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DISTORTED TRANSMISSION | 0:00:02 | 0:00:04 | |
Can you see me? | 0:00:11 | 0:00:13 | |
Can you hear me? | 0:00:19 | 0:00:21 | |
On 2nd November 1936, | 0:00:23 | 0:00:26 | |
an unlikely troop of technicians and tap dancers, | 0:00:26 | 0:00:30 | |
performers and producers, was about to make history. | 0:00:30 | 0:00:34 | |
-Vision and sound are on. -MAN BLOWS WHISTLE | 0:00:35 | 0:00:37 | |
The station goes on the air. | 0:00:37 | 0:00:39 | |
This is direct television from the studios of Alexandra Palace. | 0:00:39 | 0:00:43 | |
This was the official birth of television in Britain. | 0:00:44 | 0:00:48 | |
Look at this. Comedian and dancers. | 0:00:48 | 0:00:51 | |
It's basically The X Factor! | 0:00:51 | 0:00:54 | |
To have live moving pictures in your front room | 0:00:54 | 0:00:57 | |
was the dawn of a new era. | 0:00:57 | 0:00:59 | |
But there are no recordings of that first live broadcast. | 0:01:01 | 0:01:06 | |
So we're going to restage that very first night as faithfully as we can. | 0:01:09 | 0:01:14 | |
I have the honour of hosting the show. | 0:01:14 | 0:01:16 | |
Do you know, I didn't recognise you! | 0:01:16 | 0:01:18 | |
And Professor Danielle George is going to look at | 0:01:18 | 0:01:20 | |
the technical challenges of broadcasting live from Ally Pally. | 0:01:20 | 0:01:24 | |
-Just turn that dial. -OK. -And we'll create lightning in the bottle. | 0:01:24 | 0:01:28 | |
-You see it there? -Oh, my God, look at that. | 0:01:28 | 0:01:30 | |
We'll uncover a battle between two rival camera systems. | 0:01:32 | 0:01:35 | |
Only one would make it. | 0:01:38 | 0:01:40 | |
So that's the disc. Bit out of balance. | 0:01:40 | 0:01:43 | |
Our doctor of spin, Hugh Hunt... | 0:01:43 | 0:01:45 | |
Whoa! | 0:01:45 | 0:01:47 | |
Whoa-ho! That wasn't meant to happen. | 0:01:47 | 0:01:50 | |
..will attempt to resurrect Ally Pally's most extraordinary | 0:01:50 | 0:01:53 | |
invention, a mechanical camera that could only see in the dark. | 0:01:53 | 0:01:58 | |
All the drawings are missing. | 0:02:00 | 0:02:02 | |
There's no instructions on how to build this thing. | 0:02:02 | 0:02:05 | |
We'll face setbacks and frayed tempers, | 0:02:05 | 0:02:08 | |
just like the original trailblazers. | 0:02:08 | 0:02:10 | |
Hugh, we need to test this. | 0:02:10 | 0:02:12 | |
Well, OK, but... We'll switch this off, then. | 0:02:12 | 0:02:15 | |
And we'll meet some of those television pioneers. | 0:02:15 | 0:02:19 | |
-This is John Logie Baird. This is you, Paul. -Yeah. | 0:02:19 | 0:02:23 | |
How old are you now? | 0:02:23 | 0:02:25 | |
I'm 104. | 0:02:25 | 0:02:26 | |
It's a story of cogs and gears... | 0:02:27 | 0:02:30 | |
This is all prewar technology. | 0:02:30 | 0:02:33 | |
..electron beams and dancing girls... | 0:02:33 | 0:02:35 | |
-That's great. -I can still tap-dance. | 0:02:35 | 0:02:37 | |
..and one mad night... | 0:02:41 | 0:02:43 | |
Silence, everybody. | 0:02:45 | 0:02:46 | |
..that helped change the world forever. | 0:02:46 | 0:02:49 | |
This is the BBC. | 0:02:49 | 0:02:52 | |
Welcome to television. | 0:02:52 | 0:02:54 | |
CRACKLING | 0:03:03 | 0:03:05 | |
In the spring of 1936, the familiar hulk of Alexandra Palace | 0:03:12 | 0:03:17 | |
was transformed into a beacon of the future. | 0:03:17 | 0:03:21 | |
Under orders of the BBC, | 0:03:23 | 0:03:24 | |
over 200 feet of steel was grafted onto the east tower. | 0:03:24 | 0:03:28 | |
Visible for miles, this was a public announcement. | 0:03:33 | 0:03:36 | |
This is the BBC television station at Alexandra Palace. | 0:03:37 | 0:03:41 | |
The world's first regular domestic television service was on its way. | 0:03:41 | 0:03:46 | |
The fact that you can now see and hear me in your own home | 0:03:48 | 0:03:51 | |
of course we take completely for granted, | 0:03:51 | 0:03:53 | |
but before 1936, this would have been a radical idea. | 0:03:53 | 0:03:58 | |
It's fitting that TV as we know it started in this building. | 0:04:00 | 0:04:04 | |
LAUGHTER | 0:04:04 | 0:04:06 | |
The Victorians created it as a people's palace | 0:04:06 | 0:04:09 | |
where the masses could come for live entertainment. | 0:04:09 | 0:04:13 | |
Little could they have imagined a world where the masses could | 0:04:14 | 0:04:17 | |
stay at home and the entertainment would go to them. | 0:04:17 | 0:04:21 | |
When the technology of television was starting to take shape, | 0:04:21 | 0:04:25 | |
you have a whole range of other technologies of communication | 0:04:25 | 0:04:29 | |
and entertainment that are already there. | 0:04:29 | 0:04:32 | |
The telegraph has been around for decades. | 0:04:32 | 0:04:34 | |
And you've got cinema, which is born at the end of the 19th century, | 0:04:35 | 0:04:39 | |
which has pictures, of course, but pictures are canned, not live. | 0:04:39 | 0:04:44 | |
And then there's radio, which is full of sound but no pictures, | 0:04:44 | 0:04:49 | |
but also live. | 0:04:49 | 0:04:51 | |
This is the world that television is emerging into. | 0:04:51 | 0:04:54 | |
And it's not just developing the technology, | 0:04:54 | 0:04:56 | |
it's also working out...what do you film, what do you put in the studio? | 0:04:56 | 0:05:01 | |
On 2nd November 1936, the pioneers took a leap of faith, | 0:05:03 | 0:05:08 | |
and in this very studio, | 0:05:08 | 0:05:11 | |
television went live with the first official broadcast from Ally Pally. | 0:05:11 | 0:05:15 | |
It must have been tense, not just because it was live television, | 0:05:18 | 0:05:21 | |
but this would have been nail-biting for a different reason. | 0:05:21 | 0:05:25 | |
Behind the scenes, you had two rival television technologies | 0:05:25 | 0:05:30 | |
battling it out. | 0:05:30 | 0:05:31 | |
The BBC launched the new service as an on-air competition, | 0:05:33 | 0:05:37 | |
with two different companies taking it in turns to broadcast from | 0:05:37 | 0:05:40 | |
studios just a few feet apart. | 0:05:40 | 0:05:43 | |
This was the old Marconi-EMI studio, and in here, they were testing out | 0:05:45 | 0:05:49 | |
some of the very first electronic television cameras. | 0:05:49 | 0:05:52 | |
Using experimental electron-beam technology, | 0:05:56 | 0:06:00 | |
Marconi-EMI's Emitron cameras were truly cutting-edge. | 0:06:00 | 0:06:04 | |
