Sony was supposed to win this. The company made magnetic tape out of like paper and mud back in the 1940s, turned out a “pocketable” transistor radio in the 1950s, and invented the “portable” television by 1960. They had their first video tape recorder by 1963. They weren’t the only ones, but they were among the first and best.

The so-called VTR business had a rocky start. The things were hulking bastards, with huge price tags and poor recording capability.

A company called Ampex put out the first “home entertainment” VTR in 1963, only it cost $US30,000 in the Neiman Marcus Christmas catalog, and was nicknamed Grant’s Tomb because the product manager who thought it up was going to be shoved inside by the company’s accountants. (He would have fit, too, the thing was so big.) Sony comes along in the middle of that decade and puts out a $US1,200 “portable” VTR that came with a leatherette case and its own TV. It still weighed 29 kilos.

The worst part about these 1960s VTRs was that they were basically reel-to-reel—you had to thread your own 1-inch videotape through spools and stuff, and by the end of the decade, a one-hour spool of tape was like 8 inches in diameter. Can you imagine your TiVo needing 180 spools of videotape to get the job done?

As Sony toiled on the videotape problem, Matsushita—who we now call Panasonic—and its independent subsidiary JVC weren’t really standing out in the VTR business. Let’s say this: Nobody would have guessed they’d be able to overthrow Sony and kick mecha arse within the decade.

However, these guys were among the biggest manufacturers, dwarfing Sony many times over. Matsushita, known for efficiency, not innovation, tended to focus on big boring appliances—TVs, refrigerators, air conditioners—with a smaller team, branded Technics, devoted to dominating the hi-fi realm. JVC was all about TVs and audio gear, and had decent video know-how.

It was Sony who solved the reel-to-reel problem with—ta daaa!—a video cassette. It was called U-Matic, and at 3/4″ thick, it was smaller than the earlier formats, but still a bit of a chunkster. Since video was a bit of a Wild West, Sony felt like it needed partners to firmly establish a format, and to avoid a format war. It asked Matsushita and JVC, who said “yes” as long as Sony adopted some changes. The key here: The partnership included a deal where everybody shared all the patents. Turns out, probably not the smartest move by Sony.

Sony was right to form a posse, though. Every single electronics maker in Japan, Europe and America was trying to build a video recorder. Some American firms were obsessed with lasers (though ironically it would later be the Dutch and Japanese firms who actually put lasers to good use); other American firms were jazzed about microfilm…for video. None of them had success. Before we get on with the story, here’s a list of totally failed video players and recorders:

• Matsushita VX-100 and VX-2000
• Matsushita AutoVision
• Toshiba/Sanyo V-Cord
• Ampex InstaVision
• MCA DiscoVision/Magnavox Magnavision
• CBS Electronic Video Recording
• RCA HoloTape
• Sears/Cartridge Television Cartrivision

See what I mean? A friggin’ mess it was.

Part of the problem was the message. Nobody knew what the hell this was all about. Sony wasn’t just a pioneer in the technology, they thought hard about how to explain why you totally desperately want something bad. At one point, Sony hired Bela Lugosi to dress up one last time as Dracula, and explain that, since he worked nights, he needed to catch up on primetime shows when he got home. Get it? Vampires—they’re out killing people when Barney Miller is playing! It was a good bit, and there were a lot more like it. Little by little, the public caught on to what VCRs were for.

Anyway, U-Matic, launched in 1971, wasn’t a runaway success, either, but it was the bestselling video recorder to date, and the first successful VCR. In the realm of pro video, it was hot. Sony cashed in by steering from the home market to the businesses but JVC, who kept trying to pitch it for home use, got hosed. Like villains in some Shakespearean play, Matsushita and JVC kinda lurked in the background, planning for the next round when they might one-up that little charmer, Sony. The name of their plot? Video Home System, which you and I call VHS.

Sony was naive. Like, crazy naive. In 1974, it asked Matsushita and JVC to partner up again, this time on a fully baked format called Betamax. They weren’t asking for intellectual collaboration, just a deal to make and sell the things. It was a nice system, with really small tapes, but the problem was, the tapes only recorded for an hour. Sony was like, “That’s not a problem,” but everyone else was like, “Yes, it is.” The would-be partners dragged their heels suspiciously, not signing any deals. Sony kinda thought that was weird, but went ahead and launched the one-hour Betamax box in 1975.

Big mistake.

Not long after Sony went into wide release with the one-hour Betamax, JVC pulled a two-hour VHS out of its butt. And in time for Christmas 1976 no less. Sony had another flash of naivete when it pressed on with the one-hour system for a while, even though it had a two-hour system in the works. In that gap, JVC and its big poppa Matsushita scored sales and recognition.

Some people say Betamax was “better” but that depends on many factors, and could very well be an urban myth. The technologies were so close Sony’s own chairman called VHS a copy of Betamax. What may have looked good in one system with certain settings might not look as good on another with different settings. And by some accounts, Betamax’s more moving parts meant they were more expensive to manufacture and more costly to maintain and repair. It’s not an open-and-shut case of quantity vs. quality. Either way you look at it, there are compromises.

