A Special Effects Amplifier for Non-Composite or Composite, Monochrome or Color Television Signals

Upon the introduction of special effects techniques for monochrome television in the late thirties, there evolved two philosophies concerning the proper location in the system at which the synchronizing signals should be combined with the video signals. One thesis has contended that the two signals should be united as soon as possible, preferably in the camera, while a second one has advocated the addition of the synchronizing pulses to the video information after the studio switching operations have been completed. The latter method has been so widely accepted by the networks and local stations that until now it has been almost universal in its adoption.