Transformation Of Televisions Visual Image: The Emergence Of HDTV

Dan Kerns 1109 W. Moss Ave. Peoria, IL 61606 (309) 674-8058 home (309) 693-4449 work Barbra R. Kerns 1109 W. Moss Ave. Peoria, IL 61606 (309) 674-8058 home (309) 677-2332 work brk@bradley.edu Contact: Dan Kerns

Kerns, H.Dan and Kerns, Barbra. (1998). Transformation of Televisions Visual Image: The Emergence of HDTV and the Impact on Production, Delivery and Viewing. In Griffin, Gibbs & Wiegmann (Ed.s). Visual Literacy in an Information Age.

Transformation Of Televisions Visual Image: The Emergence Of HDTV

Dan Kerns Barbra R. Kerns Abstract The purpose of this paper is to discuss Digital Television and how it differs from our current television system. The paper includes a brief history of television over the past fifty years, then examine decisions on HDTV made by the FCC and the subsequent decisions by the electronic manufacturers and industry. The paper compares video format possibilities and the impact on television equipment and costs. The rules of composition, image placement and editing are examined. Finally, this paper concludes with the expected impact the new technology will have on television production programs at the high schools and colleges. Introduction NTSC, HDTV, ATV, DTV, ATSC and FCC. What does this menagerie of letters mean? Not to worry if you are confused or lost in the acronyms that will be the future of television. Even the New York Times gets confused and mixed up in its reporting about HDTV and DTV (McKernan, 1997, p. 4). The purpose of this paper is to discuss the impending changes and transformation of television from analog to a digital system. The paper will begin with a historical examination tracing the development of television over the past fifty years. The authors will track the role of the FCC and Congress in the emerging technology debate and the subsequent decisions by the electronic manufacturers and industry. Finally, this paper will conclude with the expected impact the new technology will have on television production programs at the high schools and colleges. One thing is certain, change is abound. Analog broadcasting days are limited, digital is on the horizon, what shape and technical standards emerge is anyone's guess at this point. Historical Background HDTV is the first major change in broadcasting in the United States in over 50 years. Our current system is named after the committee that developed the standard: National Television Systems Committee (NTSC). The NTSC is an analog system which has been adapted over the years. First appearing in black and white in the 40's, then color was added in 1953 and finally, stereo audio was added in 1982. The current system is plagued by problems and limitations, chiefly, the resolution of the image and the susceptibility to noise and interference. High Definition has been experimented with in labs for nearly thirty years. The process of changing the industry over to a system based on 1's and 0's has been arduous. Compatibility with existing systems has been a major stumbling block. Additionally, electronics companies have been competing over what the HD standard ought to be. Seeing the HD progress stalling; the FCC encouraged collaboration by the competing firms. Reluctant at first, the manufacturers joined together in research and development and decided upon the advanced television (ATV) transmission system to deliver the DTV signal. The group that developed ATV & DTV was dubbed the Grand Alliance, whose members include AT&T, David Sarnoff Reseach Center, General Instrument Corporation, Massachusetts Institute of Technology, North American Phillips Corporation, Thomsom Consumer Electronics and Zenith Electronics (PBS DTV Planning Office, 1997). The committee which documented the development of the digital standard is called the Advanced Television Systems Committee (ATSC). The new system will be named after the committee as was formerly done with the NTSC standard. The ATSC system is the name of the DTV standard. HDTV is not equal to or mean the same as DTV. DTV is the system of transmitting pictures and audio and HDTV is the format which the pictures and audio can be produced. The other most discussed format for commercial broadcasting is the standard definition (SDTV). There are a total of 18 formats within the ATSC system. The different fomats in ATSC system are analogous to the NTSC sytem in that the NTSC system has different formats concurrently operating within as well. For example, recording medium formats vary widely: Hi-8mm, VHS, VHS-C, U-Matic, MII and Beta. All are NTSC formats. All are different. Granted the formats discussed in ATSC refer to resolution of the image, not the storage medium. What do all of the letters mean to consumers and professionals alike? Not much to date. HDTV "...has been around in the labs since 1970, at trade shows since 1980 and in the hands of videographers since 1986," (Levine, 1997, p. 70), yet only now does HDTV look like a reality as a consumer product. Much interest has been sparked since the FCC approved the standard developed by the Grand Alliance and demonstrations have been occuring across the country. WFAA-TV demonstrated HDTV at the '97 Texas State Fair which drew hundreds of thousands in for the "show." The crowds reacted by asking three questions according to WFAA's Dave Muscari, "When will it be on the air? How much will it cost? Where can I buy one?" (Eggerton, 1997, p. 6). NTSC & ATSC: A Comparison The current system of broadcasting in the United States is the NTSC analog system. It has 525 lines of resolution and an aspect ratio of 4:3. The decision to