But they hadn't been tested outside the laboratory. | 0:06:08 | 0:06:12 | |
Would they be ready for live television? | 0:06:13 | 0:06:16 | |
Next door, in Studio B, the rival system was mechanical, | 0:06:20 | 0:06:25 | |
producing pictures by rapidly rotating discs. | 0:06:25 | 0:06:28 | |
This steampunk technology was the brainchild | 0:06:33 | 0:06:36 | |
of Scottish inventor John Logie Baird. | 0:06:36 | 0:06:38 | |
11 years earlier, | 0:06:42 | 0:06:43 | |
he'd been the first person in the world to produce a television image. | 0:06:43 | 0:06:47 | |
The winning technology would be the one judged best for making | 0:06:51 | 0:06:55 | |
live programmes. | 0:06:55 | 0:06:56 | |
In the lead-up to the first night, | 0:07:00 | 0:07:02 | |
a coin was tossed and the Baird team won. | 0:07:02 | 0:07:05 | |
Ooh, let's have a look. | 0:07:08 | 0:07:10 | |
'The mechanical studio would transmit first.' | 0:07:10 | 0:07:13 | |
This is where Baird's camera would have been, | 0:07:13 | 0:07:16 | |
somewhere over there, where all that sort of '70s and '80s BBC gubbins | 0:07:16 | 0:07:20 | |
is now, and then the presenter would have sat somewhere around here. | 0:07:20 | 0:07:24 | |
It's not very big, is it? | 0:07:25 | 0:07:27 | |
In 1936, this little room was home to the Baird Company's | 0:07:32 | 0:07:37 | |
most extraordinary invention. | 0:07:37 | 0:07:39 | |
A seven-foot-tall behemoth known as the flying spot. | 0:07:43 | 0:07:47 | |
To prevent it catching fire, | 0:07:50 | 0:07:51 | |
cold water was pumped through its innards. | 0:07:51 | 0:07:54 | |
Encased in a vacuum chamber was a steel disc three feet in diameter. | 0:07:57 | 0:08:03 | |
Inside, it was spinning so fast, | 0:08:07 | 0:08:10 | |
the edge of the disc was almost supersonic. | 0:08:10 | 0:08:13 | |
This produced an intense spot of light | 0:08:16 | 0:08:18 | |
which scanned the presenter's face. | 0:08:18 | 0:08:21 | |
No wonder he described it as a terrifying ordeal. | 0:08:22 | 0:08:26 | |
There are no flying spot cameras left, so to restage | 0:08:31 | 0:08:35 | |
the first night of television, we'll have to rebuild one. | 0:08:35 | 0:08:38 | |
BICYCLE BELL RINGS | 0:08:41 | 0:08:44 | |
Enter Dr Hugh Hunt, | 0:08:44 | 0:08:46 | |
leading mechanical engineer at Cambridge University. | 0:08:46 | 0:08:49 | |
If the theory is correct, it should break here. | 0:08:49 | 0:08:52 | |
Hugh's renowned for his...hands-on approach to engineering conundrums. | 0:08:52 | 0:08:56 | |
Oh, it did! OK... | 0:08:56 | 0:08:59 | |
That's lucky for us, | 0:09:01 | 0:09:03 | |
because our anniversary broadcast is just six weeks away. | 0:09:03 | 0:09:07 | |
If we're going to build one of these... | 0:09:08 | 0:09:11 | |
then we have to figure out what they built back in 1936. | 0:09:11 | 0:09:17 | |
The Far-Seeing. That is television. | 0:09:18 | 0:09:21 | |
There's not much to go on. | 0:09:23 | 0:09:25 | |
All the drawings are missing. | 0:09:25 | 0:09:28 | |
We haven't got a Haynes Manual. | 0:09:28 | 0:09:30 | |
There's no instructions on how to build this thing. | 0:09:30 | 0:09:34 | |
All the blueprints were lost when the Baird Company's headquarters | 0:09:37 | 0:09:41 | |
at the Crystal Palace was destroyed in a catastrophic fire, | 0:09:41 | 0:09:44 | |
less than a month after the first night. | 0:09:44 | 0:09:47 | |
This leaves Hugh with just a couple of photos... | 0:09:52 | 0:09:55 | |
What's scary about it is that I don't know what's inside. | 0:09:56 | 0:09:59 | |
..a sketch of a similar mechanical camera from prewar Germany... | 0:10:01 | 0:10:05 | |
Ah, the spinning speed, I think, has to go that way. | 0:10:05 | 0:10:08 | |
Oh, no, that's going... Oh, God, these arrows. | 0:10:08 | 0:10:12 | |
..and a brief description of the flying spot | 0:10:12 | 0:10:14 | |
in an engineering paper from 1938. | 0:10:14 | 0:10:17 | |
A disc scanner running at 6,000rpm. | 0:10:18 | 0:10:22 | |
Whoa! The speed of the edge of that disc was nearly the speed of sound. | 0:10:22 | 0:10:27 | |
That's 100 times per second. | 0:10:27 | 0:10:31 | |
100 times a second would make a noise... | 0:10:31 | 0:10:34 | |
HE HUMS DEEPLY | 0:10:34 | 0:10:37 | |
That's about 100. | 0:10:37 | 0:10:38 | |
HE HUMS DEEPLY | 0:10:38 | 0:10:41 | |
Cor! Would have been scary! | 0:10:46 | 0:10:47 | |
You'd have thought this thing was going to take off! | 0:10:47 | 0:10:51 | |
As Hugh begins working out how to make moving pictures | 0:10:54 | 0:10:58 | |
by mechanical means... | 0:10:58 | 0:10:59 | |
..Professor Danielle George is exploring some of the other | 0:11:02 | 0:11:05 | |
scientific and engineering challenges | 0:11:05 | 0:11:08 | |
of getting the first night on air. | 0:11:08 | 0:11:10 | |
For someone whose day job includes designing amplifiers | 0:11:12 | 0:11:15 | |
for deep-space communication, | 0:11:15 | 0:11:17 | |
where else is there to head first but up? | 0:11:17 | 0:11:21 | |
This is genuinely exciting for a radio frequency engineer! | 0:11:21 | 0:11:25 | |
Wow. This is over 80 years old and it's still so impressive, isn't it? | 0:11:28 | 0:11:33 | |
There's 220 feet of steel up there. | 0:11:35 | 0:11:38 | |
You can see so much of the city from here. | 0:11:39 | 0:11:43 | |
The reason the BBC chose this site to be their first official studio | 0:11:45 | 0:11:49 | |
was because we're sat right on top of this hill, | 0:11:49 | 0:11:52 | |
above the line of the trees and the buildings, and so the radio waves | 0:11:52 | 0:11:56 | |
wouldn't be blocked or attenuated by the buildings and the trees. | 0:11:56 | 0:12:00 | |
The idea was that radio signals would be broadcast | 0:12:05 | 0:12:08 | |
in a 25-mile radius around here, | 0:12:08 | 0:12:10 | |
but actually, on good weather conditions, | 0:12:10 | 0:12:12 | |
this managed to get 40 miles, which, in the 1930s, is not bad at all. | 0:12:12 | 0:12:17 | |
GARBLED TRANSMISSIONS | 0:12:19 | 0:12:22 | |
The studios at Ally Pally have been out of commission for decades. | 0:12:29 | 0:12:33 | |
So for our 80th anniversary broadcast, we're taking over | 0:12:34 | 0:12:38 | |
an old 1930s theatre just down the road. | 0:12:38 | 0:12:41 | |
We at the BBC are proud that the government should have | 0:12:45 | 0:12:49 | |
decided to entrust us with the conduct of the new service. | 0:12:49 | 0:12:53 | |
