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Video Home System

Top view of VHS cassette with ruler for scale
Media type	Video recording media
Encoding	FM on magnetic tape
Developed by	JVC (Victor Company of Japan)
Usage	Home video, Home movie

The Video Home System^[1] (better known by its abbreviation VHS^[2]) is a consumer-level analog recording videotape-based cassette standard developed by Victor Company of Japan (JVC).

The 1970s was a period when video recording became a major contributor to the television industry. Like many other technological innovations, each of several companies made an attempt to produce a television recording standard that the majority of the world would embrace. At the peak of it all, the home video industry was caught up in a series of videotape format wars. Two of the formats, VHS and Betamax, received the most media exposure. VHS would eventually win the war, and therefore succeed as the dominant home video format, lasting throughout the tape format period.^[3]

In later years, optical disc formats began to offer better quality than video tape. The earliest of these formats, Laserdisc, was not widely adopted, but the subsequent DVD format eventually did achieve mass acceptance and replaced VHS as the preferred method of distribution after 2000.^[4] By 2006, film studios in the United States had stopped releasing new movie titles in VHS format. On December 31, 2008, the last major United States supplier of pre-recorded VHS tapes, Distribution Video Audio Inc. of Palm Harbor, Florida, shipped its final truckload.^[2] As of 2010^[update], most of the VHS tapes being produced are 6 and 8 hour blank tapes.

History[link]

JVC HR-3300EG - a revision of the world's first VHS-based VCR. The original HG-3300 released in Japan lacked the LED display and button-based programming.

In 1971, JVC engineers Yuma Shiraishi and Shizuo Takano led the effort in developing the VHS tape format.^[5] JVC originally collaborated with Sony Corporation and Matsushita Electric (aka Panasonic, National in Japan) in building a home video standard for the Japanese consumer.^[6] Soon after, Sony and Matsushita broke away from the collaboration effort, in order to work on video recording formats of their own. Sony started working on Betamax, while Matsushita started working on VX.

By the end of 1971, JVC produced an internal document titled VHS Development Matrix. In the document, it listed twelve objectives in building a home video recording unit.^[7] Suddenly, the commercial video recording industry in Japan took a financial hit. As a result, JVC cut its budgets and restructured its video division - even going as far as shelving the VHS project. However, despite the lack of funding for the VHS project, Takano and Shiraishi continued to work on the project in secrecy. By 1973, the two engineers successfully produced a functional prototype.^[7]

In 1974, the Japanese government started a standards war of its own. The Ministry of International Trade and Industry (MITI) attempted to force the Japanese video industry to standardize on just one recording format, for the sake of saving the country from consumer confusion of having too many video formats on the market to choose from.^[8] Later, Sony had a functional prototype of the Betamax format, and was very close to releasing a finished product. With this prototype, Sony persuaded the MITI to adopt Betamax as the standard, and allow it to license the technology to other companies.^[7]

JVC believed that an open standard worked in the best interest of the consumer, as sharing the format among competitors without licensing the technology was better for the consumer. To prevent the MITI from adopting Betamax, JVC made an attempt to have other companies accept VHS, and thereby work against Sony and the MITI.^[9] It was a major key to have Matsushita on-board because Matsushita was Japan's largest electronics manufacturer at the time.^[9] JVC succeeded in persuading Matsushita to back the VHS format because Matsushita was afraid to allow Sony to become a leader, and Betamax could only record one hour of video.^[9] Matsushita's backing of JVC persuaded Mitsubishi and Sharp to back the VHS standard as well.^[7] Sony's release of its Betamax unit to the Japanese market in 1975 placed further pressure on the MITI to side with the company. However, the collaboration of JVC, Matsushita, Mitsubishi and Sharp was much stronger, and eventually lead the MITI to drop its push for an industry standard.

Initial releases of VHS-based devices[link]

The first VCR to use VHS was the Victor HR-3300, and was introduced by the president of JVC at the Okura Hotel on September 9, 1976.^[10][11] JVC started selling the HR-3300 in Akihabara, Tokyo, Japan on October 31, 1976.^[10] The United States received its first VHS-based VCR - the RCA VBT200 on August 23, 1977.^[12] The RCA unit was designed by Matsushita, and was the first VHS-based VCR manufactured by a company other than JVC. The United Kingdom later received its first VHS-based VCR - the Victor HR-3300EK in 1978.^[13]

Quasar and General Electric would follow-up with VHS-based VCRs - all designed by Matsushita.^[14] By 1978, Matsushita alone produced just over half of all Japanese VCRs.^[15]

Technical details[link]

Cassette and tape design[link]

Bottom view of VHS with magnetic tape exposed

Top view of VHS with front casing removed

The VHS cassette is a 187 mm wide, 103 mm deep, 25 mm thick plastic shell held together with five Phillips head screws. The flip-up cover that protects the tape has a built-in latch with a push-in toggle on the right side (see bottom view image). The VHS cassette also includes an anti-despooling mechanism (see the top view): several plastic parts near the front label end of the cassette between the two spools. The spool brakes are released by a push-in lever within a 6.35 mm hole accessed from the bottom of the cassette, about 19.05 mm in from the edge label.

There is a clear tape leader at both ends of the tape to provide an optical auto-stop for the VCR transport mechanism. A light source is inserted into the cassette through the circular hole in the center of the underside when loaded in the VCR, and two photodiodes are located to the left and right sides of where the tape exits the cassette. When the clear tape reaches one of these, enough light will pass through the tape to the photodiode to trigger the stop function; in more sophisticated machines it will start rewinding the cassette when the trailing end is detected. Early VCRs used an incandescent bulb as the light source, which regularly failed and caused the VCR to erroneously think that a cassette is loaded when empty, or would detect the blown bulb and stop functioning completely. Later designs use an infrared LED which had a much longer lifetime.

The recording media is a 12.7 mm wide magnetic tape wound between two spools, allowing it to be slowly passed over the various playback and recording heads of the video cassette recorder. The tape speed is 3.335 cm/s for NTSC, 2.339 cm/s for PAL.

VHS M-loading system.

