- Colorizers Come of Age Tools
Overview of video colorization and synthesizers, describing NTSC color theory and the Y-I-Q system and explaining color subcarrier and chrominance bandwidth (color burst 3.58 MHz). Reviews early analog colorizers and raster/video synthesizers and cites devices and practitioners including the Sandin Image Processor, Paik/Abe Synthesizer, Rutt/Etra, EAB Videolab, Colorado Video Corp. and Computer Image Scanimate; outlines the Video Modular System (VMS) colorizer: A/D (four-bit/16 levels, sampled at 14.3 MHz), D/A, RGB encoder, computer interface (Z-80, TRS-80 and others), and modules (8-input/3-output matrix, pattern generator, multiplexer, RGB decoder, frame buffers 390x600x4-bit); lists applications in labs, medicine, industry, security and video art and notes VMS price starting about $2,000.
- 3,627,912 "Visual Display of Complex Color Television Sound Wave Signals" (2 copies) and EAB VideoLab Modules A through D Bibliography
Note on Xerox : "Vidium Patent". Patent Info.: 3,627,912 "Visual Display of Complex Color Television Sound Wave Signals", William E. Hearn, Atherton, California; assignor to Charles W. Kieser, San Francisco, California, a part interest. Filed April 23, 1969, Ser. No. 818,666. "This disclosure involv…
- Jones Colorizer - History of the Design Tools
Dave Jones designed the Jones Colorizer at the Experimental Television Center in 1974 and 1975 with funding from the New York State Council on the Arts; the original four‑channel device provided independent RGB controls per channel, used voltage control so video did not pass through knobs, employed diode (layered) mixing, and generated colors internally from three solid R, G and B images rather than using a color encoder. A NYSCA‑funded six‑channel second generation was developed in the early 1980s with expanded keying and input options; copies were kit‑built and sold by Jones’ Designlab, the six‑channel unit remains in daily use at the ETC studio, and Jones has discussed a proposed third‑generation model.
- Dave Jones Colorizer in Experimental Television Center Studio System Manual Tools
David Jones designed and built the Jones Six Channel Colorizer for the Residency Program at the Experimental Television Center; the device was developed in 1974 and 1975 and funded by a grant from the New York State Council on the Arts. The multi-functional image-processing unit accepts up to six black-and-white video signals and assigns independent hue and intensity per channel; controls include gain, pedestal, polarity, saturation, clip level, keying with any channel selectable as clip source, hard/soft edge control and additive or diode mixing, and most parameters are voltage-controllable including high-frequency control voltages.
- Tools by Bill Hearn Bibliography
Bill Hearn designed the Vidium, a color‑CRT X‑Y display based on a color modulation system patented in his name; the last Vidium was completed in 1970, used by musicians to generate images from electronic music signals, and was loaned to the Exploratorium. Hearn formed companies including Color Communications and Electronic Coop/Electronic Associates of Berkeley and produced the Hearn Colorizer (Model 100, 1972; Model 200 series, pre‑1975). The Hearn Videolab, conceived with Bill Etra and Steve Rutt in 1975 and citing Don Buchla as an influence, is a modular voltage‑controlled video synthesizer accepting up to six images and integrating genlock, switcher, SEG, colorizer and optional chroma keying.
- Design and Operation of the Spatial and Intensity Digitizer Tools
The Spatial and Intensity Digitizer (SAID) is an early digital-video prototype developed in 1976 to provide a low-cost video-speed analog-to-digital solution; it used a 6-bit A/D and companion 6-bit D/A to render 64 grey levels. A horizontally locked oscillator slowed the clock to allow variable horizontal sampling that creates adjustable vertical strips and a posterize bit-selection effect. The prototype was available for experimentation at the Experimental Television Center; documented in the 1980 studio manual by Sherry Miller Hocking and Richard Brewster; exhibited at Video History: Making Connections in 1998.