Electronovision

Electronovision was a action acclimated by producer/entrepreneur H. William "Bill" Sargent, Jr. to aftermath a scattering of motion pictures, affected plays, and specials in the 1960s and aboriginal 1970s application a high-resolution cine action for production, after transferred to blur via kinescope for affected release.

More than bisected a dozen films were produced in this fashion, including the 1964 assembly of Richard Burton in "Hamlet", the now celebrated 1964 concert blur the "TAMI Show", and the 1965 assembly of "Harlow", starring extra Carol Lynley as the 1930s sex symbol.

Electronovision was a advertiser of Agenda cinema, now acclimated in the 2000s to activity agenda images through projectors assimilate cinema screens. Bill Sargent, architect of over 400 cyberbanking patents, is best accepted for beat Pay-Per-View in 1962 in a battle bout amid Cassius Clay, after accepted as Muhammad Ali, and George Logan.

Electronovision was an absolutely abstracted and added avant-garde action from the beforehand Electronicam, acclimated by the DuMont Television Network in the 1950s to advertisement reside TV shows with cyberbanking cameras, while accompanying filming the assembly with a blur camera absorbed to the ancillary of the video camera. That action had been acclimated on TV alternation like The Honeymooners, acceptance the producers to annal a high-quality blur abrogating for reruns.

While the columnist releases on Electronovision were advisedly vague, conceivably to add added attitude to the process, it acclimated accepted analog Angel Orthicon video camera tube units, cutting in the B&W 819-line interlaced 25fps French video standard, application adapted high-band quadruplex VTRs to almanac the signal.

The promotors of Electronovision gave the consequence that this was a new arrangement created from scratch, application a high-tech name (and alienated the chat kinescope) to analyze the action from accepted blur photography. Nonetheless, the advances in tape-to-reel time were, at the time, a above footfall ahead. By capturing added than 800 curve of resolution at 25 frame/s, raw band could be adapted to blur via kinescope recording with acceptable added resolution to acquiesce big-screen enlargement. The 1960s productions acclimated Marconi angel orthicon video cameras, which accept a appropriate white "glow" about atramentous altar (and a agnate atramentous afterglow about white objects), which was a birthmark of the pickup. After vidicon and plumbicon video camera tubes produced abundant cleaner, added authentic pictures.

Videotape alteration of the aeon was actual primitive, which affected Electronovision producers to access their productions about as if they were reside TV broadcasts. Whole scenes were attempt in continued blocks, about at atomic 5 or 10 minutes, and segments were physically cut calm application automated 2" cine splicing blocks. A appropriate actinic band-aid and alluring powder, activated to the cine and beheld beneath a microscope, accustomed the editor to see the video pulses and absolutely adjust them for glitch-free editing. However, the address was hit-and-miss and fabricated it difficult to accomplish accurate, fast edits.

Success of these productions

Despite the success of these productions in the mid-1960s, Sargent's aboriginal Electronovision authority went out of business about 1966, afterward the absolution of "Stop the World – I Want to Get Off". The ambassador active the abstraction in 1975 with newer, blush video equipment, and was able to arise a alarmingly acclaimed absolute absolution of James Whitmore's one-man appearance "Give 'em Hell, Harry!", an adventures based on the activity of U.S. President Harry S. Truman. Two years later, Sargent had his a lot of acknowledged production, Richard Pryor's early-1979 reside actor ball achievement "Richard Pryor: Reside in Concert", the aboriginal actor ball blur by any comic,which accustomed advanced administration in theaters as able-bodied as cable TV and, later, home video.

Health and business problems affected Sargent to retire in the 1980s. The action became a comment in history, admitting several added attempts were fabricated to animate the capital abstraction -- a higher-res cine system, application adapted video cameras, recording to cine and again authoritative a kinescope for affected release. Decades later, the action was able with the addition of top analogue television accessories in the backward 1990s, consistent in agenda cinema, agenda intermediates, and was the alpha of the end of acceptable photochemical filmmaking, ushering in an absolutely agenda era of motion account production.

Rival Processes

In 1971, beat artist Frank Zappa co-directed and co-wrote "200 Motels", which was attempt on PAL blush cine at Pinewood Studios in England. The assembly featured admirable graphics, video feedback, and chromakey beheld effects, and is advised a forerunner to the music videos of the 1980s. The assembly was electronically edited application aboriginal Ampex equipment, again transferred to 35mm blur for affected release.

In 1973, Hollywood actor/producer Ed Platt, fabricated acclaimed by his role as "The Chief" in the NBC-TV alternation "Get Smart", aloft the money to aftermath one of the actual aboriginal absolute blush motion pictures attempt absolutely on videotape: Santee, starring Glenn Ford. Platt saw the advantages of application cine over film, and acclimated the accessories of Burbank's Compact Video Systems to shoot the western on area in the California and Nevada deserts. The motion account was attempt with Norelco PCP-70 carriageable plumbicon NTSC cameras and carriageable Ampex VR-3000 2" VTRs, again transferred to blur at Consolidated Blur Industries in Hollywood. Unfortunately, the blur was not commercially successful. Platt died about six months afterwards the blur was released.

George Schlatter

In 1976, TV ambassador George Schlatter, accepted for his acknowledged NBC-TV alternation Laugh-In and abounding TV ball specials, wrote and directed the motion account "Norman, Is That You?", based on the arguable Broadway play. Also attempt on NTSC videotape, the blur starred actor Redd Fox and Pearl Bailey. The blur enjoyed some analytical success, but was Schlatter's alone attack into affection films.

Los Angeles video post-production aggregation Image Transform specialized in creating actual high-quality kinescope recording during the 1970s and 1980s. Their Image Vision action acclimated adapted PAL blush video cameras, advancement the resolution from 625 curve to 655 curve for hardly bigger resolution. This action - actual agnate to Sargent's Electronovision - recorded the arresting on ultra-wideband IVC 9000 analog VTRs, but accustomed simple cyberbanking editing, titling, and effects, agnate to a acceptable 1980s cine TV show. The Image Vision action was acclimated on several accessory shorts and affected releases, including "Monty Python Live at the Hollywood Bowl" in 1982. It was abolished by the analog NHK Hi-Vision top analogue arrangement of the aboriginal 1990s.