Randy Hoffner

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

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

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

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

One thing that television and the movies have in common is that both portray motion by capturing and displaying a series of still pictures, albeit in very different ways.

Previously, we have taken a look at how cesium clocks, the most-accurate time and frequency references available to us, work.

One of the opportunities created by the digitalization of television is the ability of digital media and transports to carry metadata in addition to video and audio.

Although aspect ratio has always been a factor in television, for many decades only one aspect ratio was available: 4:3. With apologies to accomplished punsters, that picture has changed.

The cathode ray tube that until recent years served as the principal television and video display device generates its own light.

I was shocked and saddened to learn of the recent passing of a good friend and a pioneer of television stereo, Ron Estes.

Where did this strange parameter come from, anyway, and why do we need it?