have 4:3 as the aspect ratio for the new medium of television was a logical choice, since this was the aspect ratio of film at the time. It wasn't until television's popularity saw movie audiences shrink in that 1950's did the movie industry changed its size to try to bring audiences back. History seems to be repeating itself, however, it is television who is changing its size and in part, hoping to lure back its audience. HDTV will have an aspect ratio of 16:9 and SDTV could be either 4:3 or 16:9. The 16:9 ratio is similar to current film ratios. However, there are multiple film aspect ratios, some larger which will still require either altering the image to fit the television screen or letterboxing the film. Figure #1 Aspect Ratio Compared

Standard NTSC Television 4:3

The two systems differ considerably in the amount of information that can be carried in the signal. The analog TV channel isnt large enough to carry the whole picture at once. It takes two passes to create one frame of an image. This process is called interlacing. In one pass, the electron gun of the television displays every odd-numbered line of the image from top to bottom, then goes back to the top and displays the even lines in the second pass. Each pass takes 1/60 of a second. The two halves interlace and the eye perceives it as one entire image. Analog waves cannot be compressed to carry more data. Digital signals, on the other hand, can be compressed. The new digital system has the capability, to send enormous amounts of information: a superior picture quality, six channels of audio, as well as processing power for interactivity (Mitchell, 1998, p. 52). The new digital system, ATSC, includes eighteen different formats, the most prominent of which are HDTV and SDTV. These formats include two categories: interlaced scanning, like the current system, and progressive scanning, the same format used by computer monitors. Progressive scanning allows the electron gun of the television to display the lines of the image one right after the other, resulting in one solid,

unified picture the first time out (Mitchell, 1998, p. 52). HDTV formats will include the 1080-interlace (1080 I) and 720-progressive (720 P). 1080 I was offered as the highest resolution. The interlaced technology allows for more lines of resolution than the progressive computer method. The ultimate goal, however, will be a 1080 P when it becomes available (IBID). Standard-definition (SDTV) formats will include the 480 I and 480 P. Both SDTV formats will present in the same wide-screen format, but the major difference will be in resolution. The 1080 and 720 achieve greater resolution and clarity. The image quality of 480 is somewhere between the current resolution of NTSC and HDTV. The current analog system allows for stereo sound. The new digital signal will be accompanied by six channels of digital Dolby sound. These six channels will make it possible to set up left, right and center speakers in the front of a room with two surround sound speakers and a subwoofer spread throughout the room. The ATSC digital system allows for multicasting on the same bandwidth. Instead of offering just one program, broadcasters using the lower 480P standard could give viewers a choice of four programs on one channel. For example, a station could offer a local sporting event, a syndicated program, a local news and weather program and an infomercial. The viewer could see all four frames and choose the one to watch (USA Today, 1997.) Analog televisions have no interactive capabilities. The new digital sets will have processing powers like computers, enabling viewers to interact with the programming, such as watching their program of choice from a set of multicast programs. Viewers might also request more information about advertised products or call up sports statistics on their favorite athletes during a game, using an on-screen menu. Digital Acquisition, Transmission And Reception When an event is recorded by a digital camera, audio is recorded on five separate tracks in Dolby sound and sampled at 48,000 times a second. The image is scanned at 60 times a second. A lens reflects each image back into the camera, dividing it into 2 million pixels. This is five times more pixels than standard television transmission. The pixel is assigned two different sets of eight-bit code, one set for its color and one for its brightness. The camera relays the image to the television studios master control. Graphics are added, then a copy of the image is recorded on a server, not videotape like the traditional television procedure (USA Today, 1997). At this point the images require far too much bandwidth to be transmitted on the allocated television channel. The color information alone requires one

