Vision Electronic Recording Apparatus

Vision electronic recording apparatus (VERA) was an early analog recording videotape format developed from 1952 by the BBC under project manager Dr Peter Axon.

In order to record high frequencies, a tape must move rapidly with respect to the recording or playback head. The frequencies used by video signals are so high that the tape/head speed is on the order of several meters per second (tens of feet per second), an order of magnitude faster than professional analog audio tape recording. The BBC solved the problem by using 52-centimetre (20 in) reels of magnetic tape that passed static heads at a speed of 5.08 metres per second (16.7 ft/s).

VERA was capable of recording about 15 minutes (e.g. 4572 meters) of 405-line black-and-white video per reel, and the picture tended to wobble because the synchronizing pulses that keep the picture stable were not recorded accurately enough.

In order to cope with 625-line PAL or SECAM colour transmissions VERA would likely have required an even faster, and possibly unfeasible, tape speed.

Development began in 1952, but VERA was not perfected until 1958, by which time it had already been rendered obsolete by the Ampex quadruplex video recording system. This used 5-centimetre (2.0 in) wide tapes running at a speed of 38 cm (15 in) per second. The rapid tape-to-head speed was achieved by spinning the heads rapidly on a drum: the system used, with variations, on all video tape systems ever since, as well as DAT.

The BBC scrapped VERA and quickly adopted the Ampex system. It has been suggested that the BBC only continued to develop VERA as a bargaining tool, so it would be offered some of the first Ampex machines produced in unstated exchange for abandoning further work on a potential rival.

The only VERA recordings that survive are film telerecordings of the original demonstration.

Famous quotes containing the words vision, electronic, recording and/or apparatus:

    To stroll is a science, it is the gastronomy of the eye. To walk is to vegetate, to stroll is to live.... To stroll is to enjoy, it is to assume a mind-set, it is to admire the sublime pictures of unhappiness, of love, of joy, of graceful or grotesque portraits; it is to plunge one’s vision to the depths of a thousand existences: young, it is to desire everything; old, it is to live the life of the young, to marry their passions.
    HonorĂ© De Balzac (1799–1850)

    Ideally, advertising aims at the goal of a programmed harmony among all human impulses and aspirations and endeavors. Using handicraft methods, it stretches out toward the ultimate electronic goal of a collective consciousness.
    Marshall McLuhan (1911–1980)

    Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.
    Jessie Tarbox Beals (1870–1942)

    Man is the end of nature; nothing so easily organizes itself in every part of the universe as he; no moss, no lichen is so easily born; and he takes along with him and puts out from himself the whole apparatus of society and condition extempore, as an army encamps in a desert, and where all was just now blowing sand, creates a white city in an hour, a government, a market, a place for feasting, for conversation, and for love.
    Ralph Waldo Emerson (1803–1882)