seems worth fixing. We use a Sony AV3 6 5 0 for editing and an AV8600 for playback. We have two Sony 11" monitors, an Ampex 23" monitor, a Sony 8" receiver, and a 15" Trinitron receiver. We used to have a Tivicon but we sold it and don't know if we want to get a new one. We just bought an AKG900E shotgun mike and also have three Electro-Voice microphones - a Profile: Nam June Paik, Creator of Global Groove by Diane English

A maze of wire, cable and tele- vision innards, strange phantasma- gorical shapes, undulating images, a Korean fan dancer, four American tap dancers, a Navajo Indian and a TV cello. This is not the latest installment of "Let's Make A Deal." It's Nam June Paik's Global Groove and as Dorothy once said to Toto, "Something tells me we're not in Kansas anymore . . ." We are deep within the recesses of a building on East 46th Street where the young and infamous Television Laboratory at Channel 13 is discreetly housed, a stone's throw from the U.N. Down the stairs, into the basement and be- hind the double doors is probably the most sophisticated collection of video hardware in the country. And more than that, there is Nam June Paik and all his gadgetry about to embark on a new odyssey into the world of video. Nam June Paik looks like a Korean Harpo Marx but in reality is the "father of video art," or as the New York Post called him, "one of the rare breed of artists who are also scientists, philosophers and en- gineers . . . a modern version of the Would you buy a used television from this man? renaissance man." As we look in on the renaissance Paik made the headlines in the late history. The project had been float- man one balmy day in April, we '6Q's when he convinced cellist ing around in a corner of his brain find him at Studio 46 with his Charlotte Moorman to wrap herself for some months, but Nam June pants cuffs dragging on the floor, and her cello in a giant cellophane needed sufficient time to prepare three sweaters wrapped protectively bag and perform topless . Moorman himself mentally or "get head around his sensitive stomach, and was arrested for obscenity and Paik together." Then one day a call hair that looks as though he's stuck went on to invent something called came from Fred Stein, a television his finger into a wall socket. He the TV bra which kept Ms. Moor- roducer for the United States In- could easily pass for one of his own man out of the clink and Paik in Formation Agency, who had seen creations. Nam June has been the news. some of Paik's video dabblings on setting up for Global Groove since Paik is digging into a "Dog Bag," the coast. Stein very much wanted the early morning hours. He his favorite accessory which con- to spend several days with Paik, mumbles his personal mixture of tains all the miscellania necessary taping him at work. The material Korean and English to no one in for his existence as a video artiste. would be assembled into a mini- particular. "We have much prob- Knobs, tubes, wires, a pair of documentary for distribution by lem. Much problem." He twists and socks . . . then a curious-looking the USIA in 55 different countries. turns the insides of a television set gadget which he inserts into the Paik didn't hesitate to accept the whose innards he has replaced with stubborn monitor. Suddenly a offer . After all, if Uncle Sam has copper coil, coaxing it to produce hypnotic maze of colors appears on said, "I want you," the least Paik the proper images. The set doesn't the screen. Paik is delighted - like could do is create a Global Groove. seem to want to behave. "It take the Amazing Mr. Ballentine or the A Production Assistant is handing me two days to do what always Bannana Man - he's glad the trick out "scripts" to the involved per- take two hours . . . much problem." worked . sonnel, none of whom are quite Once a student of John Cage, Global Groove, like Paik, has a sure what to expect from Global Groove . The script, written in building and sweeping around them Aside from being an exceptional Paik's own style, complete with and the lighting director, trying engineer, Godfrey is probably one doodles in the margin, is the first desperately to make some last- of the few people who can under- hint that this particular pro,ect will minute adjustments, is bumped stand what Paik is saying. be one of his more "uninhibited" from his ladder by a woman madly Out on the studio floor the works. . . twirling through the studio, fans Korean fan dancer in full ragalia "Two TWA jets will take off and skirts flying. "You've dot to moves through a carefully choreo- from breasts of Lady. If two understand" says Lab Director graphed dance. As the cameras pick dancers agree, they can wear same David Loxton, "we don't do things up her image and feed it through color bikini and wild Paik/Abe in the normal way here." the cable, Paik and Godfrey filter it synthesizer patterns (also op-art Fred Stein and his crew have through Paik's own invention - a patterns) can be keyed into finally arrived, ready to tape Paik video synthesizer - where it is there . . . `Who is light man - will taping Global Groove. Paik's crew is recolored and reshaped. The result he follow me in forgetting routine introduced to Stein's crew and after is dazzling. The dancer seems to be lighting?' " the inevitable Watergate and Sony floating on backgrounds of pure The lighting director, techni- jokes are out of everyone's systems, color which change with the sounds cians, engineers and cameramen plans are layed for the day's she is making. "Fantastic! Fan- have arrived. Most of them have shooting. tistic! You are genius!" says Paik to never visited Studio 46 before. "I'd At 10:00 a.m. shooting is under Godfrey. "Genius" is one of Paik's thought I'd seen every imaginable way. Paik is in the control room favorite words. set-up" said one video man, "but with supervising engineer and right- At 3 :00, Charlotte Moorman ar- this is incredible ." The cast has also hand man John Godfrey. They are rives, complete with a TV cello arrived and are busy rehearsing on probably the only, two people who which takes several hours to as- the studio floor. Stagehands are know what Global Groove really is . semble . The cello is another Paik invention - 3 monitors shaped like a cello which "play" video feed- back as charlotte pulls a bow across its special strings . She will play a duet with distingufished "straight" cellist Alan Shulman, whom Paik refers to in the script as "handsome male cellist." After the usual cellophane bag jokes are over, the cello is as- sembled and Global Groove is back in operation again . "He changed the cello for the first time since the year 1600" said Charlotte as she straddled the bizarre-looking instru- ment. "He changed my life ." On that note, Mr. Shulman launched into a melodious "Bach," un- ruffled. As he played, Paik trans- ferred his image into the monitors of Charlotte's cello while the cameras moved in and out, making it difficult to distinguish between the real and the unreal . Production continued for two long days throughout which Paik's enthusiasm for his work never waned . Global Groove was on tape, ready for editing, and he was happy . Stein had Paik on tape and the USIA was happy. Everyone, even David Loxton, who for two days had referred to Paik as "that insane man," seemed pleased and satisfied . All except the audio man. On his way out of the studio he muttered, "My wife is going to ask I did at work today . . . Global Groove in control room 46. Lett to right: Nam June Paik, Charlotte Moorman, me what John Godfrey. What am I supposed to say?' Al Global Groove and the Video Common Market