HDTV 16:9

billion bits of code per second, or 95 percent of the television signal space. The signal bandwidth has only 6 million spaces, or fluctuations, per second to accommodate the code. An HDTV encoder compresses the data down to two percent of its original size. This digital encoder technology utilizes complex compression algorithms to eliminate redundant information, such as background imagery that doesnt change from frame to frame (USA Today, 1997). After the information is compressed by the encoder, it is sent to a modulator which converts the information to the proper frequency. In the modulator, the information is again compressed, this time to one third its size, so that the information can fit on a standard television signal. The modulator aligns the digital code into one of eight different strength, or voltage, levels called 8vsb. This voltage system provides a much more consistent reception quality than the analog system which receives and interprets thousands of different voltage levels. After it is modulated, it is then relayed up to the transmitter to the antenna and sent out as a broadcast signal. The digital signal will not be affected by obstacles such as trees and tall buildings, and there is no such thing as a snowy picture. The signal can be received by an ordinary home antenna within about 50 feet of the tower (USA Today, 1997). Once the signal is received by a television set, the code is separated from the signal into categories for audio, video or data and given a header that identifies the category. The code with its header is then passed on to the decoder which sends the information to the proper track, either audio, video or data (USA Today, 1997). The Players In The HDTV Race Who are the primary players in the HDTV development? Who has what to gain or lose as the old analog system is retired and the new digital system takes over? The next few sections will discuss the role of the Federal Communication Commission, the broadcast industry, the cable companies, the television manufacturers and, finally, the consumers. Calling The Shots: The FCC And Congress History has repeated itself as demonstrated by the decision the Federal Communication Commission has made concerning HDTV. The FCC has decided to let "the marketplace decide" which of the several DTV formats should be "the standard." "Remember the debacle that was AM Stereo?" has been the battle cry by some critical of the FCC's handling of HDTV's technical standards. Many broadcasters, producers, cable operators and set manufacturers would have liked to have seen a system picked to eliminate much of the ambiguity and uncertainty. In 1988, the FCC originally called for HDTV to be compatible with the current NTSC standard. This is the same approach the commission took in the

development of a color television standard nearly forty years earlier. The FCC started to hedge on the compatibility requirement over the next few years as the development and pressure began to mount away from the NTSC system. Finally, after several reports and orders, the FCC adopted the DTV standard in February of 1998. Representatives John Dingell and Edward Markey are leading efforts in Congress to require all NTSC television sets and VCRs to carry warning labels of their impending obsolescence in the year 2006. Additionally, the Congressmen are also pushing legislation requiring all "...TV sets and VCRs to be equipped to receive digital TV after 2001," (Albiniak, 1997, p. 7). The FCC approved DTV, which gives broadcasters the ability to choose from several formats, but the main broadcasting formats are HDTV and SDTV. The formats are determined by the number of scan lines and how the lines are presented on the screen. In the Fifth Report and Order on DTV, the FCC set the date of May 1, 1999 as the turn-on deadline for network affiliates of NBC, ABC, CBS and FOX in the top ten markets. Further, affiliates of those networks in the top 30 television markets must begin DTV broadcasts by November 1, 1999 and all other commercial stations must comply by May 1, 2002. All noncommercial stations must meet a May 1, 2003 deadline. The Commission, as directed by Congress, originally set December 31, 2006 as the date to reclaim all analog spectrum previously used by television, at which time the spectrum would be auctioned off for other uses in compliance with the Balanced Budget Act of 1997 (FCC, 1998). However, the 1997 budget reconciliation bill contains a provision that states that as long as less than 85 percent of a station's market can receive a digital signal, it will not have to relinquish its analog spectrum (Public Television in the Digital Age, 1998). DTV, HDTV And Broadcasters Television broadcasters have their monetary gains and losses at stake as digital takes over the airwaves. Multicasting and computer processing power have heavy profit potential. The theater-like viewing experience promises to increase audience size. However, the conversion to digital has a heavy price. That price varies considerably, depending on which format is chosen. Still, there are no guarantees the networks chosen format will become the standard. The "big four" networks have been dubbed as the leaders that everyone is watching, particularly production companies and manufacturers. ABC, CBS and NBC all have stated publicly that they embrace the HDTV format. However, the networks do not agree on which of the HDTV signals to use. CBS has "...been the biggest supporter of 1080 I and its implementation in the U.S. for more than a decade,"