As with almost all cassette-based videotape systems, VHS machines pull the tape from the cassette shell and wrap it around the head drum which rotates at 1800 rpm in NTSC machines^[16] and at 1500 rpm for PAL. VHS machines, in contrast to Betamax and Beta's predecessor U-matic, use an "M-loading" system, also known as M-lacing, where the tape is drawn out by two threading posts and wrapped around more than 180 degrees of the head drum (and also other tape transport components) in a shape roughly approximating the letter M.

Tracking adjustment and index marking[link]

Another linear control track, at the tape's lower edge, holds pulses that mark the beginning of every frame of video; these are used to fine-tune the tape speed during playback and to get the rotating heads exactly on their helical tracks rather than having them end up somewhere between two adjacent tracks (a feature called tracking). Since good tracking depends on the exact distance between the rotating drum and the fixed control/audio head reading the linear tracks, which usually varies by a couple of micrometers between machines due to manufacturing tolerances, most VCRs offer tracking adjustment, either manual or automatic, to correct such mismatches.

The control can additionally hold index marks. These are normally written at the beginning of each recording session, and can be found using the VCR's index search function: this will fast-wind forward or backward to the nth specified index mark, and resume playback from there. There was a time when higher-end VCRs provided functions for manually removing and adding these index marks — so that, for example, they coincide with the actual start of the television program — but this feature has become hard to find in recent models.

By the late 1990s, some high-end VCRs offered more sophisticated indexing. For example, Panasonic's Tape Library system assigned an ID number to each cassette, and logged recording information (channel, date, time and optional program title entered by the user) both on the cassette and in the VCR's memory for up to 900 recordings (600 with titles).^[17]

Recording capacity[link]

The interior of a modern VHS VCR showing the drum and tape.

A VHS cassette holds a maximum of about 430 m (1,410 ft.) of tape at the lowest acceptable tape thickness, giving a maximum playing time of about 4 hours in an DF480 for NTSC and five hours in an E-300 for PAL at "standard play" (SP) quality. Other speeds include "long play" (LP) (Not all VCRs include this record mode), and "extended play" (EP) or "super long play" (SLP); For NTSC, LP and EP/SLP doubles and triples the recording time accordingly, but these speed reductions cause a slight reduction in video quality - from the normal 250 lines in SP, to 230 analog lines horizontal. Also, video recorded onto tapes at the lower speed often exhibit poor playback performance on recorders other than the one they were produced on. As a result, commercial pre-recorded tapes were almost always recorded in SP mode. In some cases, budget labels such as Video Treasures (both LP and EP), Starmaker (EP), Burbank Video (LP), Avid Home Entertainment (EP), GoodTimes Entertainment (LP), and even Disney (LP) and Paramount (EP) commonly used a slower speed to reduce the amount of tape required as a cost-saving method.

Video recording[link]

VHS tapes have approximately 3 MHz of video bandwidth and 400 kHz of chroma bandwidth, which is achieved at a relatively low tape speed by the use of helical scan recording of a frequency modulated luminance (black and white) signal, with a down-converted "color under" chroma (color) signal recorded directly at the baseband. Each helical track contains a single field ('even' or 'odd' field, equivalent to half a frame) encoded as an analog raster scan, similar to analog TV broadcasts. The horizontal resolution is 170 lines per scanline, and the vertical resolution (the number of scanlines) is the same as the respective analog TV standard (576 for PAL or 486 for NTSC). In modern-day digital terminology, VHS is roughly equivalent to 333x480 pixels luma and 40x480 chroma resolutions (333x480 pixels=159,840 pixels or 0.16MP (1/6 of a MegaPixel)).^[18]

JVC would counter 1985's SuperBeta with VHS HQ, or High Quality. The frequency modulation of the VHS luminance signal is limited to 3 megahertz which makes higher resolutions impossible, but an HQ branded deck includes luminance noise reduction, chroma noise reduction, white clip extension, and improved sharpness circuitry. The effect was to increase the apparent horizontal resolution of a VHS recording from 240 to 250 analog (equivalent to 333 pixels from left-to-right, in digital terminology). The major VHS OEMs resisted HQ due to cost concerns, eventually resulting in JVC reducing the requirements for the HQ brand to white clip extension plus one other improvement.

In 1987 JVC introduced a new format called Super VHS which extended the bandwidth to over 5 megahertz, yielding 420 analog horizontal (560 pixels left-to-right).

Audio recording[link]

Original linear system[link]

In the original VHS format, audio was recorded as baseband in a single linear track, at the upper edge of the tape, similar to how an audio compact cassette operates. The recorded frequency range was dependent on the linear tape speed. For the VHS SP mode, this resulted in a mediocre frequency response of roughly 100 Hz to 10 kHz. The signal-to-noise ratio (SNR) was an acceptable 42 dB. Both parameters degraded significantly with VHS's longer play modes, with EP frequency response peaking at 4 kHz.

Audio cannot be recorded on a VHS tape without recording a video signal, even in the audio dubbing mode. If there is no video signal to the VCR input, the VCR will record black as well as generate a control track while the audio is being recorded.

More expensive decks offered stereo audio recording and playback. Linear stereo, as it was called, fit two independent channels in the same space as the original mono audiotrack. While this approach preserved acceptable backward compatibility with monoaural audio heads, the splitting of the audio track degraded the signal's SNR to the point that audible tape hiss was objectionable at normal listening volume. To counteract tape hiss, decks applied Dolby B noise reduction for recording and playback. Dolby B dynamically boosts the mid-frequency band of the audio program on the recorded medium, improving its signal strength relative to the tape's background noise floor, then attenuates the mid-band during playback. Dolby B is not a transparent process, and Dolby-encoded program material will exhibit an unnatural mid-range emphasis when played on non-Dolby capable VCRs.

High-end consumer recorders took advantage of the linear nature of the audio track, as the audio track could be erased and recorded without disturbing the video portion of the recorded signal. Hence, "audio dubbing" and "video dubbing", where either the audio or video are re-recorded on tape (without disturbing the other), were supported features on prosumer linear video editing-decks. Without dubbing capability, an audio or video edit could not be done in-place on master cassette, and requires the editing output be captured to another tape, incurring generational loss.