There are no video recordings of the live broadcast. | 0:12:53 | 0:12:57 | |
At this moment of the starting of television, our first tribute | 0:12:57 | 0:13:01 | |
must be to those whose brilliant and devoted research... | 0:13:01 | 0:13:05 | |
Although we have unearthed an audio recording. | 0:13:05 | 0:13:09 | |
..Britain leads today. | 0:13:09 | 0:13:11 | |
And the original script and running order. | 0:13:11 | 0:13:15 | |
Cor, look at this. Monday 2nd November 1936. | 0:13:15 | 0:13:19 | |
It sort of takes you right back. | 0:13:19 | 0:13:21 | |
And look at this, you've got actually... | 0:13:21 | 0:13:23 | |
stage positions where everyone's going to be sitting, | 0:13:23 | 0:13:26 | |
where the camera is, it tells you everything you need to know. | 0:13:26 | 0:13:30 | |
Who needs actual recordings when you have this? | 0:13:30 | 0:13:32 | |
God, and look, they've got the... | 0:13:32 | 0:13:34 | |
This is the original opening announcement by Leslie Mitchell, | 0:13:34 | 0:13:39 | |
who I know was... a sort of well-known presenter, | 0:13:39 | 0:13:42 | |
he was sometimes called the Adonis of television. | 0:13:42 | 0:13:47 | |
I shall be playing him. | 0:13:47 | 0:13:49 | |
NO SOUND | 0:13:49 | 0:13:51 | |
Leslie Mitchell was an actor turned BBC radio announcer. | 0:13:51 | 0:13:56 | |
He didn't actually apply for the TV job at all and was surprised | 0:13:56 | 0:14:00 | |
to learn he was about to become the first face of the new service | 0:14:00 | 0:14:04 | |
after reading about it in a newspaper. | 0:14:04 | 0:14:06 | |
And this is the more official version of it. Let's have a look. | 0:14:07 | 0:14:11 | |
Opening ceremony. | 0:14:12 | 0:14:14 | |
Adele Dixon, singer, and Buck and Bubbles, comedian and dancers. | 0:14:14 | 0:14:20 | |
It's basically... It's basically The X Factor! | 0:14:20 | 0:14:23 | |
The callboy arrives. The programme is about to begin. | 0:14:25 | 0:14:28 | |
This short film showcasing the launch | 0:14:30 | 0:14:33 | |
went out after the live broadcast. | 0:14:33 | 0:14:36 | |
It was the first official BBC documentary. | 0:14:36 | 0:14:39 | |
Engineers stand by in the control room. | 0:14:39 | 0:14:42 | |
And it started a fine tradition of TV blowing its own trumpet. | 0:14:42 | 0:14:46 | |
The controllers are ready on vision...and sound. | 0:14:46 | 0:14:50 | |
It was shot and edited on 35mm film, | 0:14:50 | 0:14:53 | |
so was much better quality than the original live TV images. | 0:14:53 | 0:14:57 | |
The producer is waiting at his microphone to speak his last word to the artist. | 0:14:58 | 0:15:02 | |
But it clearly shows us, | 0:15:02 | 0:15:04 | |
despite their modest budget of under £150 for performers and sets, | 0:15:04 | 0:15:09 | |
the pioneers were aiming high with their opening act. | 0:15:09 | 0:15:13 | |
# A mighty maze of mystic, magic rays | 0:15:14 | 0:15:19 | |
# Is all about us in the blue... # | 0:15:19 | 0:15:22 | |
Adele Dixon was a very big name to have on the first night | 0:15:22 | 0:15:25 | |
and that was a real coup for the BBC. | 0:15:25 | 0:15:28 | |
Here was someone who was a star of West End musicals, | 0:15:28 | 0:15:34 | |
singing that specially composed song about mystic, magic rays. | 0:15:34 | 0:15:40 | |
# There's joy in store... # | 0:15:40 | 0:15:41 | |
Even though she was associated with television, | 0:15:41 | 0:15:44 | |
she herself actually was a bit dubious about it, | 0:15:44 | 0:15:47 | |
she refused to buy a television set of her own, | 0:15:47 | 0:15:50 | |
and always much preferred radio, she thought of it | 0:15:50 | 0:15:53 | |
as a more intelligent medium, as many people did. | 0:15:53 | 0:15:57 | |
# ..That bring television | 0:15:57 | 0:16:03 | |
# To you. # | 0:16:03 | 0:16:08 | |
SONG IS PLAYED ON PIANO | 0:16:12 | 0:16:15 | |
We've found the score for that specially composed song | 0:16:17 | 0:16:21 | |
buried in the archives. | 0:16:21 | 0:16:24 | |
# By the magic rays of light | 0:16:24 | 0:16:28 | |
# That bring television | 0:16:28 | 0:16:33 | |
# To you. # | 0:16:33 | 0:16:37 | |
Yeah, I need...to breathe. | 0:16:37 | 0:16:41 | |
So, with a bit of fine-tuning, we've got our first act. | 0:16:41 | 0:16:44 | |
None of the original performers from the first night are still alive. | 0:16:52 | 0:16:56 | |
DOG BARKS | 0:16:56 | 0:16:57 | |
Oh, hi. Are you Lily's dog? | 0:16:57 | 0:17:01 | |
Hi, dog. | 0:17:01 | 0:17:02 | |
But just a stone's throw from the old studios, | 0:17:02 | 0:17:05 | |
there's someone I want to meet who comes pretty close... | 0:17:05 | 0:17:08 | |
That's great! | 0:17:08 | 0:17:09 | |
..having stepped in front of the cameras | 0:17:09 | 0:17:12 | |
just two months after Adele Dixon. | 0:17:12 | 0:17:14 | |
-Hello! -Hi! What a pleasure to meet you. -And you, too, darling. | 0:17:18 | 0:17:22 | |
-Thank you very much for coming to chat. -May I give you a kiss? | 0:17:22 | 0:17:25 | |
-You may. Absolutely. -And one... Ooh, two! -The French style. | 0:17:25 | 0:17:29 | |
-Do come in. -Thank you very much. | 0:17:29 | 0:17:32 | |
Now in her 92nd year, Lily Frier was talent-spotted | 0:17:32 | 0:17:36 | |
as a young girl singing and dancing in the theatre. | 0:17:36 | 0:17:39 | |
This is terrific. | 0:17:39 | 0:17:41 | |
-And this has been sort of coloured in afterwards. -Yes, yes. | 0:17:42 | 0:17:47 | |
-I was 12, I think. -You were 12! | 0:17:47 | 0:17:50 | |
-I'll make you a nice cup of tea. -Thank you very much. | 0:17:50 | 0:17:52 | |
-Excuse me not walking properly, but... -Tea good. | 0:17:52 | 0:17:55 | |
-And you're on your fifth hip, is that right? -Fifth, yes. | 0:17:55 | 0:17:58 | |
-Fifth, that's pretty good going. -Yes. | 0:17:58 | 0:18:00 | |
-But I can still tap-dance. -Can you? Can we have a look at...? | 0:18:00 | 0:18:04 | |
-Just listen to that. -Let's have a look at the tap dance. | 0:18:04 | 0:18:07 | |
Teach me one tap-dance move, because I've never tap-danced. | 0:18:09 | 0:18:13 | |
-Oh, it's wonderful. -How do I...? Give me... | 0:18:13 | 0:18:16 | |
Give me one little quick lesson. | 0:18:16 | 0:18:18 | |
Shuffle down. One, two, three, one, two, three, four. | 0:18:18 | 0:18:22 | |
-One... Hang on. One, two... -No, toe. | 0:18:22 | 0:18:24 | |
-Tap, tap. -You've got to do this from your ankle, tap, tap, down. | 0:18:24 | 0:18:28 | |