(McClellan, 1998, p. 29). NBC also announced it will broadcast in 1080 I. These two networks say 1080 I format offers the best picture quality. They say that format will make it easier to convert their standard programming into HDTV, being that this digital format is still an interlaced signal like their old NTSC format (Mitchell, 1998, p. 52). ABC and FOX have stated they would use the 720 P as their HDTV format. They are aligning with Microsoft and some of the cable companies who argue that the progressive picture is more compatible with computer-like interactive data services available with digital television. ABC and FOX also say the solid, flicker-free progressive picture makes up for the fewer lines of resolution (IBID). However, both networks earlier stated an inclination to the lower format 480 P and neither are committing to how much programming will be produced using the HDTV format versus the SDTV format. Last year, ABC Television Network President Preston Padden announced ABC might start off with a format no higher than 480 P. However, politicians quickly threatened to terminate their offer of free spectrum for the digital signal while the conversion from digital to analog was taking place. ABC is now falling in line, "It is very clear that Congress wants us to do 'real' HDTV, and 720 P is the realest HDTV there is," Padden said in U.S. News and World Report (1998). In March of 1998, FOX announced it had chosen 480 P as its standard and that it would telecast 720 P for special events. This move outraged competitors and raised some eyebrows in Congress. Viewers comparing the formats say that the quality of 480 P is clearly inferior to both 720 P and 1080 I. Fox Senior Vice President Andy Setos said the 480 P "democratizes" digital television because the smaller television sets would be much cheaper and therefore be adopted more quickly (IBID). Fox owner Rupert Murdoch also used economic appeals when lobbying key Congressmen on the idea of 480 over 720 and 1080, stating, "The difference in cost is always a factor, and that's something the committee needs to look at. The cost of 480 versus 1080 is significant," (McClelland, 1998, p. 32). In fact, Mitchell states that all the broadcast networks, including NBC and CBS, plan to air most of their digital programming in 480 P (1998, p. 53). Besides being cheaper, the SDTV signal will allow spectrum space on which to add additional programming on the same channel. This multicasting capability of 480 P has great revenue generating potential. The amount of additional program offerings possible will vary depending on the type of compression method the station uses as well as the DTV format on which they decide. Currently with the compression technology available, tests have concluded that one channel can carry up to four SDTV

signals. The additional channel capacity may be the economic salvation for broadcasters. USA Broadcasting Executive Vice President Adam Ware discussed the various revenue generating possibilities of DTV. "USAB will exploit local multichannel opportunities afforded by digital compression. Home shopping digital signals are one opportunity" (McClelland, 1998, p. 34). There are many opportunities for narrow-casting to segments of the population. Channels can be devoted to just about any segment or interest. Weather, traffic conditions, music, fashion, politics, ethnic niche marketing, services for hearing and sighted impaired are just a few of the possibilities. Cable Television In The DTV Age Cable companies are not as concerned with picture quality as the broadcast networks, and yet, with 65% of 98 million homes being equipped with cable television, the cable companies will serve as gatekeeper to the signal that is sent to the majority of the television households (World Almanac, 1996, p. 260). The cable companies are more concerned with increasing feegenerating programming. DTV's compatibility with cable television is a big question. Currently, the converter boxes in use will not be able to "pass through" HDTV signals. New boxes have been developed and the nation's largest cable company, TCI, has ordered a million of the boxes. But the new boxes are limited as well. Three major drawbacks are facing the cable industry in using the new set-top converter boxes. The new boxes will not convert HDTV signals to the NTSC standard. This will pose the problem of educating the public on what their needs are, what equipment they have and how to keep up with customer upgrades in equipment and advances in technology. The second issue is the quality of the HDTV signal received through the set-top boxes. The boxes that TCI ordered will downgrade the signal. Broadcasting & Cable reported the "boxes will downconvert the HDTV broadcast in either 1080 I or 720 P formats to the lower-resolution 480P format," (Tedesco, 1998). This downgrading of the signal will deprive TCI's customers from receiving the full benefit of the broadcast signal. The percentage of homes with cable is predicted to be much higher by the time all stations are broadcasting in digital. Forrester Research shows that 71% of American homes will be hooked to cable by 2007 (Tedesco, 1997, p. 10). Time Warner's digital converter box will not support the 16:9 aspect ratio nor will it have digital outputs. Time Warner's chief technical officer Jim Chiddix further stated that new boxes will need to be developed or digital television sets will need to be cable-ready (Dickson, 1997a, p. 60). The third hurdle is the decision on the interface between cable, the set-top box and the set. Currently