Studio film releases began to emerge with linear stereo audiotracks in 1982. From that point onward nearly every home video releases by Hollywood featured a Dolby-encoded linear stereo audiotrack. However, linear stereo was never popular with equipment makers or consumers.

Hi-Fi audio system[link]

Around 1984, JVC added Hi-Fi audio to VHS (in response to Betamax's introduction of Beta Hi-Fi.) Both VHS Hi-Fi and Betamax Hi-Fi delivered flat full-range frequency response (20 Hz to 20 kHz), excellent 70 dB signal-to-noise ratio (in consumer space, second only to the compact disc), dynamic range of 90 dB, and professional audio-grade channel separation (more than 70dB). VHS Hi-Fi audio is achieved by using audio frequency modulation (AFM), recording each of the 2 stereo channels (L, R) on a frequency-modulated carrier and embedding the modulated audio signal pair into the video signal. To avoid crosstalk and interference from the primary video carrier, VHS's implementation of AFM relied on a form of magnetic recording called depth multiplexing. The modulated audio carrier pair was placed under the luminance carrier (below 1.6 MHz), and recorded first. Subsequently, the video head erases and re-records the video signal over the same tape surface, but video signal's higher center frequency results in a shallower magnetization of the tape, allowing both the video and residual AFM audio signal to coexist on tape. (PAL versions of Beta Hi-Fi use this same technique). During playback, VHS Hi-Fi recovers the depth-recorded AFM signal by subtracting the audio head's signal (which contains the AFM signal contaminated by a weak image of the video signal) from the video head's signal (which contains only the video signal), then demodulates the left and right audio channels from their respective frequency carriers. The end result of the complex process was audio of outstanding fidelity, which was uniformly solid across all tape-speeds (EP or SP.) Since JVC had gone through the complexity of ensuring Hi-Fi's backward compatibility with non-Hi-Fi VCRs, virtually all studio home video releases contained Hi-Fi audio tracks, in addition to the linear audio track. Under normal circumstances, all Hi-Fi VHS VCRs will record Hi-Fi and linear audio simultaneously to ensure compatibility with VCRs without Hi-Fi playback, though only early high-end Hi-Fi machines provided linear stereo compatibility.

Due to the path followed by the video and Hi-Fi audio heads being striped and discontinuous—unlike that of the linear audio track—head-switching is required to provide a continuous audio signal. Misalignments may lead to imperfect joining of the signal, resulting in low-pitched buzzing.^[19] The problem is known as "head chatter," and tends to increase as the audio heads wear down.

The sound quality of Hi-Fi VHS stereo is comparable to the quality of CD audio, particularly when recordings were made on high-end or professional VHS machines that have a manual audio recording level control. This high quality compared to other consumer audio recording formats such as compact cassette attracted the attention of amateur and hobbyist recording artists. Home recording enthusiasts occasionally recorded high quality stereo mixdowns and master recordings from multitrack audio tape onto consumer-level Hi-Fi VCRs. However, because the VHS Hi-Fi recording process is intertwined with the VCR's video-recording function, advanced editing functions such as audio-only or video-only dubbing are impossible. Some VHS decks also had a "simulcast" switch, allowing users to record an external audio input along with off-air pictures. Some televised concerts offered a stereo simulcast soundtrack on FM radio and as such, events like Live Aid were recorded by thousands of people with a full stereo soundtrack despite the fact that stereo TV broadcasts were some years off (especially in regions that adopted NICAM). Other examples of this included network television shows such as Friday Night Videos and MTV for its first few years in existence.

The considerable complexity and additional hardware limited VHS Hi-Fi to high-end decks for many years. While linear stereo all but disappeared from home VHS decks, it was not until the 1990s that Hi-Fi became a more common feature on VHS decks. Even then, most customers were unaware of its significance and merely enjoyed the better audio performance of the newer decks.

Variations[link]

Victor S-VHS (left) and S-VHS-C (right).

VHS-C adapter

Super-VHS / ADAT / SVHS-ET[link]

Several improved versions of VHS exist, most notably Super-VHS (S-VHS), an analog video standard with improved video bandwidth. S-VHS improved the luminance resolution to 400 horizontal lines (versus 250 for VHS/Beta and 500 for DVD). The audio-system (both linear and AFM) is the same. S-VHS made little impact on the home market, but gained dominance in the camcorder market due to its superior picture quality.

The ADAT format provides the ability to record multitrack digital audio using S-VHS media. JVC also developed SVHS-ET technology for its Super-VHS camcorders and VCRs, which simply allows them to record Super VHS signals onto lower-priced VHS tapes, albeit with a slight blurring of the image. Nearly all Super-VHS camcorders and VCRs made today have SVHS-ET ability.

VHS-C / Super VHS-C[link]

Another variant is VHS-Compact (VHS-C), originally developed for portable VCRs in 1982, but ultimately finding success in palm-sized camcorders. The longest tape available holds 60 minutes in SP mode and 180 minutes in EP mode. Since VHS-C tapes are based on the same magnetic tape as full size tapes, they can be played back in standard VHS players using a mechanical adapter, without the need of any kind of signal conversion. The magnetic tape on VHS-C cassettes is wound on one main spool and uses a gear wheel to advance the tape.

The adapter does not require a battery to function and is solely a mechanical adapter. It has an internal hub to engage with the VCR mechanism in the location of a normal full-size tape hub, driving the gearing on VHS-C cassette. Also when a VHS-C cassette is inserted into the adapter, a small swing-arm pulls the tape out of the miniature cassette to span the standard tape path distance between the guide rollers of a full-size tape. This allows the miniature cassette to use the same tape loading mechanism of the full-size tape.

Super VHS-C or S-VHS Compact was developed by JVC in 1987. S-VHS provided an improved luminance and chrominance quality, yet S-VHS recorders were compatible with VHS tapes.^[20]

Sony Betamax was unable to shrink that form any further, so instead they developed Video8/Hi8 which was in direct competition with the VHS-C/S-VHS-C format throughout the 80s, 90s, and 2000s. Ultimately neither format "won" and both continue to be sold in the low-end market (examples: JVC SXM38 and Sony TRV138).

