Editing Kinescope (section)

== History ==
The [[General Electric]] laboratories in [[Schenectady, New York]], experimented with making still and motion picture records of television images in 1931.<ref>"Schenectady-to-Leipzig Television a Success; Movie Also Made of Images Sent by Radio", ''[[The New York Times]]'', Feb. 13, 1931, p. 15.</ref>

There is anecdotal evidence that the [[BBC]] experimented with filming the output of the television monitor before its television service was suspended in 1939 due to the outbreak of [[World War II]]. A BBC executive, [[Cecil Madden]], recalled filming a production of ''[[The Scarlet Pimpernel]]'' in this way, only for film director [[Alexander Korda]] to order the burning of the [[Negative (photography)|negative]] as he owned the film rights to the book, which he felt had been infringed. While there is no written record of any BBC Television production of ''The Scarlet Pimpernel'' during 1936–1939, the incident is dramatized in [[Jack Rosenthal]]'s 1986 television play ''The Fools on the Hill''.

Some of the surviving live transmissions of the Nazi German television station [[Fernsehsender Paul Nipkow]], dating as far back as the 1930s, were recorded by pointing a [[35 mm movie film|35&nbsp;mm]] camera to a receiver's screen; although, most surviving Nazi live television programs, such as the [[1936 Summer Olympics]] (not to be confused with the cinematic footage made during the same event by [[Leni Riefenstahl]] for her film ''[[Olympia (1938 film)|Olympia]]''), a number of [[Nuremberg Rallies]], or official state visits (such as [[Benito Mussolini]]'s), were shot directly on 35&nbsp;mm instead and transmitted over the air as a television signal, with only two minutes' delay from the original event, by means of the so-called ''Zwischenfilmverfahren'' (see [[intermediate film system]]) from an early [[outside broadcast van]] on the site.

According to a 1949 film produced by [[RCA]], silent films had been made of early experimental telecasts during the 1930s. The films were produced by aiming a camera at television monitors – at a speed of eight frames per second, resulting in somewhat jerky reproductions of the images. By the mid-1940s, RCA and [[NBC]] were refining the filming process and including sound; the images were less jerky but still somewhat fuzzy.<ref>{{Cite web|url=https://www.youtube.com/watch?v=uC-g-eB6Rjs|archive-url=https://web.archive.org/web/20150707075015/https://www.youtube.com/watch?v=uC-g-eB6Rjs|url-status=dead|title=YouTube|archive-date=July 7, 2015|website=Youtube.com}}</ref>

By early 1946, television cameras were being attached to American guided missiles to aid in their remote steering.<ref>James L. H. Peck, "[https://books.google.com/books?id=2yADAAAAMBAJ&pg=PA84 Doom on the Wing]", ''[[Popular Science]]'', February 1946, p. 84, 86.</ref><ref>[https://books.google.com/books?id=hCQDAAAAMBAJ&pg=PA108 Transatlantic Roller Coaster Designed to Bomb U.S.A.], ''Popular Science'', October 1947, p. 111.</ref> Films were made of the television images they transmitted for further evaluation of the target and the missile's performance.<ref>Albert Abramson, ''The History of Television, 1942 to 2000'', McFarland, 2003, p. 9. {{ISBN|978-0-7864-1220-4}}.</ref>

The first known surviving example of the telerecording process in [[United Kingdom|Britain]] is from October 1947, showing the singer [[Adelaide Hall]] performing at the RadiOlympia event.<ref name=Shagawat>{{cite web|last=Shagawat|first=Robert|title=Television recording – The origins and earliest surviving live TV broadcast recordings|url=http://www.earlytelevision.org/tv_recordings_the_origins.html|work=Early Electronic Television|publisher=Early Television Museum|access-date=20 April 2011}}</ref><ref>{{YouTube|J16UHcWbjS8|"Adelaide Hall – Variety in Sepia – October 1947"}}.</ref><ref>Getty Images: [http://www.gettyimages.in/detail/nieuwsfoto's/the-first-radiolympia-since-the-war-30-september-1947-the-nieuwsfotos/102730194 A view of the "Cafe Continental" stage set] in the television studio at RadiOlympia Theatre, London, September 1947.</ref> Hall sings "[[Chi-Baba, Chi-Baba (My Bambino Go to Sleep)]]" and "[[I Can't Give You Anything But Love]]", as well as accompanying herself on ukulele and dancing. When the show was originally broadcast on [[BBC TV]] it was 60 minutes in length and also included performances from [[Winifred Atwell]], [[Evelyn Dove]], [[Cyril Blake]] and his Calypso Band, [[Edric Connor]] and [[Mable Lee]], and was produced by Eric Fawcett. The six-minute footage of Miss Hall is all that survives of the show.<ref>{{Cite web|url=http://www.imdb.com/title/tt4177254/|title=Variety in Sepia|via=www.imdb.com}}</ref>

From the following month, the [[wedding of Princess Elizabeth and Philip Mountbatten, Duke of Edinburgh|wedding of Princess Elizabeth to Prince Philip]] also survives, as do various early 1950s productions such as ''It is Midnight, Dr Schweitzer'', ''[[The Lady from the Sea (1953 TV film)|The Lady from the Sea]]'' and the opening two episodes of ''[[The Quatermass Experiment]]'', although in varying degrees of quality. A complete 7-hour set of telerecordings of Queen Elizabeth II's 1953 [[Coronation of the British monarch|coronation]] also exists.{{Citation needed|date=October 2011}}

=== Worldwide program distribution ===

In the era before satellite communications, kinescopes were used to distribute live events such as a royal wedding as quickly as possible to other countries of the Commonwealth that had started a television service. A [[Royal Air Force]] aircraft would fly the telerecording from the UK to Canada, where it would be broadcast over the whole North American network.