there are interfaces available, but no universal decision on which one to use has been made. A committee of the National Cable Television Association (NCTA) and Consumer Electronics Manufacturers Association (CEMA) has been established to develop a standard interface (Dickson, 1997a. p. 60). For example the interface in use currently to hook a VCR to a television set can be one of three types: RF connector, line level out/line level in (RCA cables) or S-Video. An even larger issue looms on the horizon--the current FCC regulation requiring "must carry" of broadcast signals. The FCC requires cable operators to carry all broadcast signals available in the area which they serve. The Supreme Court upheld this requirement in a 1997 ruling in the current analog set up, but questions abound as to the impact to cable operators in the digital realm. Broadcasters and National Association of Broadcasters (NAB) officials have lobbied the FCC that digital needs to be included in the "must carry" regulation. "It's critical," NAB President Eddie Fritts stated in Broadcasting and Cable. "What would happen if the cable industry blocks the pathway to the home?" (McConnell, 1998, p. 44). This is a major concern given the projected penetration of cable into the marketplace in 2007. "Cable companies counter that the existing law applies only to analog signals and that there is little capacity to accommodate a second set of local television signals," (McConnell, 1998, p. 44). The second set of signals referred to will occur during the transition from analog to digital, but even that number is misleading. Would the must carry requirement also include carrying the multiple simulcasted channels? For example a local station during the transition period would be sending two signals out, one analog, one digital. The FCC announced in the Fifth Report and Order and subsequently in the Memorandum Opinion and Order on Reconsideration of the Fifth Report and Order issued on February 23, 1998, not to decide what to do about the must carry rules. The FCC is expected to issue a ruling on the must carry requirements later in 1998 (FCC, 1998). Cable companies have been reluctant players in DTV so far. Only HBO and DirecTV have stated their intention to broadcast HDTV signals. How the cable industry will fulfill the must carry ruling during the transition from analog to digital largely depends on the FCC. Congressional intent appears to require must carry in the digital age, based on the Cable Act of 1992. The Cable Act directs the "...FCC to write rules that insure cable carriage of TV signals which have been changed to conform with the new broadcast standard," (McConnell, 1997, p. 60). The FCC will also need to decide if cable operators must carry multiplexed signals if broadcasters decide to use the technology to the fullest extent. The reality of

additional programming is very real, but will there be anyone watching is the question raised by TCI CEO Leo Hindery. "The possibilities are infinite, but the realities are finite," (Petrozzello, 1997, p. 67). There are additional concerns over whether or not there would be enough advertising support for all those programs. Hindery, who has been highly critical of the HDTV debacle, stated, "If we cram HDTV down customers' throats, we lose. If HDTV changes things to the detriment of my customers because they won't pay for enhanced programs, why do we need it? The push for HDTV should come from the consumer, not from technology," (Petrozzello, 1997, p. 67). Channel capacity may become a large issue, but it may have a silver lining according to one cable official. If cable operators must carry digital broadcast signals, and if cable networks go to HDTV (which they will undoubtfully do to keep up with the competition), then cable's physical plants will need to be upgraded to increase capacity. However, TCI senior vice president of engineering Tony Werner points out, "The good news is we can add that bandwidth cheaper than anyone. We have no spectrum auction, no satellites to launch," (Dickson, 1997a, p. 61). Cable may have other revenue generating options in the DTV realm--the Internet. One of the big advantages cable appears to have over other internet providers is the ability of cable's broadband system to go two ways (send and receive signals). CableLabs president Richard Green "...hopes the cable industry can offer high-speed Internet service to 90% of the population by 2006," (Van Tassel, 1997, p. 49). This may be optimistic, but realize even if the number is not as high, cable is predicted to be in 71% of American homes by the same date. This additional source of revenue may make system upgrades to digital more palatable to cable systems. Television Manufacturers Equipment manufacturers such as Zenith and Panasonic are encouraging customers to continue purchasing NTSC format equipment. Zenith does have a buy back program for purchases made now to be applied to purchases made before 1999, in that the purchase price will apply to a new HDTV set or converter (Adams, 1997, p. B2). Panasonic is continuing to promote its full line of NTSC equipment while downplaying HDTV. "Digital television products are likely to carry significant cost premiums above that of comparably featured conventional models. Any TV bought today will be able to work well beyond the digital deadline of 2006 with use of a set-top box, giving you the best sound and picture performance it has to offer," (Panasonic On-line, 1998). Converter boxes are going to be in the range of $100 and VCRs about $2000-4000.