W-VHS / Digital-VHS (high-definition)[link]

W-VHS allowed recording of MUSE Hi-Vision analog high definition television, which was broadcast in Japan from 1989 until 2007. The other improved standard, called Digital-VHS (D-VHS), records digital high definition video onto a VHS form factor tape. D-VHS can record up to 4 hours of ATSC digital television in 720p or 1080i formats using the fastest record mode (equivalent to VHS-SP), and up to 40 hours of standard definition video at slower speeds.

D9[link]

There is also a JVC-designed component digital professional production format known as Digital-S, or officially under the name D9, that uses a VHS form factor tape and essentially the same mechanical tape handling techniques as an S-VHS recorder. This format is the least expensive format to support a Sel-Sync pre-read for video editing. This format is most notably used by Fox for some of its cable networks.

Accessories[link]

Shortly after the introduction of the VHS format, VHS tape rewinders were developed. These devices served the sole purpose of rewinding VHS tapes. Proponents of the rewinders argued that the use of the rewind function on the standard VHS player would lead to kinks in the tape that would affect playback quality. Many lower end VCR's would leave the tape wound around the video head whilst rewinding or fast forwarding, so the rewinders were of some benefit on these machines, to save additional tape and head wear. The rewinder would rewind the tapes smoothly and also normally do so at a faster rate than the standard rewind function on VHS players. However some rewinder brands did have some frequent abrupt stops, which occasionally led to tape damage.

Some devices were marketed which allowed a personal computer to use a VHS recorder as a data backup device. The most notable of these was ArVid, widely used in Russia and CIS states. In the United States similar systems were manufactured by Corvus and Alpha Microsystems.^[21] Also available was Backer from Danmere Ltd. of England.

Signal standards[link]

VHS can record and play back all varieties of analog television signals in existence at the time VHS was devised. However, a machine must be designed to record a given standard. Typically, a VHS machine can only handle signals of the country it was sold in. The following signal varieties exist in conventional VHS:

• SECAM/625/25 (SECAM, French variety)
• MESECAM/625/25 (most other SECAM countries, notably the former Soviet Union and Middle East)
• NTSC/525/30 (Most parts of Americas, Japan, South Korea)
• PAL/525/30 (i.e., PAL-M, Brazil)
• PAL/625/25 (most of Western Europe, Australia, New Zealand, many parts of Asia such as China and India, some parts of South America such as Argentina, Uruguay and the Falklands, and Africa)

Note that PAL/625/25 VCRs allow playback of SECAM (and MESECAM) tapes with a monochrome (black and white) picture (and vice-versa) as the line standard is the same. Since the 1990s, dual- and multi-standard VHS machines have become more and more common. These can handle VHS tapes of more than one standard. For example, regular VHS machines sold in Australia and Europe nowadays can typically handle PAL, MESECAM for record and playback, plus NTSC for playback only (provided the TV is able to display NTSC's 525/30 line standard - most^{[citation needed]} can). Dedicated multistandard machines can usually handle all standards listed, some high end models can even convert the content of a tape from one standard to another on-the-fly during playback by using a built-in standards converter.

S-VHS only exists in PAL/625/25 and NTSC/525/30. S-VHS machines sold in SECAM markets record internally in PAL, and convert to/from SECAM during record/playback, respectively. Likewise, S-VHS machines for the Brazilian market record in NTSC and convert to/from PAL-M.

A small number of VHS decks are able to decode closed captions on prerecorded video cassettes. A smaller number still are able, additionally, to record subtitles transmitted with world standard teletext signals (on pre-digital services), simultaneously with the associated program.

Tape lengths[link]

Both NTSC and PAL/SECAM VHS cassettes are physically identical (although the signals recorded on the tape are incompatible). However, as tape speeds differ between NTSC and PAL/SECAM, the playing time for any given cassette will vary accordingly between the systems. In order to avoid confusion, manufacturers indicate the playing time in minutes that can be expected for the market the tape is sold in. It is perfectly possible to record and play back a blank T-XXX tape in a PAL machine or a blank E-XXX tape in an NTSC machine, but the resulting playing time will be different from that indicated.

To calculate the playing time for a T-XXX tape in a PAL machine, use this formula: PAL/SECAM Recording Time = T-XXX in minutes * (6.6/4.69)

And to calculate the playing time for an E-XXX tape in an NTSC machine, use this formula: NTSC Recording Time = E-XXX in minutes * (4.69/6.6)

Some new Panasonic NTSC/ATSC recorders also include a Very long Play (VP) mode which is not part of the official specification. It enables recordings at 1/5 the SP speed, such that a T-180 holds 3*5 == 15 hours. ^[22]

• E-XXX indicates playing time in minutes for PAL or SECAM in SP and LP speeds.
• T-XXX indicates playing time in minutes for NTSC or PAL-M in SP, LP, and EP/SLP speeds.
• SP is Standard Play, LP is Long Play (1/2 speed), EP/SLP is extended/super long play (1/3 speed)

Uses in marketing[link]

Although VHS was a popular delivery format for long-play content, VHS was also used to deliver short-play content, such as music videos, in-store videos and tutorials.

VHS single[link]

VHS single, also known as videotape single or Video 45s (a play on the term "45" when used to describe vinyl records) is a music single, using a standard-sized VHS cartridge. The format has existed since the early 1980s. In 1983, British synthpop band The Human League released the UK's first commercial video single on both VHS and Betamax as "The Human League Video Single".^[23] It was not a huge commercial success due to the high retail price of £10.99, compared to £1.99 for a vinyl single.

The VHS single format gained higher levels of mainstream popularity when Madonna released "Justify My Love" as a video single in 1990 following the blacklisting of the video by MTV.^{[citation needed]} U2 also released "Numb", the lead single from their 1993 album Zooropa as a video single.^{[clarification needed]}

Despite the success of these releases, the video single struggled as its releases were relatively periodical, the technology slowly being superseded first by CD Video (which proved unsuccessful due to the cost of capable LaserDisc players to play the video portion), music CDs with computer-accessible video files, then, by the early 2000s, by both DVD singles and CD+DVD releases.

