Knowledge Base | The Pixel Farm Ltd.

2” Ampex Quadruplex (1956)

(professional analogue)

Technical information

Intended use: professional (broadcast, recording)

Analogue signal type: Composite

Reel arrangement: Open

Luminance resolution: 400 lines 533x486 (NTSC) 533x576 (PAL)

Chrominance resolution: 120 lines, 160x486 (NTSC) 160x576(PAL)

Physical description

Quadruplex video tapes are a substantial, cumbersome open reel design and are a 2” tape format; this should be much easier to verify over cassette-based videotape formats where the tape is enclosed. The most common reel diameter measures 300mm, with smaller 265mm, 228mm and 200mm reels for shorter record times and use for outside broadcasting. The videotape reels will mostly have brass or silver-coloured side plates, which may be slotted, showing the videotape below. For protection in transport and storage, a plastic case was often used that measures 381 x 381 x 101 mm. The vast majority of working tapes will have been kept in these cases as exposure to the environment would cause the tapes to deteriorate rapidly over time. However, some were kept in less-than-ideal cardboard boxes. While there are generally no logos or markings on the videotape reel other than a manufacturer's mark, the videotape reels should be reasonably easy to identify due to the rarity and specific size and extreme weight. As a professional format, it would be normal to find accompanying documentation along with the videotape itself, making it easier to determine the tape type.

Brief history

Nicknamed "Quad" for its four record heads, the 2-inch videotape format was innovated and launched by the Ampex Corporation in 1956. This development addressed the cumbersome process of using kinescopes for broadcasting. Kinescopes involved recording live TV programs on 35mm motion picture film, which had to be quickly processed for rebroadcasting across different time zones.

Ampex's patented videotape technology offered an immediate playback solution, providing studios with a means to retransmit television content with superior quality and eliminating the complexities and costs of motion picture film production. The industry was highly impressed by this new system, leading numerous studios to rapidly adopt the technology and replace their existing equipment.

The 2-inch videotape format underwent several enhancements to improve reliability and quality. Initially monochromatic, it gained colour functionality in 1958. Later, High-band and super-high-band variants further improved image quality, and most 2-inch machines produced from the 1960s onwards could play all three types.

Ampex Quadruplex players/recorders, especially in their later models, delivered exceptional visual quality, a standard that remains impressive even today. The format revolutionized the television industry, moving broadcasting away from reliance on motion picture film.

1” Type B (1975)

(professional analogue)

Technical information

Intended use: professional (broadcast, recording)

Analogue signal type: Composite / Component

Reel arrangement: Open

Luminance resolution: 520 lines, 693x486 (NTSC) 693x576 (PAL)

Chrominance resolution (max): 120 lines, 160x486 (NTSC) 160x576(PAL)

Physical description

The 1” Type B format closely resembles the 2” Quadruplex videotape reels but in a more compact 1” configuration. The standard reel diameter is 300mm, though smaller variations are available, including 265mm, 228mm, and 200mm. Similar to the 2” Quad and Type C formats, most Type B videotape reels have brass or silver-coloured slotted side plates that expose the videotape.

Full-size Type B videotape reels are commonly housed in plastic transport cases, similar to those used for the Quad videotape format but shallower. In contrast, the smaller Type B variants are typically stored in cardboard boxes. Distinguishing between Type B and Type C videotape reels can be confusing since the reels appear nearly identical.

To differentiate between the two formats, aside from any remaining labelling and accompanying documentation, a helpful indicator is that Type C tapes are more likely to be NTSC, while Type B tapes are more likely to be PAL.

Brief history

Developed and introduced by Bosch in 1976, the 1” Type B video format shared many similarities with the much larger 2” Quadruplex. While it wasn't as globally popular as Type C—mainly due to the absence of features like still mode and variable speed playback without an extremely costly digital framestore—it found significant success in Europe.

The picture quality of Type B was exceptional, rivalling both 2” Quad and Type C. Many modified versions of the equipment could record in different formats, including analogue high definition at resolutions up to 2048x1152 at 50 frames per second. This capability contributed to the early push towards HD programming and 16:9 aspect ratios in Europe during the late 1980s and early 1990s.

1” Type C (1976)

(professional analogue)

Technical information

Intended use: professional (broadcast, recording)

Analogue signal type: Composite

Reel arrangement: Open

Luminance resolution: 400 lines, 533x486 (NTSC) 533x576 (PAL)

Chrominance resolution (max): 120 lines, 160x486 (NTSC) 160x576(PAL)

Physical description

The 1” Type C video format is similar to quadruplex videotapes but uses half the tape width, hence the name 1". The most common reel diameter is 300mm, which was the maximum size for most Type C decks, though smaller reels for shorter recording times, including 265mm, 228mm, and 200mm, were also used. These smaller reels were typically utilized for outside broadcasts and distribution.