Television set manufacturers are rolling out HDTV sets targeted at the high-end consumers. The sets will be able to receive all 18 ATSC signal formats. Prices for the digital sets have ranged from $2000 to nearly $10,000. Large screen rear-projection sets dominate the offerings. The prices are expected to drop in time. Richard Tedesco reported in Broadcasting & Cable (1998) that the Consumer Electronics Manufacturers Association expects sales of one million HDTV sets by the year 2000. However, this is very minor, as there are 98 million homes with television sets and 94 million with multiple sets (World Almanac, 1996, p. 260). Consumers During the HDTV discussions, many critics have questioned if HDTV changes are being done for customers or being done to customers. Afterall, how will the viewers who experience difficulty in programming their VCRs adapt to all this new technology? There are an equal number of individuals that proclaim customers are going to swarm to the new technology. Consumer Electronics Manufacturers' Association President Gary Sharpiro describes Americans as "a nation of couch potatoes. We want the biggest, fattest picture we can get," (Petrozzello, 1997. p. 67). Should they delay their purchases of new TV's and VCRs and wait for the new digital components? Evidently the answer to that question is yes. Customers are indeed waiting. So reluctant are consumers about buying "old" or "obsolete" technology that television set sales are down. Zenith's Michael Wise stated HDTV "...has hurt sales big time, the entire industry is way down. People are thinking their television isn't going to be any good in two years," (Adams, 1997, p. B2). If HDTV is to really catch on with viewers, consumers will need to break their buying habits. On an average, Americans purchase a new television set every 13 years (Dager, 1998. p. 78). With the expected prices of HDTV sets, Americans will need to break out their wallets as well. Milestones & Setbacks The first nonexperimental HDTV broadcast in the United States was accomplished in February of 1998 and set a milestone for broadcasting. The honor goes to WFAA-TV in Dallas. The milestone was also a setback as well. Seems the history making broadcast from the newly erected tower to the local mall interfered with cardiac monitors of a nearby Baylor Medical Center. "Baylor spectrum was located on the same Channel 9 allocated for WFAA-TV," (McClelland, 1998, p. 38). The signal resumed once the problem had been corrected.

Interference is going to be a common problem as the television stations begin broadcasting on different frequencies. There are many low-powered wireless devices which legally use the broadcast spectrum, such as the hospital's internal broadcast of the cardiac monitors. Rival station KXAS-TV plans on broadcasting the Texas Rangers' season opener. KXAS-TV's President and General Manager Doug Adams said his goal "is to have receivers around the ballpark and around town. We'll put as many receivers in front of as many people as we can," (McClelland, 1998, p. 38). Advertisements for the telecast have already been sold to Proctor & Gamble (Ibid, p. 38). The Rangers-White Soxs game will set history as the first time a U.S. broadcaster will simulcast analog and digital signals (Klapow, 1998, p. 62). Equipment Early HD field production equipment was too large and bulky for ease of use. Open-reel 1" VTR's, reminiscent of early video decks, precluded its use in field production. Even though the equipment has evolved to be increasingly more portable, the use has remained for the most part single-camera productions. The process of refinement is expected to accelerate as users show more interest. However, many producers are waiting to see what the "big boys at the four networks" decide to use before investing in new technology. CBS, NBC and ABC are reported to be going with HDTV, either 1080 or 720, while Fox is going with 480. If this remains to be the case, then the first television sets manufactured for the initial transition period must be capable of receiving ATSC formats of 480 P, 720 P, 1080 I in addition to NTSC signals. If the cable industry decides upon a standard interface, then sets could be manufactured that are cable ready for digital and analog requirements. If sets are manufactured with the ability to receive NTSC signals or include line-inputs for existing VCRs, this will aid the consumer in the transformation into the digital age. Equipment manufactures however, have not stated what will be included on the new sets. Upconverters are available for converting NTSC signals to DTV. These devices will take the existing signal and convert it to the SDTV or HDTV format and are currently available by several manufacturers. Such a device has been used where the bulky HDTV equipment could not be used. A note of caution, no silk purses should be expected from sow's ears. While many marvel at HDTV's movie-screen-like shape with clarity of "being there," others have not been so kind. HDTV is seen as a $5 billion dollar industry-wide unfunded government mandate ("A new year and HDTV," 1998) by many in television production. TCI CEO Leo Hindery also has been