Other uses[link]

VHS was also commonly included in various products and services - including exercise equipment, kitchen appliances, and even computer software. Corporations used the VHS format to deliver addresses made by company executives to regional offices. Manufacturers would send out VHS tapes to their service centers, to demonstrate how to repair a new product. And retail stores would play VHS tapes demonstrating a product on a television set, requiring a VCR that supported encore function replay or auto rewind play.

VHS vs. Betamax[link]

Size comparison between Betamax (top) and VHS (bottom) videocassettes.

VHS was the winner of a protracted and somewhat bitter format war during the late 1970s and early 1980s against Sony's Betamax format, as well as other formats of the time.^[3]

Betamax was widely perceived at the time as the better format, as the cassette was smaller in size, and Betamax offered slightly better video quality than VHS—it had lower video noise, less luma-chroma crosstalk, and was marketed as providing pictures superior to those of VHS. However, the sticking point for both consumers and potential licensing partners of Betamax was the total recording time.^[9] To overcome the recording limitation, B-II speed (two-hour mode, NTSC regions only) was released in order to compete with VHS's two-hour SP mode, thereby reducing Betamax's horizontal resolution to 240 lines (vs 250 lines).^[24] In turn, the extension of VHS to VHS HQ produced 250 lines (vs 240 lines), so that overall a typical Betamax/VHS user could expect virtually identical resolution. (Very high-end Betamax machines still supported recording in the B-I mode and some in an even higher resolution B-Is (B-I Super HiBand) mode, but at a maximum single-cassette run time of 1:40 [with an L-830 cassette].)

Because Betamax was released more than a year before VHS, it held an early lead in the format war. However, by 1981, United States' Betamax sales had dipped down to only 25-percent of all sales.^[25] A debate continues between pundits over the cause of Betamax's loss. Some say - including Sony's founder Akio Morita - that it was due to Sony's licensing strategy with other manufacturers, which consistently kept the overall cost for a unit higher than a VHS unit, and that JVC allowed other manufacturers to produce VHS units license-free and keep cost lower.^[26] Others say that VHS had better marketing, since the much larger electronics companies at the time (Matsushita, for example) were on-board with VHS.^[9]

Decline[link]

The VHS VCR was a mainstay in the TV-equipped living room for more than a decade, but is being replaced by newer technologies. For time shifting (off the air or cable/satellite taping), hard-drive based digital video recorders have replaced the VCR as the time shifting device of choice, especially in households with subscriber-based TV services. The home camcorder market, one which VHS shared with alternative formats, has already transitioned to digital-video recording. But the largest impact on the VHS format was the introduction of the DVD format to American consumers in March of 1997.^[27] For home-video (that is, pre-recorded commercially-released movies, etc.) rental and sales, DVD has almost completely taken the place of VHS.

At most electronics retailers, choice among VHS equipment is increasingly shrinking. New sales are focused on DVD-recorders and subscriber-based DVRs (such as TiVo). Most electronics chains have stopped stocking VHS home-video releases, focusing only on DVD and Blu-ray Disc technology. Major Hollywood studios no longer issue releases on VHS. The final major Hollywood motion picture released on VHS in the United States was David Cronenberg's 2005 film A History of Violence.^[28]

On December 31, 2008, the final truckload in the USA of recorded programming on VHS tapes rolled out of a warehouse owned by Ryan Kugler, the last major supplier of VHS-recorded videos. Kugler is President and co-owner of Distribution Video Audio, a seller of distressed goods such as VHS tapes. According to Kugler, "It's dead, this is it, this is the last Christmas, without a doubt. I was the last one buying VHS and the last one selling it, and I'm done. Anything left in warehouse we'll just give away or throw away."^[2][29]

However in 2009, the Hayao Miyazaki film Ponyo received a VHS release in Japan alongside DVD and Blu-ray.^[30] Home-video VHS tapes can still be found in many second-hand shops, and are sometimes very cheap due to the lack of demand.^[31]

In 2010, The House of the Devil received promotional distribution on VHS^[32][33] and is available exclusively on Amazon.com with a DVD copy of the film.^[34] At the back-end of the same year, Harmony Korine's Trash Humpers (which was shot and edited entirely on VHS) was released onto DVD and in a limited run of 300 VHSs directly from the official website.^[35] Also in 2010, the movie Paranormal Activity was released on VHS in the Netherlands.^[36]

Although VHS has quickly faded from mainstream home-video, a VCR is still owned in many US households. The Washington Post noted that as of 2005, 94.5 million Americans still owned VHS format VCRs.^[27] Many people hold on to their VHS-VCR for nostalgy reasons, because many movies only exist in that format or because their wedding movies or videos of other personal events in their life are still in VHS. In May 2012 the New York Times reported that VHS format stays popular in immigrant communities since movies are still available for next to nothing.^[37]

The last standalone JVC VHS-only unit was produced on October 28, 2008.^[38] JVC, like many other manufacturers, still makes combination DVD+VHS units.

Several retail chains in the United States and in Europe planned to stop selling VHS equipment in 2004,^[39] 2005,^[40] and 2006.^[41] Despite these plans, VHS recorders and blank tapes are still being sold in major stores worldwide. As an acknowledgement of VHS popularity, in 2009 Panasonic has announced the world’s first dual deck VHS-Blu-ray player.^[42]

Successors[link]

VCD[link]

The Video CD (VCD) was created in 1993, becoming an alternative medium for video, in a CD-sized disc. Though occasionally showing compression artifacts and color banding that are common discrepancies in digital media, the durability and longevity of a VCD depends on the production quality of the disc, and its handling. The data stored digitally on a VCD theoretically does not degrade (in the analog sense like tape.) In the disc player, there is no physical contact made with either the data or label sides. And, when handled properly, a VCD will last a long time. However, in practice, the surfaces of the disc do get touched by the operator's hand, causing body oil and dirt to collect on the disc, and eventually transfer to the lens and motor inside of the player, if not cleaned before use. Also, when used in an industrial or commercial environment when a disc is handled hundreds or thousands of times during its life, wear on the plastic can occur if the disc is not handled properly. VCD is susceptible to disc rot.