By this point, it wasn’t just some anything-goes contest with a million formats. By 1976, all those above had died or were dying. In Japan, there were just two choices. The Japanese government told everyone to sort it out. Hitachi, Mitsubishi and Sharp joined Team VHS, but didn’t really move forward.

In February 1977, Sony grabbed Toshiba and Sanyo, and then signed the American powerhouse brand Zenith up for an order of Sony-made Betamaxes with the Zenith name on them. Was it going to happen for Betamax after all? Seemed like they’d finally drawn at least a few good cards from the deck.

Sony might not have been totally screwed at that moment, but there were two American powerhouses, and the other one, RCA, was undecided. Ironically, the fate of the Japanese VCR industry relied on how well it could handle the most American of sports: Football. In other words, now that both players could manage two hours of recording time, what RCA wanted was enough recording time to capture a game—three hours would do.

What transpired next is unclear. Even though, at the time, both technologies were limited to two-hour capacity, Matsushita pledged to make RCA tape machines that could record for four hours.

Was this a lie? Was it vapourware? Whatever the deal, JVC engineers pulled off a four-hour capacity six weeks later, and RCA agreed to buy 55,000 machines that year, and up to a million more in the next three years. Better yet, RCA’s SelectaVision VHS decks would cost $US300 less than the two-hour Betamaxes, at $US1000 a pop.

Although Betamax hung on for a bit longer, that, boys and girls, was the end of the competition. In 1979, Sony market share tilted downward, and by 1980, the jig was up for those poor bastards.

Note: I recognise that there are other issues that might have come into play here, including Universal’s lawsuit of Sony, which lead to today’s Supreme Court definition of fair-use copyright law, and the fact that some studios, including Warner, began squeezing movies onto videotape early, with varying degrees of success. However, I contend that none of that changed the outcome—the war above was fought between Sony and Matsushita, and Matsushita won.

SOURCES:
Fast Forward: Hollywood, The Japanese, and the VCR Wars – James Lardner (Special thanks to you, Jim, for chatting me through some of this)
Sony – John Nathan
The History of Television – Albert Abramson
Sony History – Sony Global Website
Made in Japan – Akio Morita
Quest for Prosperity – Konosuke Matsushita
[PDF] Case Report on Betamax – Verardi et al
“Why VHS was better than Betamax” – Guardian UK – Jack Schofield

Gizmodo ‘79 is a week-long celebration of gadgets and geekdom 30 years ago, as the analogue age gave way to the digital, and most of our favourite toys were just being born.

The folks at Home Theatre Review state that “the adult video industry is really ahead of the curve with what they are working on for high definition content “—and, if history holds true, this progressive stance will affect how we all acquire our media in the near future.

Many adult sites have turned to internet distribution to peddle their wares because it’s cheap and it can be accessed from any computer—affording a little privacy in the process. As HTR points out:

Digital Playground is rolling out an entirely new HD download centre where clients can download 720p video directly to their iTunes library or for use with their AppleTV. Pink Visual is already distributing HD downloads for use on your computer and others are following suit. It is only a matter of time until the bandwidth expands and we can all freely download 1080p porn over the Internet.

We are heading in this direction anyway, which is why many feel that Blu-ray is a placeholder format. But I have no doubt that the porn industry will get us their faster, bigger and harder than we could have otherwise. [Home Theatre Review]

Take their latest DVD player, the XD-E500 DVD upscaler. It’s marketed on the fact that it can take your vanilla old DVDs and upscale them to HD-like quality with 1080p output. That sounds pretty good (although the press release says that standard def DVDs are 480p – not in Australia, Toshiba!). But then there’s the price: $199.

Sure, the Toshy’s got some pretty catchy-sounding tech on board (XDE Technology, anyone?) for upscaling, plus DivX playback, HDMI CEC connectivity and a host of connections, but is it worth $200 bucks? Sony’s latest Blu-ray player has an RRP of $449, but you can pick it up for $380 online, and it will not only upscale your DVDs, but playback Blu-ray movies as well. Even at $150 for the Toshy, don’t most people already own a DVD player?

Still, if the infinite format war takes Blu-ray as its next victim, Toshiba will probably be the company laughing all the way to the bank.

Toshiba Fast Forwards To Clear And Crisp Viewing With New XD-E500 DVD Upscaler

SYDNEY, 10 October 2008

Consumers can unlock the benefits of HD-ready TVs and enjoy their standard DVD collections in near High Definition picture quality, thanks to new Toshiba XDE™ technology now available in its latest DVD player.

XDE, or “eXtended Detail Enhancement,” is more than just DVD upconversion. XDE takes DVD picture quality to a whole new level. In addition to providing upconversion from 480i/p up to 1080p, XDE offers user selectable picture enhancement modes that allow for greater detail, more vivid colors and stronger contrast that bring standard DVD quality closer to the HD experience. XDE technology lets consumers enjoy their existing DVD libraries in a whole new way.