Fred Stein of the USIA interviews Paik during break in Global Groove taping . by Nam June Paik the block economy of the Thirties, geois soap operas as The Forsythe which amplified the depression, in- Saga, and I am curious how their Global Groove may be a dazzling stigated Fascism and helped pro- Huntley-Brinkley-vich talk the visual delight, but there is more to mote World War II? pravda (truth) every evening. Un- the program than meets the eye. World peace and survival of earth derstandably, negotiations for the Nam June Paik, creator of Global is Public Interest Number I and, Video Common Market will be as Groove, wrote this essay in 1970 to needless to say, Public Interest tiresome and frustrating as those propose a very new kind of televi- Number I must be Interest Num- for the European Common Market. sion. ber I of Public Television. What we But its huge reward will be not only need now is a champion of free philosophical. Faster rotation of trade, who will form a Video Com- capital is also a supreme require- mon Market modeled after the ment for cost-efficiency in a The Treaty of Rome (1957) was European Common Market in its cultural economy . A new paper preceded for a decade by vocal spirit and procedure ; this would money created by the International exhortations of prophetic states- strip the hieratic monism of TV Monetary Fund to check the gold men like Robert Schuman, Jean culture and promote the free flow outflow, indicated by the Special Monnet or Hallstein, and tedious, of video information through an Drawing Right or SDR, would serve painstaking and prolonged negotia- inexpensive barter system or con- as a model for the proposed Video tions by the economists of six venient free market. Common Market. (I suggested this European countries. Many times McLuhan's premature high hope in my Stony Brook report, in Feb- the process was termed hopeless, for the Global Village via TV is ruary 1968, before SDR was ap- utopian or academic. But the result, based on an obscure book, The Bias proved.) the European Common Market, a of Communication, by H . A. Innis Jazz was the first tie between long dreamed of free trade zone, (1951) which traced the origin of Blacks and Whites . Mozart was the surpassed even the most wild im- nationalism to the invention of first tie between Europeans and aginings in terms of growth and movable type. But, ironically, to- Asians. Beethoven was the last tie prosperity. England's trouble is a day's video culture is far more between Germans and Americans well-known fact. nationalistic than print media. You during World War I. Currently rock Videoland on this Spaceship simply cannot escape Camus or music is the only channel between Earth resembles the divided state of Sartre in a book store. But do you young and old. But the power of European countries before 1957 . remember seeing a production of music as a non-verbal communica- Many TV stations around the world French TV recently? Most Asian tions medium has been wasted as are hoarding videotapes totaling faces we encounter on the Ameri- much as were the vast resources thousands of hours and asking im- can TV screen are either miserable under the ocean. Therefore, if we possibly high prices or compliance refugees, wretched pioneers or could assemble a weekly television with complicated procedures to hated dictators. But most middle- festival comprised of music and obtain some commodity for which class Asians are seeing essentially dance from every nation and dis- they have almost no prospect of the same kind of clean-cut enter- seminate it freely via the proposed selling. Or Videoland, a so-called tainment shows on their home Video Common Market to the communications media, is so dis- screens as most American Nielsen world, its effects on education and communicative with each other families. Did this vast information entertainment would be phenomen- that practically no one knows what gap contribute to the recent al. Peace can be as exciting as a to buy, to import or export. Should tragedies in Vietnam? And how John Wayne war movie. The tired video culture stay as divided, about Russian TV? They might not slogan of "world peace" will ag~ain nationalistic and protectionistic as be that bad if they ran such bour- become fresh and marketable.°tl David Loxton, director of the Television Laboratory is one of the 35 people selected to participate in OPEN CIRCUITS, the first international meeting devoted entirely to "the exploration of the aesthetic potential of television." It will take place at the Museum of Modern Art on January 23-25, 1974. The meeting will include screenings of "the best and most provocative art yet made for television," audience-speaker dialogues and planning sessions for a major international video exhibition. A book will be published documenting the meeting's dialogues and essays and the closed-circuit exhibition of tapes will be offered for distribution around the world .