Due to the format's popularity and the numerous manufacturers producing videotape stock, there were many design and color variations in the reels. However, most reels featured brass or silver-colored slotted side plates exposing the videotape beneath. Less commonly, short pre-edited masters for advertisements, public information films, or music videos might be stored on white plastic reels of varying diameters, depending on the content duration, and are usually housed in cardboard cases.

Full-size Type C videotape reels are typically found in plastic transport cases similar to those used for other 1” variants and 2” Quad tapes. While Type C reels look identical to Type A, they are more likely to be Type C due to the rarity of Type A. Type C videotape reels are more likely to be NTSC than PAL, as Type B was mainly used in Europe. Surviving labels and accompanying documentation can provide further clues to the format. In the music industry, audio recordings were also made on a similar 1” format, which can sometimes be mistaken for videotape.

Brief history

The 1” Type C is a reel-to-reel helical scan videotape format co-developed by Ampex and Sony in 1976, designed to replace the aging but dominant 2” Quadruplex format. While Type C was not the first 1” videotape format—preceded by Ampex's Type A and Bosch's Type B, which found limited success in Europe—it introduced significant improvements that set it apart.

Type C offered features such as still mode, shuttle, and variable-speed playback, including slow motion, which were not available in other formats at the time, including the established 2” Quad. Though its picture quality was only slightly better than that of the 2” Quad, the Type C format's compact size, lower cost, ease of operation and maintenance, and improved reliability made it highly attractive to television stations. It became particularly popular with outside broadcast crews due to its reduced size compared to the 2” Quad, with both Sony and Hitachi releasing dedicated portable versions of their video tape recorders (VTRs).

Countless hours of television programming were mastered using this format, and it remained in use worldwide until the 1990s.

1/2” EIAJ-1 (1969)

(professional/consumer analogue)

Technical information

Intended use: professional (broadcast, recording)

Analogue signal type: Composite

Reel arrangement: Open

Resolution: 200 lines, 266x486 (NTSC) 266x576 (PAL)

Physical description

Smaller tapes are typically stored in soft or hard plastic containers, measuring approximately 140 mm × 140 mm × 25 mm. Larger reels are housed in containers about 213 mm × 213 mm × 32 mm. These plastic containers may also be enclosed within a separate paperboard sleeve. Additionally, some containers of similar size come with handles for easy transport. The reels themselves are commonly 127 mm or 184 mm in diameter.

Brief history

The EIAJ-1 video reel format, introduced by the Electronic Industries Association of Japan in the 1960s, marked a significant milestone in analog video recording. It played a crucial role in the recording and exchange of video content, offering a standardized and versatile alternative to the bulky and inconvenient methods like open-reel tapes and the Quadruplex format.

Key features of the EIAJ-1 format included:

Standardized Cartridge Design: The EIAJ-1 used a cartridge system that enclosed the video tape, making loading and unloading easier and reducing the risk of damage. This standardized design ensured compatibility across different manufacturers' equipment.

Ease of Use:

The cartridge-based design simplified handling, allowing users to quickly load and unload tapes without threading through complex paths required by older systems.

Interchangeability:

The format enabled video tapes to be easily interchanged between different recording and playback devices, enhancing content exchange and collaboration.

Video Quality:

The EIAJ-1 offered respectable standard-definition video quality, suitable for both professional and consumer applications.

Widespread Adoption:

Its convenience, compatibility, and the growing demand for video solutions led to widespread adoption in Japan and beyond.

The EIAJ-1 format laid the groundwork for future advancements in video recording technology, paving the way for more compact and efficient formats that eventually led to the digital video revolution. While digital formats have largely replaced analog systems, the EIAJ-1 remains an important milestone in video recording history, highlighting the industry's drive for improved convenience, quality, and compatibility in visual media.