I'm really not very flexible. | 0:18:29 | 0:18:31 | |
Lily was just 12 years old when on 6th January 1937, | 0:18:33 | 0:18:37 | |
she performed two variety acts in Studio A | 0:18:37 | 0:18:41 | |
with Leslie Mitchell presenting. | 0:18:41 | 0:18:43 | |
One of those acts was... very much of its time. | 0:18:46 | 0:18:48 | |
Look at how old I was. | 0:18:48 | 0:18:50 | |
Oh, my goodness, look at this. HE GASPS | 0:18:50 | 0:18:52 | |
-My mother made the wig. -Oh, gosh! I was going to ask about the wig. | 0:18:52 | 0:18:55 | |
-Yeah. -I mean, this is a long time... | 0:18:55 | 0:18:58 | |
Obviously, you couldn't... do something like this now. | 0:18:58 | 0:19:00 | |
Ooh, wouldn't dare, no, wouldn't dare now. | 0:19:00 | 0:19:02 | |
-Do you remember the song that you sung? -Do you know what? | 0:19:02 | 0:19:04 | |
-I don't know if I remember all the words. -Come on. | 0:19:04 | 0:19:06 | |
-You're allowed a few... -# When did you leave heaven? | 0:19:06 | 0:19:10 | |
# How did they let you go? | 0:19:10 | 0:19:12 | |
# What have you come to tell me? | 0:19:12 | 0:19:16 | |
# I'd like to know... # | 0:19:16 | 0:19:18 | |
-Went... That's gone now, I can't remember the words. -It's great. | 0:19:18 | 0:19:23 | |
What kind of music do you like? I notice... | 0:19:23 | 0:19:25 | |
# If I kissed you, my dear | 0:19:25 | 0:19:28 | |
# Would it be a sin? # | 0:19:28 | 0:19:31 | |
-No, it's gone. -SHE SINGS WORDLESSLY | 0:19:33 | 0:19:35 | |
Fewer than 300 television sets had been sold by the time | 0:19:38 | 0:19:42 | |
Lily performed, so stores like Selfridges ran demonstrations | 0:19:42 | 0:19:46 | |
where people could marvel at the new medium. | 0:19:46 | 0:19:49 | |
Did you have any idea what television was? | 0:19:50 | 0:19:53 | |
No, not many people had televisions, | 0:19:53 | 0:19:55 | |
-and then they were tiny ones, they weren't... -Yeah. | 0:19:55 | 0:19:59 | |
But I loved doing it, I really did. And my dad wanted to see... | 0:19:59 | 0:20:05 | |
He went to Selfridges, cos they would... | 0:20:05 | 0:20:09 | |
-They did the demonstrations there, yeah. -Yeah. | 0:20:09 | 0:20:11 | |
And they said, "Sorry, you can't come in, it's full up." | 0:20:11 | 0:20:14 | |
He said, "But my daughter's on there." | 0:20:14 | 0:20:16 | |
So when he said that, he went in. | 0:20:16 | 0:20:18 | |
I mean, that was the beginning of television, and you were the first, so... | 0:20:20 | 0:20:23 | |
When I've told people that they were coming today, | 0:20:23 | 0:20:26 | |
I said, "It's not because I'm famous, it's because I'm alive." | 0:20:26 | 0:20:30 | |
Because everybody else is dead! | 0:20:30 | 0:20:32 | |
They... It is true! | 0:20:32 | 0:20:35 | |
What do you think of television now? Do you watch TV now? | 0:20:35 | 0:20:37 | |
Oh... It's rubbish. | 0:20:37 | 0:20:39 | |
BELL CHIMES | 0:20:39 | 0:20:41 | |
In Cambridge, Hugh's building a prototype flying spot camera | 0:20:48 | 0:20:52 | |
to try out the spinning disc concept. | 0:20:52 | 0:20:55 | |
We're nearly there. | 0:20:55 | 0:20:57 | |
He needs somewhere dark to begin experiments, | 0:20:57 | 0:21:00 | |
so he's commandeered the home of the University Footlights... | 0:21:00 | 0:21:04 | |
We're going to try and go onto this black wall there... | 0:21:04 | 0:21:07 | |
..and roped in engineering student Charlie, | 0:21:07 | 0:21:09 | |
who's a dab hand with stage lighting. | 0:21:09 | 0:21:12 | |
The flying spot lived up to its name. | 0:21:18 | 0:21:20 | |
An intense light passed through holes in the spinning disc | 0:21:22 | 0:21:25 | |
to create a fast-moving beam. | 0:21:25 | 0:21:28 | |
This scanned across the presenter's face thousands of times a second. | 0:21:30 | 0:21:34 | |
The light reflected back was then picked up by banks of | 0:21:36 | 0:21:39 | |
photoelectric cells. | 0:21:39 | 0:21:42 | |
These sent tiny electrical impulses to be pieced back into an image | 0:21:44 | 0:21:48 | |
at the receiving end. | 0:21:48 | 0:21:50 | |
-Is that more or less in the right spot? -Hang on, let me just... | 0:21:53 | 0:21:55 | |
Oh, you can move the light more easily than I can... | 0:21:55 | 0:21:57 | |
To test the principle, Hugh wants to see | 0:21:57 | 0:21:59 | |
if a small metal disc can produce descending lines of light. | 0:21:59 | 0:22:04 | |
This disc has got 30 holes on a spiral | 0:22:04 | 0:22:07 | |
and you can see that when this spins, | 0:22:07 | 0:22:11 | |
you can see the spiral going around and around. | 0:22:11 | 0:22:13 | |
And, ideally, if we shine a bright light through the holes, | 0:22:13 | 0:22:17 | |
it's going to produce our scanner. | 0:22:17 | 0:22:19 | |
Oh, that's a good shout as well. | 0:22:19 | 0:22:21 | |
And now is the disc going to fit? | 0:22:21 | 0:22:23 | |
Yes, just. | 0:22:23 | 0:22:24 | |
-So, now... -Have you got that Allen key? | 0:22:24 | 0:22:27 | |
Oh! | 0:22:27 | 0:22:28 | |
It's reasonably secure. | 0:22:31 | 0:22:33 | |
Reasonably is the word I use when I mean not very. | 0:22:33 | 0:22:36 | |
-OK, that's pretty tight now. -OK, so... | 0:22:36 | 0:22:39 | |
this is our first spin up, let's see how it goes. | 0:22:39 | 0:22:43 | |
-How bent is it? -It's not that bent. | 0:22:43 | 0:22:45 | |
-Good. -Is that...? Is that working now? -It's working! | 0:22:47 | 0:22:49 | |
OK, I'm going...going darker. | 0:22:49 | 0:22:51 | |
All right, now, I'm straightaway seeing... | 0:22:54 | 0:22:57 | |
that there's a lot of stray light. | 0:22:57 | 0:22:59 | |
-Yeah. -Is there any way we can cover this space? | 0:22:59 | 0:23:03 | |
I'll go have a look. | 0:23:03 | 0:23:04 | |
When Hugh starts using photoelectric cells... | 0:23:04 | 0:23:07 | |
-Is that going to be big enough? -Yeah, that looks good. | 0:23:07 | 0:23:10 | |
..they'll only work if everything apart from the object being scanned | 0:23:10 | 0:23:13 | |
is in complete darkness. | 0:23:13 | 0:23:16 | |
I don't have a dog, but if my dog had breakfast... | 0:23:16 | 0:23:20 | |
-So, you've got to still be able to get to the drill. -Ah! | 0:23:20 | 0:23:23 | |
OK, spinning slowly. | 0:23:27 | 0:23:29 | |
-How's that looking? -It looks really good. | 0:23:33 | 0:23:35 | |
-You can clearly see the lines going across him. -Great. | 0:23:35 | 0:23:38 | |
Speeding up. | 0:23:38 | 0:23:40 | |