The National Endowment on the Arts has awarded a rant to Stan Vanderbeek, internationally known filmmaker and video artist, to create a major new work at the Lab. Stan's residency is slated to begin in December of this year.

Artist-in-residence Bill Gwinn recently returned from a month's visit to the National Center for Experiments in Television in San Francisco where he was once a resident artist. Bill is presently completing at the Lab "New York, New York, New York" an hour long video tape treating New York City as a poem . It combines and composes super 8, 16mm film, half-inch, one-inch and two-inch video tape .

Ed Emshwiller is presently editing his latest work, "Pilobolus and Joan" made possible by a grant from the National Endowment on the Arts. The script, based on a short story by Carol Emshwiller features the unique dance group Pilobolus (Jonatban Wolken, Robby Barnett, Rob Pendleton and Lee Harris) and singer-actress Joan McDermott. The hour-Iong program was taped on location in Vermont, Connecticut and New York and is Ed Emshwiller's second major video effort following the highly acclaimed "Scapemates."

Peter Crown, (instructor of psychology at New York Medical College) and Bill Etra (inventor of the Rutt/Etna Synthesizer) have embarked upon an experiment called "Direct Human Interface with Video Synthesizer." Using FM Telemetry equipment developed in bio-medical research Crown and Etra monitor the movements of a human being via direct radio signals which are then fed as voltage inputs into the video synthesizer . When the movements of a dancer for instance, are interfaced with the synthesizer a whole new field of expression is opened up.

The WNET Television Training School, a unit which offers minorities instruction and training in film and television production, will be holding classes once a week in the Lab's Studio 46. David Loxton and the Training School's director Mrs. Jeri Feagans have arranged the venture which will offer hands-on experience to members for one semester. WNET's engineering department will also be providing personnel to conduct the classes.