U-matic (Lo-Band 1971) (Hi-Band 1974)

(professional analogue)

Technical information

Intended use: professional (distribution, recording)

Analogue signal type: Composite

Reel arrangement: Adjacent

lo-Band

Luminance resolution: 256 lines, 341x486 (NTSC) 341x576 (PAL)

Chrominance resolution: 32 lines, 42x486 (NTSC) 42x576(PAL)

Hi-Band

Luminance resolution: 310 lines, 413x486 (NTSC) 413x576 (PAL)

Chrominance resolution: 74 lines, 98x486 (NTSC) 98x576(PAL)

Physical description

U-matic videotape cassettes are a ¾” format (tape width) and come in two sizes. The smaller cassette, known as U-matic S, measures 177 × 101 × 25 mm, while the larger U-matic tapes measure 203 × 127 × 25 mm. Typically, the cassette will have the U-matic logo embossed or stamped onto the chassis and likely on any surviving label or case, though labels may have worn off over time. Despite various iterations of U-matic videotapes, their overall dimensions remain consistent.

Key features can help identify U-matic tapes. The larger videotapes often have tapered top left and right corners and a narrow vertical spool window on the right side. Some models feature a semi-transparent cassette chassis, which is uncommon in other professional videotape formats. The smaller tapes (U-matic S) are squared off, not tapered, and often have a horizontal spool window running across the lower half of the tape.

Brief history

In 1969, Sony demonstrated the first prototype of the U-matic videotape format, sometimes referred to as Lo-Band. This format was further developed by Matsushita and several other Japanese companies as part of an agreement to establish unified standards. The first commercial player/recorder was released in 1971. A significant feature of this new format was its departure from traditional open reel systems, housing the tape inside a cassette chassis. This design made loading and unloading tapes much easier and provided better protection for the tape.

Originally intended as a consumer format, U-matic proved too expensive to manufacture and purchase for the average consumer. Despite being smaller than the open reel systems of the time, U-matic equipment was still too large and heavy for most consumers. However, the format found a niche in educational and industrial environments where cost and space were less of an issue. Many corporate and educational videotapes from this period likely originated on U-matic. The format also gained popularity with external broadcast crews.

In 1974, a new U-matic videotape size and quality revision, U-matic Hi-Band, was introduced. This version offered a marked increase in both luminance and chrominance resolution by modifying the recorded signal. However, unlike the later SP variant, Hi-Band videotapes could not be played back on Lo-Band equipment, creating compatibility issues.

The U-matic S format featured a smaller form factor and reduced record time, making it ideal for external broadcast crews who benefited from its portability and convenience. U-matic played a crucial role in revolutionizing on-location broadcasting by allowing instant playback of recordings, rendering traditional 16mm methods, which required processing and tape transfer, obsolete.

U-matic tapes have also been used for transporting film dailies, most famously for the rough cut version of "Apocalypse Now," which was later re-released as "Apocalypse Now Redux."

VCR (1972)

(consumer analogue)

Technical information

Intended use: consumer (distribution, recording)

Analogue signal type: Composite

Reel arrangement: Coaxial

Luminance resolution: 256 lines, 320x486 (NTSC) 320x576 (PAL)

Chrominance resolution: 32 lines, 42x486 (NTSC) 42x576 (PAL)

Physical description

VCR cassettes use a ½” tape format. You can confirm the width of the tape by releasing the top dust cover. Unusually, the cassette features a dual spool design with the reels aligned coaxially, resulting in a deep, square-shaped cassette measuring 127 x 145 x 38 mm.

VCR cassettes typically have the VCR logo embossed, stamped, or printed onto the chassis and any surviving label or case; however, some labels may have worn off due to their age. Most commonly, these cassettes were manufactured by Philips or BASF and featured a small rectangular spool window on the lower left.

Brief history

Despite its lack of success in the home market, Sony's U-matic format became hugely successful in professional settings and is arguably the first widely used professional videotape cassette. In 1971, Sony struggled to gain traction in the home market, but just one year later, Philips decided to enter the domestic market with their new VCR format. Philips made some smart decisions in the design of the VCR hardware. The machines were easy to load and operate and offered many features desirable in a home setting, such as the ability to record live TV attended or unattended and quickly switch between the TV and the VCR cassette player/recorder. Additionally, the picture quality was as good as Sony’s U-matic format.

VCR went on to become the first successful cassette-based videotape format for domestic use. The format also achieved significant success in the emerging educational market. VCR became so synonymous with videotape cassettes that many people, especially in Europe where Philips had their greatest success, began referring to any videotape cassettes and player/recorders as "VCRs," similar to how "Hoover" became synonymous with vacuum cleaners.