critical of the government's role in what he sees as forcing HDTV down America's throats. Jim Feeley estimates that the average cost for converting an NTSC station into a "pass through" facility for network HDTV programming at two million dollars and up to ten million for locally produced programming (Feeley, 1997, p. 30). The high costs are not only equipment oriented, but also for new sets to accommodate the wider picture with greater definition. How much can the average local video production company or station expect to pay for HDTV equipment? Group W Network Services has told clients that "HDTV gear will probably cost an average 30%-50% more than current NTSC equipment," (Dickson, 1997b, p. 73). A professional grade Sony HDC-750 camera will run $120,000 (Klapow, 1998. p. 58). A 28" HD monitor runs $10,000 (Ibid. p. 74). Advertising revenue and leasing the additional channel capacity will carry the freight for commercial broadcasters. How will non-commercial and educational broadcast facilities offset the high costs? PBS and its affiliates have already launched fundraising efforts to begin setting money aside for the conversion. Looking to corporate and big dollar donors, PBS is staging HDTV demonstrations around the nation. WTVP-TV Peoria, Illinois recently hosted a demonstration to an audience of "Who's Who" in Central Illinois. Impact On High School And College Television Production Facilities The late 1980's and early 90's gave rise to television production courses being taught in high schools and in colleges--large and small. The decreasing equipment costs, the rising demand for visually literate students and the insatiable appetite for programming fueled the boom of these television production programs in education. Will the high cost of HDTV equipment spell the deathnel to these programs? Actually, there are a number of different routes educational television production programs can go depending on circumstances and financial solvency: survivor, leader or somewhere in between. Careful planning and long-term budgeting are necessary regardless. High schools and colleges have four choices, close the program, do nothing, upconvert their analog signal or go directly to HDTV production. The economic reality may force administrators to decide the cost of the program outweighs the benefits. Educators need to be prepared to demonstrate a need by having a successful program with "good numbers" of students enrolled to head-off this type of discussion. Neither Congress nor the FCC is requiring cable or satellite television to deliver digital signals. Therefore, non-commercial educational television studios which only cablecast their signal may, for the time being, be able to continue operating as they are using

conventional NTSC technology. Additionally, there should be some good deals on traditional (albeit "obsolete") NTSC equipment from over-the-air broadcast outlets, so programs can equip, replace or stockpile equipment. Requirements of the cable operator impact this option. Non-commercial educational television programs may find that they are required by the cable operator to provide a digital signal into the cable head-end. Initially, purchase of HDTV equipment necessary to produce programming may be out of reach for traditionally under-funded educational facilities. For those programs which cablecast programming, the upconverters look like a promising stepping stone. The converters should allow the low-budget programs to continue producing programs in the NTSC format and upconvert the signal as it is fed into the transmission system of the cable head-end. Granted the signal, even processed and delivered digitally, will not compare anywhere near equal with DTV signals. Upconverters can handle the signals in a couple of ways. One would be upconverting to 480 P widescreen 16:9 ratio which digitally stretches the image to fill the screen. The second type of upconverting would send a 4:3 aspect ratio image with black bands on either side of the picture to fill out the screen. Additionally, new modulators will need to be purchased for feeding the digital image from the upconverter into the cable system at the head-end. The new modulators will cost between $5,000 - $10,000 each, per channel (Dickson, 1997a, p. 60). The use of such converters will provide a window of delay for the programs which could benefit from passage of time. As traditionally is the case with the introduction of new technology, one should see prices level out and moderate after the initial flurry of DTV equipment purchases. The fourth approach for programs if money were not an object would be to purchase the necessary equipment to shoot and edit programs. Conservative estimates for a complete retool, less cost for tower and transmitter is $500,000 for four low-end field cameras and two editors using the 30% - 50% formula that Group W suggested for DTV equipment. Few high school programs will be able to afford DTV in the short term. Colleges and universities with dedicated programs in television production should be in a better financial position to afford these costs. Many colleges have development directors which could help in fundraising efforts. Funding for programs becomes a very real issue. Schools and universities need to begin planning for equipment purchases now. Exploring partnerships with industry could be a viable solution. All avenues need to be explored, such as grants from commercial broadcasting outlets or cost sharing and joint use of non-commercial facilities need to be explored.