Since a VCD can only hold 70 minutes of video, a movie exceeding that mark has to be divided into two or more discs. This format is currently popular in developing countries.

DVD[link]

The DVD-Video format was introduced first, in 1996, in Japan, to the United States in March 1997 (Test Marketed) and mid-late 1998 in Europe and Australia.

Despite DVD's better quality (480 typical versus 250 lines horizontal resolution), VHS is still (as of 2012) somewhat widely used in home recording of video content, due to the large installed base and the lower cost of VHS recorders and tape (compared to DVD). The commercial success of DVD recording and re-writing has been hindered by a number of factors including:

• A reputation for being temperamental and unreliable, as well as the risk of scratches and hairline cracks.^[43]
• Incompatibilities in playing discs recorded on a different manufacturer's machines to that of the original recording machine.^[44]
• Shorter recording time: Up to six hours on a single-layer disc (with sub-VHS quality) versus approximately 12 hours on a T-240/DF480 tape in EP.
• Compression artifacts: MPEG-2 video compression can result in visible artifacts such as macroblocking, mosquito noise and ringing which become accentuated in extended recording modes (more than three hours on a DVD-5 disc). Standard VHS will not suffer from any of these problems, all of which are characteristic of certain digital video compression systems (see DCT) but VHS will result in reduced luminance resolution, which makes the picture look horizontally blurred (resolution decreases further with LP and EP recording modes).^{[citation needed]}

Blu-ray Disc[link]

A newer optical disc format is Blu-ray Disc, which is the designed successor to DVD. (A competing format to Blu-ray was HD DVD, which was withdrawn from the market, conceding to Blu-ray.) A single Blu-ray Disc can hold up to 128GB (over 25 times the capacity of a single-layered DVD) of information including up to 1080p High-definition video, high definition photos, music, and more.

High-capacity digital recording technologies[link]

High-capacity digital recording systems are also gaining in popularity with home users. These types of systems come in several form factors:

• Hard disk-based set-top boxes
• Hard disk/optical disc combination set-top boxes
• Personal computer-based media center
• Portable media players with TV-out capability

Hard disk-based systems include TiVo as well as other digital video recorder (DVR) offerings. These types of systems provide users with a no-maintenance solution for capturing video content. Customers of subscriber-based TV generally receive electronic program guides, enabling one-touch setup of a recording schedule. Hard disk-based systems allow for many hours of recording without user-maintenance. For example, a 120 GB system recording at an extended recording rate (XP) of 10 Mbit/s MPEG-2 can record over 25 hours of video content. However, the DVR technology does not allow for portability or long-lasting storage.

References[link]

External links[link]

Wikimedia Commons has media related to: VHS

• BBC News article: Death of video recorder in sight
• HowStuffWorks: How VCRs work
• The 'Total Rewind' VCR museum covering the history of VHS and other vintage formats

Mr. T
Mr. T in 2009.
Born	Laurence Tureaud (1952-05-21) May 21, 1952 (age 60) Chicago, Illinois, U.S.
Occupation	Actor, motivational speaker, wrestler, bodyguard, television personality
Years active	1980–present

Mr. T^[1] (born Laurence Tureaud; May 21, 1952) is an American actor known for his roles as B. A. Baracus in the 1980s television series The A-Team, as boxer Clubber Lang in the 1982 film Rocky III, and for his appearances as a professional wrestler. Mr. T is known for his trademark African Mandinka warrior hairstyle,^{[citation needed]} his gold jewelry, and his tough-guy image. In 2006 he starred in the reality show I Pity the Fool, shown on TV Land, the title of which comes from the catchphrase of his Lang character.

Early life[link]

Mr. T was born in Chicago, Illinois, the youngest son in a family with twelve children. His father, Nathaniel Tureaud Sr., was a minister.^[2] Tureaud, with his four sisters and seven brothers, grew up in a three-room apartment in one of the city's housing projects, the Robert Taylor Homes, in a poorly constructed building, in an area with high levels of environmental pollutants and the largest concentration of poverty in America.^[3] While growing up Tureaud regularly witnessed murder, rape, and other crimes, but attributes his survival and later success to his will to do well and his mother's love.^[4]

Mr. T as a senior in high school, 1970.

Tureaud attended Dunbar Vocational High School,^[5] where he played football, wrestled, and studied martial arts. While at Dunbar he became the city-wide wrestling champion two years in a row. He won a football scholarship to Prairie View A&M University, where he majored in mathematics, but was expelled after his first year.^[6] He then enlisted in the United States Army and served in the Military Police Corps. In November 1975 Tureaud was awarded a letter of recommendation by his drill sergeant and in a cycle of six thousand troops Tureaud was elected "Top Trainee of the Cycle" and was also promoted to Squad Leader.^[7] In July 1976 Tureaud's platoon sergeant punished him by giving him the detail of chopping down trees during training camp at Fort McCoy in Wisconsin, but the sergeant did not tell how many trees to stop at, and so Tureaud had single-handedly chopped down over seventy trees from 6:30am to 10:00am until a higher ranking major in shock relieved him, superseding the sergeant's orders.^[8] After his discharge, he tried out for the Green Bay Packers of the National Football League, but failed to make the team due to a knee injury.^[6]

Tureaud next worked as a bouncer. It was at this time that he created the persona of Mr. T.^[9] His wearing of gold neck chains and other jewelry was the result of customers losing the items or leaving them behind at the night club after a fight. A customer, who may have been banned from the club or trying to avoid another confrontation, would not have to re-enter the club if Mr. T wore their jewelry as he stood out front. When a customer returned to claim the item, it was readily visible and available with no further confrontations required. Along with controlling the violence as a doorman, Tureaud was mainly hired to keep out drug dealers and users.^[10] During his bouncing days Tureaud was in over 200 fights and was sued a number of times^[vague] but won each case.^[11] "I have been in and out of the courts as a result of my beating up somebody. I have been sued by customers whom I threw out that claimed that I viciously attacked them without just cause and/or I caused them great bodily harm as a result of a beating I supposedly gave them," Mr. T once remarked.^[12]

He eventually parlayed his job as a bouncer into a career as a bodyguard that lasted almost ten years. During these years he protected, among others, sixteen prostitutes, nine welfare recipients, five preachers, eight bankers, ten school teachers, and four store owners.^[13] As his reputation improved, however, he was contracted to guard, among others, David Fricker, seven clothes designers, five models, seven judges, three politicians, six athletes and forty-two millionaires.^[13] He protected well-known personalities like Muhammad Ali, Steve McQueen, Michael Jackson, Leon Spinks, Joe Frazier and Diana Ross, charging $3,000/day,^[14] with the highest charge of $10,000 per day depending on the clientele's risk-rate and traveling locations.