U-matic (Lo-Band 1971) (Hi-Band 1974)

(professional analogue)

Technical information

Intended use: professional (distribution, recording)

Analogue signal type: Composite

Reel arrangement: Adjacent

lo-Band

Luminance resolution: 256 lines, 341x486 (NTSC) 341x576 (PAL)

Chrominance resolution: 32 lines, 42x486 (NTSC) 42x576(PAL)

Hi-Band

Luminance resolution: 310 lines, 413x486 (NTSC) 413x576 (PAL)

Chrominance resolution: 74 lines, 98x486 (NTSC) 98x576(PAL)

Physical description

U-matic videotape cassettes are a ¾” format (tape width) and come in two sizes. The smaller cassette, known as U-matic S, measures 177 × 101 × 25 mm, while the larger U-matic tapes measure 203 × 127 × 25 mm. Typically, the cassette will have the U-matic logo embossed or stamped onto the chassis and likely on any surviving label or case, though labels may have worn off over time. Despite various iterations of U-matic videotapes, their overall dimensions remain consistent.

Key features can help identify U-matic tapes. The larger videotapes often have tapered top left and right corners and a narrow vertical spool window on the right side. Some models feature a semi-transparent cassette chassis, which is uncommon in other professional videotape formats. The smaller tapes (U-matic S) are squared off, not tapered, and often have a horizontal spool window running across the lower half of the tape.

Brief history

In 1969, Sony demonstrated the first prototype of the U-matic videotape format, sometimes referred to as Lo-Band. This format was further developed by Matsushita and several other Japanese companies as part of an agreement to establish unified standards. The first commercial player/recorder was released in 1971. A significant feature of this new format was its departure from traditional open reel systems, housing the tape inside a cassette chassis. This design made loading and unloading tapes much easier and provided better protection for the tape.

Originally intended as a consumer format, U-matic proved too expensive to manufacture and purchase for the average consumer. Despite being smaller than the open reel systems of the time, U-matic equipment was still too large and heavy for most consumers. However, the format found a niche in educational and industrial environments where cost and space were less of an issue. Many corporate and educational videotapes from this period likely originated on U-matic. The format also gained popularity with external broadcast crews.

In 1974, a new U-matic videotape size and quality revision, U-matic Hi-Band, was introduced. This version offered a marked increase in both luminance and chrominance resolution by modifying the recorded signal. However, unlike the later SP variant, Hi-Band videotapes could not be played back on Lo-Band equipment, creating compatibility issues.

The U-matic S format featured a smaller form factor and reduced record time, making it ideal for external broadcast crews who benefited from its portability and convenience. U-matic played a crucial role in revolutionizing on-location broadcasting by allowing instant playback of recordings, rendering traditional 16mm methods, which required processing and tape transfer, obsolete.

U-matic tapes have also been used for transporting film dailies, most famously for the rough cut version of "Apocalypse Now," which was later re-released as "Apocalypse Now Redux."

U-matic (Lo-Band 1971) (Hi-Band 1974)

(professional analogue)

Technical information

Intended use: professional (distribution, recording)

Analogue signal type: Composite

Reel arrangement: Adjacent

lo-Band

Luminance resolution: 256 lines, 341x486 (NTSC) 341x576 (PAL)

Chrominance resolution: 32 lines, 42x486 (NTSC) 42x576(PAL)

Hi-Band

Luminance resolution: 310 lines, 413x486 (NTSC) 413x576 (PAL)

Chrominance resolution: 74 lines, 98x486 (NTSC) 98x576(PAL)

Physical description

U-matic videotape cassettes are a ¾” format (tape width) and come in two sizes. The smaller cassette, known as U-matic S, measures 177 × 101 × 25 mm, while the larger U-matic tapes measure 203 × 127 × 25 mm. Typically, the cassette will have the U-matic logo embossed or stamped onto the chassis and likely on any surviving label or case, though labels may have worn off over time. Despite various iterations of U-matic videotapes, their overall dimensions remain consistent.

Key features can help identify U-matic tapes. The larger videotapes often have tapered top left and right corners and a narrow vertical spool window on the right side. Some models feature a semi-transparent cassette chassis, which is uncommon in other professional videotape formats. The smaller tapes (U-matic S) are squared off, not tapered, and often have a horizontal spool window running across the lower half of the tape.

Brief history

In 1969, Sony demonstrated the first prototype of the U-matic videotape format, sometimes referred to as Lo-Band. This format was further developed by Matsushita and several other Japanese companies as part of an agreement to establish unified standards. The first commercial player/recorder was released in 1971. A significant feature of this new format was its departure from traditional open reel systems, housing the tape inside a cassette chassis. This design made loading and unloading tapes much easier and provided better protection for the tape.