Because the 30 holes are in a spiral, | 0:23:42 | 0:23:44 | |
each revolution sends 30 lines down the face. | 0:23:44 | 0:23:48 | |
-Woohoo! -What are you seeing? | 0:23:49 | 0:23:51 | |
-It's amazing. It's really good. -I can't see! | 0:23:51 | 0:23:54 | |
If Logie Baird had a battery operated electric drill... | 0:23:58 | 0:24:01 | |
-CHARLIE LAUGHS -..he'd have had a much easier job. | 0:24:01 | 0:24:04 | |
-Are you all right? Do you want a hand? -It's OK. | 0:24:05 | 0:24:08 | |
Producing lines of light from a disc is one thing... | 0:24:08 | 0:24:12 | |
..but in order to transmit that image, | 0:24:13 | 0:24:16 | |
they need to turn those lines of light into an electric signal. | 0:24:16 | 0:24:19 | |
Luckily, that can be done using a phenomenon called | 0:24:24 | 0:24:27 | |
the photoelectric effect. | 0:24:27 | 0:24:29 | |
This is what makes television possible, | 0:24:31 | 0:24:33 | |
as Danielle's going to demonstrate. | 0:24:33 | 0:24:36 | |
OK, so I'm going to show you the photoelectric effect | 0:24:37 | 0:24:39 | |
just using this copper coin. | 0:24:39 | 0:24:42 | |
So I'm just going to connect it to my circuit here. | 0:24:42 | 0:24:44 | |
Just use a peg as a bit of a stand. | 0:24:46 | 0:24:48 | |
And I'm just going to put some water on top of this piece of wire, | 0:24:48 | 0:24:52 | |
and that's really just to conduct the electricity. | 0:24:52 | 0:24:57 | |
So that when we shine a torch on this, | 0:24:57 | 0:25:00 | |
we should be able to see the difference in voltage. | 0:25:00 | 0:25:04 | |
It would be nice to try and hear the photoelectric effect as well, | 0:25:04 | 0:25:07 | |
so I've just rigged up here a sound system | 0:25:07 | 0:25:10 | |
so we can hear a synthesised sound as the voltage changes. | 0:25:10 | 0:25:14 | |
CONTINUOUS TONE | 0:25:14 | 0:25:17 | |
So let's give it a try. | 0:25:17 | 0:25:19 | |
TONE RISES IN PITCH | 0:25:23 | 0:25:25 | |
TONE LOWERS IN PITCH | 0:25:25 | 0:25:26 | |
TONE RISES IN PITCH | 0:25:26 | 0:25:28 | |
So you can really, really hear it. | 0:25:28 | 0:25:30 | |
TONE RISES IN PITCH | 0:25:30 | 0:25:32 | |
So what's happening there is that the light from this torch | 0:25:32 | 0:25:35 | |
is being converted into electrical energy. | 0:25:35 | 0:25:39 | |
TONE LOWERS IN PITCH | 0:25:39 | 0:25:41 | |
It's such a great noise. | 0:25:41 | 0:25:43 | |
And that is the photoelectric effect, and it was really important | 0:25:43 | 0:25:46 | |
in the birth of television. | 0:25:46 | 0:25:48 | |
The photoelectric effect was first discovered | 0:25:52 | 0:25:55 | |
by English engineer Willoughby Smith in 1873. | 0:25:55 | 0:25:59 | |
He was testing cables for a telegraph system | 0:26:01 | 0:26:04 | |
using a substance called selenium as an electrical insulator. | 0:26:04 | 0:26:08 | |
To his surprise, when the selenium was exposed to sunlight, | 0:26:10 | 0:26:14 | |
it started producing electric current. | 0:26:14 | 0:26:17 | |
This was TV's big bang moment. | 0:26:20 | 0:26:23 | |
Now it was only a matter of time | 0:26:24 | 0:26:26 | |
before someone created an electric image. | 0:26:26 | 0:26:29 | |
That man was John Logie Baird. | 0:26:34 | 0:26:36 | |
Improving on a paper design | 0:26:39 | 0:26:41 | |
patented by a 19th-century German inventor, Paul Nipkow, | 0:26:41 | 0:26:45 | |
he created the first television picture using spinning discs | 0:26:45 | 0:26:49 | |
and selenium photocells on 2nd October 1925. | 0:26:49 | 0:26:53 | |
This breakthrough sealed Baird's place in the history books. | 0:26:57 | 0:27:01 | |
This camera here, that's an early colour camera. | 0:27:03 | 0:27:05 | |
Today, his grandson Iain is keeping the family business alive | 0:27:05 | 0:27:09 | |
as curator of a vast collection of TV technology | 0:27:09 | 0:27:13 | |
with Baird's 1925 television scanner as its centrepiece. | 0:27:13 | 0:27:18 | |
This is the double-8 apparatus from 1925. | 0:27:20 | 0:27:23 | |
These are actually bicycle lenses, and they collect the light very well | 0:27:25 | 0:27:29 | |
and put it onto the photoelectric cell. | 0:27:29 | 0:27:31 | |
And he'd used quite a few bicycle components, | 0:27:31 | 0:27:33 | |
like the bicycle lamp lenses, the chain ring, | 0:27:33 | 0:27:36 | |
whatever was available, radio, electric motors | 0:27:36 | 0:27:39 | |
were all cobbled together to make the new technology. | 0:27:39 | 0:27:42 | |
He was a big fan of HG Wells, who used to make these things | 0:27:42 | 0:27:45 | |
-seem possible in his books. -Yeah. | 0:27:45 | 0:27:47 | |
He was using a system which required the subject to be | 0:27:53 | 0:27:56 | |
intensely illuminated. | 0:27:56 | 0:27:58 | |
To have someone actually sit there | 0:27:58 | 0:27:59 | |
for more than a minute was very uncomfortable, | 0:27:59 | 0:28:02 | |
so the idea of borrowing a ventriloquist's dummy | 0:28:02 | 0:28:06 | |
as a test subject meant he could adjust things | 0:28:06 | 0:28:09 | |
and Stooky Bill wouldn't complain about the heat at all. | 0:28:09 | 0:28:12 | |
Let's turn him around. | 0:28:12 | 0:28:13 | |
-And this is the original one? -This is the original one. | 0:28:13 | 0:28:16 | |
-Well, you can see he's lost some of his hair. -He has. | 0:28:16 | 0:28:18 | |
This was the amount of light we're talking about here. | 0:28:18 | 0:28:20 | |
As the dummies were prone to singeing under the hot lights, | 0:28:22 | 0:28:25 | |
Baird kept spares. | 0:28:25 | 0:28:27 | |
In a period of feverish experimentation, | 0:28:33 | 0:28:36 | |
he managed to record this ghostly image of another Stooky Bill | 0:28:36 | 0:28:39 | |
onto a gramophone disc in 1927. | 0:28:39 | 0:28:42 | |
Although his pictures were ground-breaking, | 0:28:47 | 0:28:49 | |
it was obvious that if television wanted to compete with cinema | 0:28:49 | 0:28:53 | |
or even radio, the technology had a long way to go. | 0:28:53 | 0:28:57 | |
Wow! | 0:29:00 | 0:29:01 | |
But was Baird the man to refine it? | 0:29:03 | 0:29:06 | |
He was certainly driven. | 0:29:06 | 0:29:08 | |
He was always looking for the next big idea | 0:29:09 | 0:29:13 | |
that would enable him to become an inventor, an entrepreneur. | 0:29:13 | 0:29:17 | |
Before moving into television, he'd tried inventing everything | 0:29:19 | 0:29:22 | |
from man-made diamonds to medicated socks. | 0:29:22 | 0:29:26 | |