With his reputation as "Mr. T", Tureaud attracted strange offers and was frequently approached with odd commissions, which included: assassination, tracking runaway teenagers, locating missing persons, and large firms asking him to collect past-due payments by force.^[15] Tureaud was once anonymously offered $75,000 to assassinate a target and received in the mail a file of the hit and an advance of $5,000, but he refused it.^[16] "He offered me $75,000 to kill his friend. The last envelope and letter contained a round-trip airline ticket, first class, United. Plus there was $5,000 wrapped in a little package, fifty and hundred dollar bills. I tell you the honest truth, when I saw that money I didn't believe it was real." -Mr. T.^[16] Tureaud states that he tried to warn the victim but it was too late and the man died in a car accident. In accepting a client for Tureaud there were two rules: 1) A client cannot lie to him. 2) All potential clients are required to shop around the field of security before coming to him.^[17] He also made it clear to the client beforehand that he could not promise them their lives, "I did everything except guarantee people's lives, but I guarantee you that I will give my life protecting yours".^[18] He carried a .357 magnum and a .38 caliber snubnose revolver.^[19] He weighed an average of 255 pounds.^[20]

While he was in his late twenties, Tureaud won two tough-man competitions consecutively.^[21] The first aired as "Sunday Games" on NBC-TV under the contest of "America's Toughest Bouncer" which included throwing a 150 lb stuntman, and breaking through a four-inch wooden door.^[22] For the first event, Tureaud came in third place. For the end, two finalists squared off in a boxing ring for a two-minute round to declare the champion. Making it to the ring as a finalist, his opponent was a 280 pound Honolulu bouncer, Tutefano Tufi.^[23] Within twenty seconds "Mr. T" gave the six foot five competitor a bloody nose, and later a bloody mouth. He won the match and thus the competition.^[24] The second competition was aired under the new name "Games People Play" on NBC-TV. When interviewed by Bryant Gumbel before the final boxing match, Mr T. said, "I just feel sorry for the guy who I have to box. I just feel real sorry for him."^[25] For this second competition the final event of the fight was scheduled to last three rounds, but Mr. T finished the fight in less than 54 seconds. When Sylvester Stallone spotted Mr. T in this second airing, it is strongly believed that the interview with sports journalist Bryant Gumbel originated his famous line "I don't hate him but...I pity the fool", which was worked into the movie Rocky.

Acting roles and work[link]

While reading National Geographic, Mr. T first noticed the unusual hairstyle for which he is now famous, on a Mandinka warrior.^[26] He decided that adoption of the style would be a powerful statement about his African origin. It was a simpler, safer and more permanent visual signature than his gold chains, rings, and bracelets. The gold jewelry was worth about $300,000 at the time and took him about an hour to put on. Most nights, Mr. T spent even more time cleaning them using an ultrasonic cleaner. Occasionally, he slept with the heavy neck chains and bracelets on, "to see how my ancestors, who were slaves, felt."^[27]

In 1980, Mr. T was spotted by Sylvester Stallone while taking part in NBC's "America's Toughest Bouncer" competition, a segment of NBC's Games People Play.^[28] Although his role in Rocky III was originally intended as just a few lines, Mr. T was eventually cast as Clubber Lang, the primary antagonist. His catchphrase "I pity the fool!" comes from the film; when asked if he hates Rocky, Lang replies, "No, I don't hate Balboa, but I pity the fool." Subsequently, after losing out on the role of the title character's mentor in The Beastmaster, Mr. T appeared in another boxing film, Penitentiary 2, and on an episode of Showtime's early sketch comedy series Bizarre, where he fights and eats Super Dave Osborne, before accepting a television series role on The A-Team.

Mr. T also appeared in an episode of Silver Spoons, reprising his old role as bodyguard to Ricky Stratton. In the episode, he explains his name as "First name: Mister; middle name: period; last name T." In one scene, when Ricky's class erupts into a paper-ball-throwing melee, Mr. T throws his body in front of the objects, fully protecting his client.

In The A-Team, he played Sergeant Bosco "B.A." Baracus, an ex-Army commando on the run with three other members from the United States government "for a crime they didn't commit." As well as the team's tough guy, B.A. was a genius mechanic but afraid of flying. When asked at a press conference whether he was as stupid as B.A. Baracus, Mr. T observed quietly, "It takes a smart guy to play dumb."

His role in The A-Team led to him making an appearance in the long-running sit-com Diff'rent Strokes in the sixth season opener "Mr T. and mr. t" (1983), in which an episode of The A-Team is supposedly filmed in the family's penthouse apartment.

Mr. T portrays Santa Claus at the White House with First Lady Nancy Reagan in 1983.

A Ruby-Spears-produced cartoon called Mister T premiered in 1983 on NBC. The Mister T cartoon starred Mr. T as himself, the owner of a gym where a group of gymnasts trained. He helped them with their training but they also helped him solve mysteries and fight crime in Scooby-Doo-style scenarios. Thirty episodes were produced.

In 1984, he made a motivational video called Be Somebody... or Be Somebody's Fool!. He gives helpful advice to children throughout the video; for example, he teaches them how to understand and appreciate their origins, how to dress fashionably without buying designer labels, how to make tripping up look like breakdancing, how to control their anger, and how to deal with peer pressure. The video is roughly one hour long, but contains 30 minutes of singing, either by the group of children accompanying him, or by Mr. T himself. He sings "Treat Your Mother Right (Treat Her Right)," in which he enumerates the reasons why it is important to treat your mother right, and also raps a song about growing up in the ghetto and praising God. The raps in this video were written by Ice T.^[29]

On January 19, 1985, he introduced Rich Little at the nationally-televised 50th Presidential Inaugural Gala, the day before the second inauguration of Ronald Reagan.