Originally intended as a consumer format, U-matic proved too expensive to manufacture and purchase for the average consumer. Despite being smaller than the open reel systems of the time, U-matic equipment was still too large and heavy for most consumers. However, the format found a niche in educational and industrial environments where cost and space were less of an issue. Many corporate and educational videotapes from this period likely originated on U-matic. The format also gained popularity with external broadcast crews.

In 1974, a new U-matic videotape size and quality revision, U-matic Hi-Band, was introduced. This version offered a marked increase in both luminance and chrominance resolution by modifying the recorded signal. However, unlike the later SP variant, Hi-Band videotapes could not be played back on Lo-Band equipment, creating compatibility issues.

The U-matic S format featured a smaller form factor and reduced record time, making it ideal for external broadcast crews who benefited from its portability and convenience. U-matic played a crucial role in revolutionizing on-location broadcasting by allowing instant playback of recordings, rendering traditional 16mm methods, which required processing and tape transfer, obsolete.

U-matic tapes have also been used for transporting film dailies, most famously for the rough cut version of "Apocalypse Now," which was later re-released as "Apocalypse Now Redux."

U-matic (Lo-Band 1971) (Hi-Band 1974)

(professional analogue)

Technical information

Intended use: professional (distribution, recording)

Analogue signal type: Composite

Reel arrangement: Adjacent

lo-Band

Luminance resolution: 256 lines, 341x486 (NTSC) 341x576 (PAL)

Chrominance resolution: 32 lines, 42x486 (NTSC) 42x576(PAL)

Hi-Band

Luminance resolution: 310 lines, 413x486 (NTSC) 413x576 (PAL)

Chrominance resolution: 74 lines, 98x486 (NTSC) 98x576(PAL)

Physical description

U-matic videotape cassettes are a ¾” format (tape width) and come in two sizes. The smaller cassette, known as U-matic S, measures 177 × 101 × 25 mm, while the larger U-matic tapes measure 203 × 127 × 25 mm. Typically, the cassette will have the U-matic logo embossed or stamped onto the chassis and likely on any surviving label or case, though labels may have worn off over time. Despite various iterations of U-matic videotapes, their overall dimensions remain consistent.

Key features can help identify U-matic tapes. The larger videotapes often have tapered top left and right corners and a narrow vertical spool window on the right side. Some models feature a semi-transparent cassette chassis, which is uncommon in other professional videotape formats. The smaller tapes (U-matic S) are squared off, not tapered, and often have a horizontal spool window running across the lower half of the tape.

Brief history

In 1969, Sony demonstrated the first prototype of the U-matic videotape format, sometimes referred to as Lo-Band. This format was further developed by Matsushita and several other Japanese companies as part of an agreement to establish unified standards. The first commercial player/recorder was released in 1971. A significant feature of this new format was its departure from traditional open reel systems, housing the tape inside a cassette chassis. This design made loading and unloading tapes much easier and provided better protection for the tape.

Originally intended as a consumer format, U-matic proved too expensive to manufacture and purchase for the average consumer. Despite being smaller than the open reel systems of the time, U-matic equipment was still too large and heavy for most consumers. However, the format found a niche in educational and industrial environments where cost and space were less of an issue. Many corporate and educational videotapes from this period likely originated on U-matic. The format also gained popularity with external broadcast crews.

In 1974, a new U-matic videotape size and quality revision, U-matic Hi-Band, was introduced. This version offered a marked increase in both luminance and chrominance resolution by modifying the recorded signal. However, unlike the later SP variant, Hi-Band videotapes could not be played back on Lo-Band equipment, creating compatibility issues.

The U-matic S format featured a smaller form factor and reduced record time, making it ideal for external broadcast crews who benefited from its portability and convenience. U-matic played a crucial role in revolutionizing on-location broadcasting by allowing instant playback of recordings, rendering traditional 16mm methods, which required processing and tape transfer, obsolete.

U-matic tapes have also been used for transporting film dailies, most famously for the rough cut version of "Apocalypse Now," which was later re-released as "Apocalypse Now Redux."

Analogue Tape Formats

2” Ampex Quadruplex (1956)

(professional analogue)

​

Technical information

Physical description

Brief history

1” Type B (1975)

(professional analogue)

​

Technical information

Physical description

Brief history

1” Type C (1976)

(professional analogue)

​

Technical information

Physical description

Brief history

1/2” EIAJ-1 (1969)

(professional/consumer analogue)

​

Technical information

Physical description

Brief history

Purchasing options