Editing Kinescope (section)

=== Common issues ===
Videotape engineer Frederick M. Remley<ref>{{Cite web|url=https://www.lib.umd.edu/special|title=Special Collections and University Archives &#124; UMD Libraries|website=Lib.umd.edu}}</ref> wrote of kinescope recordings:
{{blockquote|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&nbsp;[[decibel|dB]], especially in the case of 16&nbsp;mm film.<ref>In ''Magnetic Recording: The First Hundred Years'', IEEE Press, 1998, p. 128. {{ISBN|978-0-7803-4709-0}}.</ref>}}

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.<ref>{{Cite web|url=https://www.howtowatch.online/video-codecs-software/|title=An Overview of Codecs and Video Processing Software|date=February 4, 2019|website=Howtowatch.online|access-date=4 August 2019}}</ref>

Some kinescopes filmed the television pictures at the television [[frame rate]] - 30 full frames per second for American [[System M]] broadcasts and 25 full frames per second for European [[System B]] broadcasts,<ref>{{Cite book|last=Morgan|first=Willard Detering|url=https://books.google.com/books?id=DvdGAAAAYAAJ|title=The Complete Photographer|date=1943|publisher=National Educational Alliance.|pages=3393|language=en}}</ref> resulting in more faithful picture quality than those that recorded at 24 frames per second. The standard was later changed to 59.94 fields/s or 29.97 frame/s for System M broadcasts, due to the technical requirements of color TV. Since these reasons did not affect System B, the color TV framerate in Europe remained at 25 frames/s.<ref>{{Cite book|last1=Pogue|first1=David|url=https://books.google.com/books?id=EvTWVImN-iQC&q=%2229.97+frame%22&pg=PA342|title=iMovie '11 & iDVD: The Missing Manual|last2=Miller|first2=Aaron|date=2011-03-16|publisher="O'Reilly Media, Inc."|isbn=978-1-4493-0651-9|pages=342|language=en}}</ref>{{efn|If electrical interference was present in the old 30 frame/s, 60 fields/s black-and-white System M format, a shutter bar would appear horizontally across the screen and not move due to U.S. electrical standards having the same frequency (60 [[Hertz]]) as the fields refresh rate in the picture. When color TV was standardized, the frame rate was shifted to 29.97 and the field rate shifted to 59.94 to allow a frequency shift not only to introduce the luminance/chrominance delay needed to share the information on the screen, but also to move the hum bar from a stationary position. As System B ran on 25 frame/s, 50 fields/s in black-and-white (to accommodate the 50 [[Hertz]] electrical frequency used in Europe), and had a wider bandwidth per channel, this issue was rendered moot.}}<ref>{{cite web | url=https://www.youtube.com/watch?v=3GJUM6pCpew | title=Why is TV 29.97 frames per second? | website=[[YouTube]] | date=3 October 2016 }}</ref>

In the era of early color TV, the [[chrominance|chroma]] information included in the video signal filmed could cause [[chroma dots|visible artifacts]]. 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-and-white film image. Using modern computing techniques, the color may now be recovered, a process known as [[color recovery]].

Because [[videotape]] records at fifty [[interlaced]] fields per second and telerecordings at twenty-five progressive frames per second, videotaped programs that exist now only as telerecordings have lost their characteristic "live video" look and the motion now looks filmic.  One solution to this problem is [[VidFIRE]], an electronic process to restore video-type motion.