Prior to the introduction of [[videotape]] in 1956, kinescopes were the only way to record television broadcasts, or to distribute [[network television]] programs that were broadcast live from originating cities to stations not connected to the network, or to stations that wished to show a program at a time different than the network broadcast. Although the quality was less than desirable, [[television program]]s of all types from prestigious dramas to regular news shows were handled in this manner.

Even after the introduction of videotape, the BBC and the [[ITV (TV network)|ITV]] companies made [[black and white]] kinescopes of selected programs for international sales and continued to do so until the early 1970s by which time programs were being videotaped in color. Most, if not all, recordings from the 405-line era have long since been lost as have many from the introduction of 625-line video to the early days of color. Consequently, the majority of British shows that still exist before the introduction of color, and a number thereafter, do so in the form of these telerecordings. A handful of shows, including some episodes of ''[[Doctor Who]]'' and most of the first series of ''[[Adam Adamant Lives!]]'', were deliberately telerecorded for ease of editing rather than being videotaped.

=== Eastman Television Recording Camera ===

In September 1947, [[Eastman Kodak]] introduced the Eastman Television Recording Camera, in cooperation with [[DuMont Laboratories]] and [[NBC]], for recording images from a television screen under the trademark "Kinephoto". NBC, [[CBS]], and [[DuMont Television Network|DuMont]] set up their main kinescope recording facilities in New York City, while [[American Broadcasting Company|ABC]] chose [[Chicago]]. By 1951, NBC and CBS were each shipping out some 1,000 [[16 mm film|16&nbsp;mm]] kinescope prints each week to their [[Network affiliate|affiliate]]s across the United States, and by 1955 that number had increased to 2,500 per week for CBS.<ref>Wesley S. Griswold, "[https://books.google.com/books?id=LiYDAAAAMBAJ&pg=PA115 Why TV Is Going Movie-Mad]", ''[[Popular Science]]'', February 1955, p. 118.</ref> By 1954 the television industry's film consumption surpassed that of all of the [[Cinema of the United States|Hollywood]] studios combined.<ref>{{cite web |url=http://www.tvhandbook.com/History/History_recording.htm |title=tvhandbook.com/History (recording) |archive-url=https://web.archive.org/web/20040603152849/http://www.tvhandbook.com/History/History_recording.htm |archive-date=2004-06-03}}</ref><ref name="racetovideo">Wolpin, Stewart. "[http://www.americanheritage.com/articles/magazine/it/1994/2/1994_2_52.shtml The Race to Video] {{webarchive|url=https://web.archive.org/web/20110404045940/http://www.americanheritage.com/articles/magazine/it/1994/2/1994_2_52.shtml |date=2011-04-04 }}". ''Invention & Technology'', Fall 1994.</ref>

=== Hot kinescope ===

After the network of [[coaxial cable]] and [[Microwave radio relay|microwave relay]]s carrying programs to the [[West Coast of the United States|West Coast]] was completed in September 1951,<ref>"[https://web.archive.org/web/20081211102713/http://www.time.com/time/magazine/article/0,9171,889197,00.html Coast to Coast]", ''Time'', August 13, 1951.</ref> 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 camera|35&nbsp;mm]] negative and 16&nbsp;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]].<ref>Arthur Schneider, ''Jump Cut!: Memoirs of a Pioneer Television Editor'', McFarland, 1997, p. 23–32. {{ISBN|0-7864-0345-4}}. To save the time to make a print, the 35&nbsp;mm negative was broadcast, and electronically converted to a positive image. The soundtrack for the 35&nbsp;mm film was recorded on a separate 16&nbsp;mm filmstrip, and synchronized at playback. The soundtrack for the 16&nbsp;mm reversal film version was recorded on the same filmstrip as the image.</ref><ref>Albert Abramson, ''The History of Television, 1942 to 2000'', McFarland, 2003, p. 48. {{ISBN|0-7864-1220-8}}.</ref> In September 1956, NBC began making color ''hot kines'' of some of its color programs using a [[Kodacolor (motion picture)|lenticular film process]] which, unlike color negative film, could be processed rapidly using standard black-and-white methods.<ref>Showcase Productions, Inc.: ''[[Producers' Showcase]]'', [http://www.showcaseproductions.com/tech.htm Technical Considerations].</ref><ref>Abramson, ''The History of Television, 1942 to 2000'', p. 67.</ref> They were called ''hot kines'' because the film reels being delivered from the lab were still warm from the developing process.

=== Double system editing ===

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 television|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{{technical inline|date=April 2022}} 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]]''.<ref>Arthur Schneider, ''Jump Cut!: Memoirs of a Pioneer Television Editor'', McFarland, 1997, p. 105–106, 134–135. {{ISBN|0-7864-0345-4}}.</ref>