Bill and Louise Etra the Lab's official representatives to the Muses de Arte Moderno's month long video exhibition in Mexico City recently returned with positive impressions. The conference, the first of its kind in Mexico, was well attended by spectators and artists alike. Language problems were overcome by the concentration on non-verbal tapes. Works by most of the well-known international video artists were screened including works by Ed Emshwiller, Douglas Davis, Nam June Paik, Stan Vanderbeek and John Reilly. But according to the curator of the museum, the big hit of the conference was a ort piece by Lab engineer John Godfrey called "Car-Tunes." _41

(Continued from Page 1) (Continued from Page 2) s n Department of Education . an event scheduled for November in vision The traditional series of staff Houston's Astrodome . It will be a news conferences between CEMREL three-day gathering of the followers October, 1973 Vol . 1 No. 2 staff members headed by associate of Majaraj jl, a 15-year old Indian producer Blythe Cuyler and Lab boy who claims to be the "Lord of staff headed by Producer David the Universe ." We plan to work in The TeleVISION Laboratory News is Loxton bridged the gap between color for the first time using the published bi-monthly by The Tele- vision Laboratory at WNET/13, a planning and production and Akai camera and probably an division of the Educational Broad- tackled the various conceptual INC VCR100 cartridge recorder. casting Corporation. It is published at problems: Should the narrator be P from Videofreex said he the corporate address, 304 W. 58th male or female? How much elec- would test out the system for us. Street, New York, New York 10019. tronic gadgetry should be used? Is We'll also use porta-paks for black- Telephone 212-262-4248. there a balance between art-objects and-white. Another project we're and everyday-objects? working on is called PRIME TIME and that will be a fantasy produc- EditorlWriter Under the title Shapes the pro- Diane English gram moved into Studio 46 late in tion about how the next 25 ears June of this year. The Lab then of TV will look and how it will be Assistant to the Editor began a series of experiments on 1" produced. We're doing a treatment Ruby Merjan tape to determine which produc- right now and hope to get Steve Design tion techniques would be most ef- Aden to play himself as he will be Joel Shukovsky fective in conveying the concept of in the year 2000. We're talking to Photographs shape while also developing the KQED about doing a series next Carl Samrock pilot's own look. Shapes eventually year called FREE LUNCH which evolved into a dazzling mixture of would be interviews with interest- The Television Laboratory at film, tape and still photography ing San Francisco people at the WNET/13 is supported by grants from with its own particular style. For local restaurant of their choice. The Rockefeller Foundation and the instance, as the program opens, the KQED says they're interested but New York State Council on the Arts, outline of a cat is being etched on you never know with public tele- with special project support from the the screen by way of a Telestrator vision . National Endowment on the Arts. (a piece of equipment which allows We have a nice idea too for the real-time electronic illustration). A Bicentennial Celebration but it's Director freeze-frame image of a real cat is premature to talk about it. In addi- David Loxton then chroma-keyed into the outline tion to our video work we're doing Administrative Assistant and "brought to life" so that the a paperback book for Links Books Diane English cat and its shape walk across the about the future of electronic com- Unit Manager screen together . In another se- munications. Because so much of Darlene Mastro quence, the Rutt/Etra synthesizer porta-pak TV has been so theoreti- Supervising Engineer was used to generate groups of cal we want to get a scan on what John Godfrey geometric shapes which multiply really is going to happen and how Assistant Engineer and divide themselves to highlight we can influence it. As a supple- Knut Olberg the concept of "shapes-within- ment to the book we're doing a Artists-in-Residence shapes." The Paik/Abe synthesizer special report on where alternate Peter Crown created abstract and amorphous TV is at right now, with emphasis Ed Emshwiller images or "the shapes we find in on new video technology and how William Etra our imaginations" and added pure it can be used. William Gwinn rather than mixed colors. "We have mutated video tecb- Nam June Paik Shapes will soon be screened by nology to our own ends. Rather Joseph Seale test groups of second graders and than abandon technology we have Alphonse Schilling their teachers in St. Louis and New explored ways to use it which favor David Silver York City. Their responses will decentralization instead of bier- Steina Vasulka then be evaluated and used as arcby. " Woody Vasulka guidelines in the production of We have a theory about tele- future programs . Eventually, vision but it's not worth going into CEMREL and WNET/13 hope to right now. Other