In 1988, Mr. T starred in the television series T. and T. Mr. T was once reported to be earning around $80,000 a week for his role in The A-Team and earning $15,000 for personal appearances. By the end of the 1990s, he was appearing only in the occasional commercial, largely because of health problems (in 1995, he was diagnosed with T-cell lymphoma).^[30] He frequently appears on the TBN Christian television network. He has appeared on Late Night with Conan O'Brien. He has also appeared on some Comcast commercials, and in the United Kingdom, Ireland, Australia and New Zealand during 2007, advertising the chocolate bar Snickers with the slogan "Get Some Nuts!"^[31] One of these commercials, featuring Mr. T crashing through a wall on the back of a technical vehicle before firing Snickers bars at a speed walker wearing tight-fitting yellow shorts, was pulled by Mars following a complaint by the U.S.-based group Human Rights Campaign, despite the fact that the advert had never been shown outside the U.K. The group alleged that the commercial promoted the idea that violence against gay, lesbian, bisexual and transgender people "is not only acceptable, but humorous."^[32] Mr. T has distanced himself from these accusations, insisting that he would never lend his name to something that supports such beliefs, and that the commercials did not depict such promotions. The commercials are still shown on Australian and UK television.

Mr. T did a video campaign for Hitachi's Data Systems that was created and posted on consumer video sites including YouTube and Yahoo! Video. According to Steven Zivanic, senior director and corporate communications of HDS, "this campaign has not only helped the firm in its own area, but it has given the data storage firm a broader audience."^[33] In November 2007, Mr. T appeared in a television commercial for the online role playing game World of Warcraft with the phrase "I'm Mr. T and I'm a Night Elf Mohawk".^[34] A follow-up to this commercial appeared in November 2009 where he appeared promoting the "mohawk grenade" item, which appears in game and turns other players into Mr. T's likeness.

In 2008, Mr. T appeared on the American channel Shopping TV selling his "Mr. T Flavorwave Oven."^[35] A video game starring Mr T. is also being developed by ZootFly.^[36] Mr. T was offered a cameo appearance in the film adaptation of The A-Team, but decided to turn it down,^[37] whereas Dwight Schultz and Dirk Benedict both made cameos in the film. These scenes were shown after the credits, but were reinserted during the film in the Extended Cut.^[38][39] (George Peppard died in 1994).

In the 2009 movie Cloudy with a Chance of Meatballs (film), Mr. T provided the voice for Officer Earl Devereaux, the town's athletic cop who loves his son very much.

As of June 2011^[update], Mr. T is presenting a clip show on BBC Three named World's Craziest Fools. The show features stories such as botched bank robberies and inept insurance fraudsters.^[40]

Wrestling[link]

Mr. T entered the world of professional wrestling in 1985. He was Hulk Hogan's tag-team partner at the World Wrestling Federation's (WWF) first WrestleMania which he won. Hulk Hogan wrote in his autobiography that Mr. T saved the main event of WrestleMania I between them and "Rowdy" Roddy Piper and "Mr. Wonderful" Paul Orndorff because when he arrived, security would not let his entourage into the building. Mr. T was ready to skip the show until Hogan personally talked him out of leaving. Piper has said that he and other fellow wrestlers disliked Mr. T because he was an actor and had never paid his dues as a professional wrestler.

Remaining with the WWF, Mr. T became a special "WWF boxer" in light of his character in Rocky III. He took on "Cowboy" Bob Orton on the March 1, 1986 edition of Saturday Night's Main Event, on NBC. This boxing stunt ultimately culminated in another boxing match against Roddy Piper at WrestleMania 2. Mr. T returned to the World Wrestling Federation as a special guest referee in 1987 as well as a special referee enforcer confronting such stars as the Honky Tonk Man.

On July 21, 1989, Mr. T. made an appearance in World Class Championship Wrestling, seconding Kerry Von Erich.^[41]

Five years later, Mr. T reappeared as a special referee for a Hogan-Ric Flair match, in October 1994, at WCW's Halloween Havoc, and then went on to wrestle again, defeating Kevin Sullivan at that year's Starrcade.

Another seven years later Mr. T appeared in the front row of the November 19, 2001, episode of WWF Raw.^[42]

Albums[link]

In 1984, Mr. T released an album titled Mr. T's Commandments (Columbia/CBS Records), in much the same tone as his 1984 educational video, which instructed children to stay in school and to stay away from drugs. He followed it up the same year with a second album, titled Mr. T's Be Somebody... or Be Somebody's Fool! (MCA Records), featuring music from the eponymous film. In 2002, Mr. T appeared as a bartender in the video for Pass_the_Courvoisier by Busta Rhymes featuring P. Diddy and Pharell Williams.

Personal life[link]

Mr. T is a born-again Christian.^[43]

Tureaud angered the residents of a Chicago suburb called Lake Forest, by cutting down more than a hundred oak trees on his estate. The incident is now referred to as "The Lake Forest Chain Saw Massacre".^[44]

He gave up virtually all his gold, one of his identifying marks, after helping with the cleanup after Hurricane Katrina in 2005. He said, "As a Christian, when I saw other people lose their lives and lose their land and property...I felt that it would be a sin before God for me to continue wearing my gold. I felt it would be insensitive and disrespectful to the people who lost everything, so I stopped wearing my gold."^[45]

Filmography[link]

References[link]

External links[link]

	Biography portal
	Professional wrestling portal

Wikimedia Commons has media related to: Mr. T

Wikiquote has a collection of quotations related to: Mr. T

• Mr. T at the Internet Movie Database
• Mohawk Media Mr. T site
• TV Land's official I Pity The Fool page
• Legendary TV's Mr. T profile
• Mr. T discusses his Christian faith
• Mr T. talks technology
• Mr. T on a late 70s Local Chicago TV Show -- discussing being Leon Spinks bodyguard

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (March 2009)

Bill Chase (October 20, 1934 - August 9, 1974) was an American trumpet player and leader of the jazz-rock fusion band Chase.