These journals started around 1928. | 0:29:27 | 0:29:30 | |
And they were very much based on the experiments of John Logie Baird. | 0:29:31 | 0:29:35 | |
This is a fairly early one. | 0:29:35 | 0:29:36 | |
His entrepreneurial spirit and eye for publicity ensured that | 0:29:38 | 0:29:42 | |
from the moment he got his first pictures, | 0:29:42 | 0:29:44 | |
his name would be synonymous with television. | 0:29:44 | 0:29:47 | |
-Yeah, he's sort of front cover every month, isn't he? -Yep. | 0:29:48 | 0:29:51 | |
People were obviously interested in the man as well, | 0:29:51 | 0:29:54 | |
because you've got, you know, "John Logie Baird talks to the amateur," | 0:29:54 | 0:29:57 | |
and then, "John Logie Baird - the man." | 0:29:57 | 0:29:59 | |
You know, it's a two-page spread just about John Logie Baird. | 0:29:59 | 0:30:02 | |
I think his spirit of innovation | 0:30:03 | 0:30:05 | |
takes us back to the idea of the lone inventor. | 0:30:05 | 0:30:08 | |
He did definitely dream of the future | 0:30:08 | 0:30:10 | |
and then tried to make it happen. | 0:30:10 | 0:30:12 | |
We're going to go on a little bit of a thieving mission. | 0:30:17 | 0:30:19 | |
With our broadcast fast approaching... | 0:30:19 | 0:30:22 | |
We know where to come for lenses. | 0:30:22 | 0:30:24 | |
..Hugh's trying to turn Baird's dreams into reality. | 0:30:24 | 0:30:28 | |
Just trying to get bits and pieces that...hopefully no-one will miss. | 0:30:28 | 0:30:33 | |
Like the 1936 team, he's using photoelectric cells | 0:30:34 | 0:30:38 | |
inside a device which will multiply their effect. | 0:30:38 | 0:30:41 | |
OK, so I've got to adjust the photomultiplier | 0:30:43 | 0:30:45 | |
so it's pointing at me. | 0:30:45 | 0:30:49 | |
So hopefully... | 0:30:49 | 0:30:50 | |
Though his is a tad smaller. | 0:30:50 | 0:30:52 | |
This will pick up the light reflected from the test card | 0:30:54 | 0:30:57 | |
and turn it into electric signals | 0:30:57 | 0:31:00 | |
that Arthur hopes to record and piece into a moving image. | 0:31:00 | 0:31:03 | |
Maltese cross in place. | 0:31:05 | 0:31:08 | |
Take the Maltese cross out. | 0:31:08 | 0:31:10 | |
Light. | 0:31:10 | 0:31:11 | |
So we've got a wide range of different things there. | 0:31:11 | 0:31:14 | |
-So, are we ready? -Yeah. | 0:31:16 | 0:31:18 | |
-Let's see what it looks like. -OK. | 0:31:18 | 0:31:20 | |
OK. | 0:31:20 | 0:31:21 | |
Whoa! | 0:31:23 | 0:31:24 | |
That's not bad! | 0:31:24 | 0:31:27 | |
That's our first movie. | 0:31:27 | 0:31:28 | |
Baird's first public demonstration of a television image | 0:31:33 | 0:31:36 | |
was also of a shadowy Maltese cross. | 0:31:36 | 0:31:39 | |
But by the time of the launch of Ally Pally, | 0:31:42 | 0:31:45 | |
mechanical cameras could produce images as good as this - | 0:31:45 | 0:31:49 | |
a rare snapshot taken from the flying spot. | 0:31:49 | 0:31:52 | |
It scanned the presenter with a whopping 240 lines of light. | 0:32:00 | 0:32:05 | |
So far, Hugh's managed only 30 lines. | 0:32:07 | 0:32:11 | |
To improve picture quality, he needs to add more holes. | 0:32:13 | 0:32:17 | |
But that means a bigger disc - a much bigger disc. | 0:32:17 | 0:32:21 | |
If you do the maths on it, | 0:32:22 | 0:32:24 | |
it turns out that the size of the disc you need | 0:32:24 | 0:32:28 | |
goes up as the square of the number of holes. | 0:32:28 | 0:32:31 | |
That means, going to 240 lines, you need a 20-metre diameter disc. | 0:32:31 | 0:32:37 | |
One, two, three, four, five, six, seven. | 0:32:37 | 0:32:41 | |
I'm only halfway. The disc is... | 0:32:43 | 0:32:46 | |
You're not going to do television with a 20-metre spinning disc. | 0:32:48 | 0:32:52 | |
Yet they did it. In 1936, they did 240-line television. | 0:32:56 | 0:33:01 | |
The flying spot's disc was big, but it was nowhere near 20 metres. | 0:33:03 | 0:33:08 | |
In fact, it was just under one metre in diameter. | 0:33:11 | 0:33:13 | |
So how on earth did it produce 240 lines of light? | 0:33:15 | 0:33:20 | |
Well, the Baird team found an ingenious solution. | 0:33:22 | 0:33:26 | |
They spread their 240 holes across several different spirals. | 0:33:32 | 0:33:37 | |
The one disc had four spirals of 60 holes. | 0:33:39 | 0:33:44 | |
But that meant he needed a second disc... | 0:33:46 | 0:33:49 | |
to block out the holes that he wasn't using. | 0:33:49 | 0:33:53 | |
Now, the first disc, with the four spirals of 60 holes, | 0:33:53 | 0:33:57 | |
had to spin four times faster. | 0:33:57 | 0:34:00 | |
This two disc synchronised system | 0:34:02 | 0:34:04 | |
meant the larger one had to spin 100 times a second. | 0:34:04 | 0:34:08 | |
Much faster and it would've been producing shock waves. | 0:34:10 | 0:34:14 | |
It's a formidable challenge for Hugh's team. | 0:34:16 | 0:34:19 | |
If I had a couple of years and it was my full-time job, | 0:34:21 | 0:34:25 | |
yeah, I'd do it. | 0:34:25 | 0:34:27 | |
But I think it would take that length of time to get it right. | 0:34:27 | 0:34:31 | |
It's not a trivial task. | 0:34:31 | 0:34:32 | |
I don't think we can do it. I don't think we can do 240 lines. | 0:34:36 | 0:34:40 | |
It's really difficult. | 0:34:40 | 0:34:41 | |
Building a mechanical TV camera to meet our live broadcast deadline | 0:34:46 | 0:34:50 | |
is looking daunting. | 0:34:50 | 0:34:52 | |
Just as it did for the Baird team. | 0:34:52 | 0:34:54 | |
But what about the rival electronic system? | 0:34:56 | 0:34:59 | |
Work began on the Emitron cameras just a few years | 0:35:01 | 0:35:04 | |
before the first night. | 0:35:04 | 0:35:06 | |
But the technology inside was only made possible | 0:35:08 | 0:35:11 | |
by decades of experimentation, | 0:35:11 | 0:35:13 | |
trying to harness beams of electrons inside a cathode ray tube. | 0:35:13 | 0:35:18 | |
So whilst Logie Baird and his team were getting all the limelight | 0:35:18 | 0:35:22 | |
about their work on the spinning discs, | 0:35:22 | 0:35:24 | |
I want to show you what the opposition was doing | 0:35:24 | 0:35:27 | |
with an experiment that is quite fundamental | 0:35:27 | 0:35:29 | |
-to the birth of the electronic age. -What do we have here? | 0:35:29 | 0:35:32 | |
I'm making a DIY electron beam. | 0:35:32 | 0:35:36 | |
-Love it. -In a wine bottle. -I love it even more. -Exactly. | 0:35:36 | 0:35:39 | |