people believe it's produce two instructional series' of an art form maybe like painting. And G Send Comments and information to: thirty programs each - one for the S says Editor, The Television Laboratory primary grades and one for the we'll never be able to support our- News, 304 W. 58th Street, New York, secondary grades. It's a long way selves doing it no matter what it is. New York 10019 from the hickory stick. -41 We're more optimisticAA Getting Technical : The CVS-500 by John Godfrey, Supervising En- band color but also 1/2" black and now becomes as useful as any other gineer at The Television Laboratory white and convert either format to source. a broadcast signal. A newer dev- As stated before, the CVS500 elopment to appear late 1973 or can convert 1" wide-band color The newest addition to the Lab's early 1974 will be the CVS502 tape to 2" tape but it must be Studio 46 is just a little bit bigger which will handle 1/2" and 3/4" non-hetrodyne color (or edited than a bread box - but much more hetrodyne color tapes . tapes must not come from the versatile. It is perhaps the solution The basic problem in converting hetrodyne color output of the play- to a problem which has plagued 1" to 2" has always been that 1 back machine) . In addition, black television people since the introduc- tape does not have a horizontal and white 1/2" tape, provided that tion of 1/2" and 1" helical scan head reference as does the quadra- it is put through a proc-amp to add video tape, and that is how to plex system. Therefore, in transfer- broadcast sync, is also convertible effectively convert these tape for- ring formats, horizontal instabilities to 2" tope . Of course, it cannot be mats to broadcast standard. The occur. One way to correct the expected that 1" or 1/2" tapes of new piece of equipment is the instability is to supply video at originally poor quality can be con- CVS-500, a new breed of time-base station horizontal reference (while verted to 2" with the same good corrector manufactured by Consoli- also correcting color instabilities to results - "poor quality" meaning dated Video Systems. The proper 2 .5 nanoseconds) . This process can that there are severe mechanical name for the recent addition to the work, but as seen with the earlier problems with record or playback family is "digital video signal cor- time-base correctors, it is expensive machines or severely maladjusted rector" and before launching into and not completely efficient. electronics . an explanation of what that means, What CVS has done is change the With time-base correction it might be a good idea to briefly video to digital information. By an systems having advanced this far outline the developments in the analog-to-digital converter (A/D) and evidence that further evolution evolution of time-base correctors the video is changed to digital will continue, television as we know up until now: information, i.e., on-off pulses. it now may be due for some The first time-base corrector, Since it is easier and less expensive changes. Equipment of this type manufactured by RCA, appeared in to delay a pulse than a video signal, adds a new dimension to the alter- the early sixties to deal with head the 500 can delay the pulses over a nate video movement as format delay, quadrature, and mechanical wider range, then convert the digital incompatabilities decrease. And instabilities which occur during the information by a shift register and network television, hampered by process of tape transfer from one D/A converter. The information the immobility and overhead of 2 ' reel to another over a long tape will then coincide with station sync equipment is able to take advantage path. This first system had a correc- for use through a switcher with live o the lighter and more inexpensive tion capability (or "window") of information on to 2". The video systems. °tl _+_ 1/2 microsecond . Closely following this RCA INPUT machine was a very similar time- VIDEO VIDEO VIDEO A/D IN AMPLIFIER CONVERTER base corrector manufactured by A3 Ampex. A5, A8, A7, AS In the early '70's Ampex in- DIGITIZED VIDEO MEMORY troduced the AVR 1's "Buffer" DIGITIZED VIDEO which worked to correct instabili- CLOC 0ties up to 1 microsecond per line -MEM over 32 lines. Although this system SELECT A17, A18 could take 1" tape that had been 1WRITE CLOCK fed through it for correction, the MEMORYSELECT _ 0/A SEGUENCER CONVERTER VIDEO T window was still inadequate for MEMORYSELEC _ A10 AND OUT CLOC edits or tapes having errors worse READ CLOCK PROC/AMP than one microsecond per line . All, A13 Last year, Television Micro Time introduced the first time-base cor- rector, with a window of _+ 2 .2 mi- CVS-500 Block Diagram croseconds, capable of converting 1" (wide-band color) tape to 2" tape 3-5"HZ with a minimum of error. SUBCARRIER

COMPOSITE But as time waits for no one, this COMPOSITE SYNC SYNC o- SYNC OUTPUT ENABLE 2 (COMPOSITE BLANKING) year CVS introduced the CVS-500, GENERATOR the newest time-base corrector with A14 COLOR BURST COMPOSITI a window of _+ 95 microseconds per BLANKING line . It can take not only 1" wide-