Should TV production programs (and schools in general) put a moratorium on all NTSC equipment purchases? Should all purchases be dual standard? What will the standard be? With the television industry in a flux, the rush to be first may result in buying equipment that does not meet the needs of the program. Prudent and judicious expenditure of money for digital equipment is necessary. One consideration could be tracking the purchasing habits of the four networks and their affiliates. In addition to retooling the equipment, programs need to retool what is taught concerning composition and placement of images on the screen which has changed from an aspect ratio of 4:3 to 16:9. Editing concepts, especially in a transition period, become important. Bob Turner posed some very thought provoking questions about 4:3 versus 16:9 in his article in Videography. How will dialogue be handled when in 16:9 ratio two people fit in the screen, but may not in the 4:3 ratio. Also, actors entering and exiting the view for 16:9 will be several frames sooner than 4:3. Will this require re-editing in the transition? His questions were raised without answers and he stated that it is incumbent upon video and teleproduction professionals to demand the technology from manufacturers to answer these questions (Turner, 1998, p. 106). Educators need to stay current on DTV as well as industry. Figure #2 Composition Differences

going to be huge demand for equipment and services and very little supply" (Klapow, 1998, p. 53). For those individuals who have HD experience, the future looks very bright. Conclusion Just as in a high stakes poker game, everyone has anted up and everyone is watching his or her backside. Broadcasters, cable television, set manufacturers, and politicians are casting their rhetoric into the mix, hoping to come out winners. Commercial broadcasters are entering a period of uncertainty and uncharted waters. Broadcasters have found their clout has diminished (as well as their audiences) and are really looking very impotent on the political front. The industry has been battered by Congress with content issues, the parental ratings system, HDTV standards, family hour and advertising restrictions, just to name a few. Broadcasters are being forced to retool the entire industry at extremely high prices ($2 - $10 million dollars per affiliate). If (and the if is a large unanswered legal question) cable companies are required to carry the broadcast signals, customers may not be able to have full advantage of the image being broadcasted because the signal could be downgraded. Additionally, many predict broadcasters are going to see even further erosion of their audience by placing the potential of more choices (including data and Internet) in front of their viewers on the television set. Some have stated that "traditional broadcasting" is really experiencing a metamorphosis into a different type of material delivery system. Data and interactivity are two of the sometimes mentioned services provided. Cable will not be a static player. To stay competitive, cable will be forced to compete by offering HDTV channels to its audiences. HBO has already embraced HDTV by promising programming in that format. If the "must carry" regulation carries over into the digital arena, cable systems will be forced to rebuild systems to handle more channels. Equipment manufactures appear to be very bullish on HDTV--with good reason. The nation's 1600 television stations are going to be spending perhaps as much as $10 million each to convert to HDTV. By the year 2006 all analog sets will be obsolete, so the nation's 98 million television households and 94 million with multiple sets will need to purchase new sets or converter boxes to continue to receive broadcasts. This doesn't take into account all the educational, governmental, professional and institutional uses of television. Sitting on the sidelines is the viewing audience. Americans are faced with the knowledge that come 2006, their television viewing habits will change, their sets and VCRs may become obsolete. Will educators also be on the sidelines? They shouldn't be. Broadcasting educators need to become informed about

The conversion to DTV broadcasting will create three big needs in education: 1) necessary DTV equipment for teaching, 2) highly trained faculty, and 3) well-trained graduates. The educational transformation to DTV needs to be expeditious. Schools need to continue to train students with the necessary job skills required by employers. Those programs which are on the leading edge will find a ready market for their graduates. Additionally, the multichannel capabilities will open up even more demand for programming material. High Definition entrepreneur producer Randall Dark stated the "...rules of supply and demand are going to kick in. There's

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