So what we have on our wine bottle here is just a hole drilled in. | 0:35:39 | 0:35:43 | |
-We then have some aluminium wire. -OK. | 0:35:43 | 0:35:45 | |
-And that forms one side of the circuit. -Got it. | 0:35:45 | 0:35:48 | |
The other side of the circuit is just on a wire here, | 0:35:48 | 0:35:52 | |
-and we want to create a spark... -Right, OK. -..through that gap, OK? | 0:35:52 | 0:35:56 | |
And then you can see this is going off to the vacuum pump, | 0:35:56 | 0:36:00 | |
cos we're going to give it a vacuum | 0:36:00 | 0:36:01 | |
-so the electrons can move a bit better. -OK. | 0:36:01 | 0:36:03 | |
Let's put our goggles on. | 0:36:03 | 0:36:05 | |
-Right, if you could switch it on, please. -Ready? -Yep. | 0:36:05 | 0:36:08 | |
So we're actually going to be pushing quite a lot of voltage, | 0:36:10 | 0:36:13 | |
a few thousand volts, through this | 0:36:13 | 0:36:16 | |
-so we can see the electron... -Got it. -..beam. | 0:36:16 | 0:36:18 | |
-All we now need to do is turn that dial... -OK. | 0:36:18 | 0:36:21 | |
..and we'll create lightning in the bottle. | 0:36:21 | 0:36:23 | |
-Could we just bring the lights down a bit, please? -Yep. | 0:36:23 | 0:36:27 | |
-All right, so... -Right. | 0:36:27 | 0:36:28 | |
-See? -Oh, my God, look at that! | 0:36:31 | 0:36:33 | |
-That's fantastic. -That is so good, isn't it? -It's really clear. -Yeah. | 0:36:33 | 0:36:37 | |
-This was so important in television history... -Yeah. | 0:36:40 | 0:36:44 | |
..because it's basically the heart of a cathode ray tube... | 0:36:44 | 0:36:48 | |
-Yeah. -..and this is what we're trying to show here. | 0:36:48 | 0:36:51 | |
And, as you know, cathode ray tubes are in televisions, | 0:36:51 | 0:36:53 | |
-but they're also in the cameras as well. -Yeah. | 0:36:53 | 0:36:56 | |
Like Paul Nipkow's spinning discs, | 0:36:59 | 0:37:02 | |
the ideas here date back to 19th-century Germany | 0:37:02 | 0:37:06 | |
where, in 1897, physicist Karl Ferdinand Braun | 0:37:06 | 0:37:10 | |
made the very first cathode ray tube. | 0:37:10 | 0:37:13 | |
-Look at that. You can see it as I just move it across. -Yeah. | 0:37:14 | 0:37:17 | |
I'm manipulating that beam of electrons. | 0:37:17 | 0:37:20 | |
'Creating an electron beam was one thing, | 0:37:20 | 0:37:23 | |
'learning how to control it using electrode magnets was another.' | 0:37:23 | 0:37:27 | |
It took over three decades to perfect. | 0:37:30 | 0:37:33 | |
Only then could images be scanned electronically | 0:37:35 | 0:37:38 | |
to compete with the mechanical cameras. | 0:37:38 | 0:37:40 | |
The battle lines between the rival technologies were being drawn. | 0:37:49 | 0:37:53 | |
Now the national broadcaster needed to be convinced | 0:37:55 | 0:37:59 | |
television was worth its attention. | 0:37:59 | 0:38:01 | |
When the BBC opened its new flagship headquarters in 1932, | 0:38:05 | 0:38:10 | |
the dominant medium of the age had no need for pictures, | 0:38:10 | 0:38:13 | |
thank you very much. | 0:38:13 | 0:38:14 | |
-Robert. -Hi. Welcome to Broadcasting House. -Lovely to see you. | 0:38:16 | 0:38:18 | |
-Thank you very much. -I think you've been here before. | 0:38:18 | 0:38:21 | |
A couple of times, | 0:38:21 | 0:38:22 | |
and with buildings you know very well, you take it all for granted, | 0:38:22 | 0:38:25 | |
and it's such a magnificent place. | 0:38:25 | 0:38:27 | |
-Well, this building is all about confidence... -Yes. | 0:38:27 | 0:38:29 | |
..in the new magic medium of radio. Basically said radio's arrived... | 0:38:29 | 0:38:32 | |
-Yes. -..and you have entered... you, Dallas, have entered the palace | 0:38:32 | 0:38:35 | |
of the temple of the arts and muses. | 0:38:35 | 0:38:38 | |
And, basically, it's saying that broadcasting is here for everybody | 0:38:38 | 0:38:41 | |
and it will change people's lives and create a better world. | 0:38:41 | 0:38:44 | |
STATIC | 0:38:44 | 0:38:46 | |
The BBC radio service only started in 1922. | 0:38:51 | 0:38:54 | |
Studios to right and to left. | 0:38:54 | 0:38:57 | |
Within eight years, every second home in the country was tuning in. | 0:38:57 | 0:39:02 | |
So this is the Radio Theatre, this is the big public space, really, | 0:39:03 | 0:39:06 | |
at the heart of Broadcasting House, | 0:39:06 | 0:39:08 | |
so this is where audiences would come | 0:39:08 | 0:39:10 | |
to hear dance bands, variety, comedy shows. | 0:39:10 | 0:39:13 | |
Now you're going to hear the first performance | 0:39:13 | 0:39:16 | |
of the new BBC Dance Orchestra, directed by Henry Hall. | 0:39:16 | 0:39:19 | |
# It's just the time for dancing... # | 0:39:19 | 0:39:22 | |
'To you, Birmingham.' | 0:39:22 | 0:39:24 | |
'To you, Manchester.' | 0:39:24 | 0:39:26 | |
The spoken word ruled the airwaves. | 0:39:26 | 0:39:29 | |
And the famously resolute first director-general of the BBC, | 0:39:31 | 0:39:35 | |
Lord Reith, saw no reason for that to change. | 0:39:35 | 0:39:40 | |
-Just do moral rectitude. -OK. | 0:39:40 | 0:39:42 | |
IN SCOTTISH ACCENT: "Aye, that's my work done for the day." | 0:39:42 | 0:39:45 | |
I'd like a rise, sir. | 0:39:45 | 0:39:47 | |
It's quite odd being in this room, cos you do feel slightly judged | 0:39:48 | 0:39:52 | |
with that portrait of Reith looking very sternly "doon" at you. | 0:39:52 | 0:39:56 | |
He would not be happy with us doing this in this room now. | 0:39:56 | 0:39:59 | |
I mean, he famously hated television, didn't he? | 0:39:59 | 0:40:02 | |
He did, he did, he absolutely abhorred it. | 0:40:02 | 0:40:04 | |
-I think there are some good reasons. -Yeah. | 0:40:04 | 0:40:07 | |
I mean, radio was a new medium, so he wanted radio to be effective | 0:40:07 | 0:40:11 | |
before he was diverted to this new juvenile medium. | 0:40:11 | 0:40:15 | |
I think also he didn't trust television. | 0:40:15 | 0:40:17 | |
-He came from this very Scottish Presbyterian... -Yes. -..upbringing. | 0:40:17 | 0:40:22 | |
He came from a church that decried the visual | 0:40:22 | 0:40:25 | |
and the word was important, | 0:40:25 | 0:40:27 | |
-and radio was positioned as the serious medium... -Yeah. | 0:40:27 | 0:40:30 | |
..television was all about populism, | 0:40:30 | 0:40:32 | |
and that debate still carries on today. | 0:40:32 | 0:40:34 | |
But he was a great populist, we can't take that away from him. | 0:40:34 | 0:40:36 | |