“Consumers have embraced the DVD format and have invested in large libraries of their favourite movies. Now, the Toshiba XD-E500 allows them to experience their existing DVD library and the tens of thousands of DVD titles in enhanced detail and richer colour at near HD picture quality with the Toshiba price and quality promise,” says Francois Spina, AV Product Manager – DVD at Toshiba Australia.

Your movie your way
The XD-E500 offers consumers the ability to customise their viewing experience to their taste with its three picture mode settings, Sharp, Color and Contrast.

* Sharp Mode offers enhanced detail that is one step closer to high definition. Edges are sharper and details in movies are more visible. Unlike traditional sharpness control, XDE™ technology analyses the entire picture and adds edge enhancement precisely where it’s needed.
* Color Mode makes the colours of nature stand out with improved richness. Blues and greens are more vivid and lifelike. Color Mode combines the improvement in colour with the detail enhancement of Sharp Mode and is ideal for outdoor scenes.
* Contrast Mode is designed to make darker scenes more clearly visible without the typical “washing out” that can occur with traditional contrast adjustment. Recommended for dark scenes where detail may be difficult to notice, Contrast Mode is also combined with Sharp Mode to provide a clearer viewing experience.

In addition to Toshiba’s new XDE™ technology, the XD-E500 also features support for PAL progressive scan playback and offers DVD, DVD-R/-RW, CD/ CD-R/-RW, Video-CD, SVCD, CD-DA and HDMI compatibility. It is compatible with Toshiba’s REGZA-Link (HDMI CEC), and also includes Component Video and Composite Video outputs, Coaxial and Optical Digital outputs and two channel audio. JPEG, DivX, MP3 & WMA support is also included.

Key Features:

* Toshiba’s new XDE™ Technology
* Sharp, Color and Contrast Modes
* DVD Upscaler: 720p, 1080i, 1080p
* HDMI connection
* REGZA-LINK (HDMI CEC)
* DivX / MP3/ WMA/ JPEG Viewer
* Pal Progressive
* DVD, DVD-R/-RW, CD/ CD-R/-RW, VIDEO-CD, SVCD, CD-DA
* Component Video Output
* Composite Video Output
* Digital & Coaxial Audio Output
* 2 Channel Audio Output

Pricing and Availability
The XD-E500 DVD player is available now from Harvey Norman, Clive Peeters, Myer, JB Hi Fi, Bing Lee, Rick Hart and speciality Hi-Fi stores, RRP of $199 inc. GST.

The XD-E500 comes with a standard two-year replacement warranty.

Important Notes
This product does not play HD DVD or Blu-Ray discs. It upconverts standard definition (480p) DVD content to HD (720p, 1080i or 1080p) to match the resolution of your HD display. Although near the picture quality, it does not produce or output native HD video content.

* To display upconverted 720p, 1080i or 1080p video content, a 720p, 1080i or 1080p capable HDTV or HD Monitor (as applicable) with an HDCP capable HDMI or DVI input is required.
* The effect of enhancements may vary depending upon disc content quality and display device capability/functionality/settings. Depending on the quality of the DVD disc, some video noise may be visible.
* Some DVD-R/DVD-RW discs may be incompatible due to laser pick up and disc design. CD-R/CD-RW discs must be recorded using CD-DA method for CD audio playback. The DVD player may not support some MP3/WMA/JPEG/DivX recordings due to differences in recording formats, disc structure, or condition of the disc (use of CD-RW for MP3 files is not recommended). See Owner’s Manual for more information.
* Use of REGZA-LINK, a feature based on HDMI-CEC, requires an HDMI-CEC compatible display device. Depending on the specifications of your display device, some or all REGZA LINK functions may not work even if your display device is HDMI-CEC compatible.

[Toshiba]

The change in range is due to the chunk of spectrum being used (5GHz for WHDI and anywhere from 3.1 to 10.6 GHz for UWB). UWB is a low-power, short-range broadcast because it has to play nice with the other protocols found on the wide breadth of spectrum it calls home. (For better or worse, Monster’s wireless HD kit is wireless up until the point it needs to use your home’s coax wiring to gain whole-house coverage).

WHDI, however, is camped out in a chunk of unlicensed 5GHz spectrum just like 802.11n Wi-Fi, meaning it must be able to tolerate the reasonable levels of interference only from other devices that use the same frequencies, and can broadcast at higher power levels than UWB–enough for a range of “over 100 feet.” WirelessHD, a third major spec also funded by Samsung and Sony, plus Panasonic, Toshiba, LG and NEC, uses the 60GHz band, and apparently has problems unless the transmitter and receiver are within line-of-sight.

Components will be paired through menu systems using a pass-key, like Bluetooth. The spectrum can hold around six streams of 1080p video at a time, although real-world interference may vary. A likely scenario would be streaming from a WHDI cable box or Blu-ray player downstairs to 3 TVs throughout your house while still having room for HD gaming in the den.

The fact that a few heavies like Panasonic are still notably missing could mean another standards battle is on the horizon. While WirelessHD already claims a published 1.0 spec, and Monster’s UWB product should be out by the fall, the WHDI spec is due to be finalised at the end of the year, with products hopefully popping up in time for CES ‘09. Stay tuned until then–as one format war ends, another begins.