-He wanted to... -In his own... | 0:40:36 | 0:40:38 | |
He was a populist in that he wanted television... | 0:40:38 | 0:40:40 | |
well, broadcasting to be spread amongst everyone. | 0:40:40 | 0:40:42 | |
-He did, but it was his idea of broadcasting. -OK, right. | 0:40:42 | 0:40:45 | |
Quite patrician. | 0:40:45 | 0:40:47 | |
Ah, here we are. Operatic Gems. | 0:40:47 | 0:40:49 | |
OPERATIC MUSIC PLAYS | 0:40:49 | 0:40:52 | |
I think those principles are still... | 0:40:52 | 0:40:55 | |
I think we've never found a better ethos, and it's memorable, | 0:40:55 | 0:40:58 | |
it's crisp and it's defining. | 0:40:58 | 0:41:00 | |
-It's quite... -Inform, educate, entertain, | 0:41:00 | 0:41:02 | |
it's as true then as it was is. | 0:41:02 | 0:41:04 | |
Yeah, and straight off the bat, as well, they came up with... | 0:41:04 | 0:41:07 | |
-He actually borrowed it from someone else. -Oh, did he steal it? | 0:41:07 | 0:41:09 | |
-But then more mature poets do, as they say. -Yeah. | 0:41:09 | 0:41:12 | |
Reith may have abhorred the idea, | 0:41:15 | 0:41:18 | |
but after years of badgering by Baird, | 0:41:18 | 0:41:21 | |
in 1932, the BBC used his equipment to try broadcasting | 0:41:21 | 0:41:26 | |
experimental programmes. | 0:41:26 | 0:41:28 | |
These went out late at night, after the wireless service had shut down, | 0:41:33 | 0:41:37 | |
using existing radio frequencies | 0:41:37 | 0:41:40 | |
to transmit low definition 30-line images. | 0:41:40 | 0:41:43 | |
They were quite literally sending pictures by wireless. | 0:41:44 | 0:41:48 | |
Those who were watching | 0:41:51 | 0:41:53 | |
were watching them on home-made sets, and rather like | 0:41:53 | 0:41:57 | |
in the very early days of wireless broadcasting, | 0:41:57 | 0:42:00 | |
what you've got is enthusiasts and amateurs | 0:42:00 | 0:42:03 | |
who are actually, in a way, more interested in the technology | 0:42:03 | 0:42:05 | |
and the kits and the fact that they were receiving | 0:42:05 | 0:42:09 | |
a signal at all than in the content. | 0:42:09 | 0:42:12 | |
By 1934, the government began contemplating | 0:42:14 | 0:42:17 | |
an official television service. | 0:42:17 | 0:42:19 | |
National pride was now at stake. | 0:42:21 | 0:42:23 | |
In America, work on cathode ray technology was racing ahead. | 0:42:24 | 0:42:29 | |
'Sieg heil. Sieg heil.' | 0:42:30 | 0:42:32 | |
And in Germany, preparations were under way for a state-run service. | 0:42:33 | 0:42:38 | |
Programmes deemed suitable by the Nazis | 0:42:40 | 0:42:43 | |
would be beamed into public viewing parlours. | 0:42:43 | 0:42:46 | |
There was a national, international vortex whirling up, | 0:42:48 | 0:42:52 | |
and the fact that Germany had television, not domestically... | 0:42:52 | 0:42:55 | |
-No. -..but they had television early, | 0:42:55 | 0:42:56 | |
and the Second World War was brewing, | 0:42:56 | 0:42:58 | |
there was a sense of disquiet in the nation | 0:42:58 | 0:43:00 | |
-that the UK had to get on with it. -Yeah. | 0:43:00 | 0:43:03 | |
So there was pressure put on Reith | 0:43:03 | 0:43:05 | |
to be more professionally interested in this new medium. | 0:43:05 | 0:43:09 | |
And did he ever come round to thinking, | 0:43:09 | 0:43:11 | |
-"Actually, it's pretty good, television"? -No. -He always hated it? | 0:43:11 | 0:43:14 | |
-Nope. Do you know what? -He never...? -When he left... | 0:43:14 | 0:43:16 | |
When he left the BBC, he got given, amongst an array of presents, | 0:43:16 | 0:43:21 | |
a television set, and he wrote in his diary, "I will never use it!" | 0:43:21 | 0:43:25 | |
Determined not to be beaten by the Germans or Americans, | 0:43:29 | 0:43:33 | |
the government lent on the BBC | 0:43:33 | 0:43:35 | |
to start a regular British television service. | 0:43:35 | 0:43:38 | |
One condition was that the pictures should have at least 240 lines, | 0:43:40 | 0:43:45 | |
60 more than the Germans. | 0:43:45 | 0:43:47 | |
But with Lord Reith at the helm, | 0:43:49 | 0:43:52 | |
those TV fools were sent to a hill in north London and told to prepare. | 0:43:52 | 0:43:57 | |
If the launch had happened a few years earlier, | 0:44:04 | 0:44:07 | |
John Logie Baird's company might have expected to win | 0:44:07 | 0:44:09 | |
the contract outright. | 0:44:09 | 0:44:12 | |
But mechanical television was no longer the only show in town. | 0:44:12 | 0:44:17 | |
In the unlikely setting of rural Nottinghamshire, | 0:44:17 | 0:44:20 | |
Danielle's on the trail of the electronic opposition. | 0:44:20 | 0:44:24 | |
Wow. | 0:44:24 | 0:44:25 | |
Some people might think this is junk. | 0:44:26 | 0:44:30 | |
But not to me. | 0:44:30 | 0:44:31 | |
Here, amongst an extraordinary collection of TV memorabilia... | 0:44:33 | 0:44:38 | |
These cameras. Good grief. | 0:44:38 | 0:44:40 | |
..engineer Paul Marshall can reveal THE technological | 0:44:40 | 0:44:44 | |
breakthrough that made electronic television possible. | 0:44:44 | 0:44:48 | |
So here is a 1948 | 0:44:52 | 0:44:57 | |
camera tube, which is the heart of the camera, the thing that actually makes the pictures. | 0:44:57 | 0:45:02 | |
It's the same technology | 0:45:02 | 0:45:03 | |
that was used prewar to produce Iconoscope cameras. | 0:45:03 | 0:45:07 | |
-Can I hold it? -Yes. | 0:45:07 | 0:45:09 | |
-Be careful. -HE CHUCKLES | 0:45:09 | 0:45:11 | |
-Thank you. -It's... | 0:45:11 | 0:45:13 | |
It's a lot lighter than I thought it was going to be. | 0:45:13 | 0:45:16 | |
Yes, well, there's a lot of... I was going to say "fresh air", | 0:45:16 | 0:45:20 | |
-but in actual fact, it's a vacuum. -A vacuum, right. It's beautiful. | 0:45:20 | 0:45:25 | |
-And very rare, presumably, is it? -Incredibly rare. | 0:45:25 | 0:45:28 | |
I think there's probably less than six, and I've got four of them. | 0:45:28 | 0:45:32 | |
-THEY LAUGH -Brilliant! | 0:45:32 | 0:45:34 | |
The Iconoscope tube was the brainchild of Vladimir Zworykin, | 0:45:39 | 0:45:43 | |
a Russian engineer working far from home | 0:45:43 | 0:45:46 | |
at the Radio Corporation of America. | 0:45:46 | 0:45:48 | |
It was here that he successfully | 0:45:52 | 0:45:54 | |
manipulated an electron beam inside a vacuum tube | 0:45:54 | 0:45:58 | |
to scan an image off a plate of light-sensitive photocells. | 0:45:58 | 0:46:02 | |
This is a prewar Iconoscope. | 0:46:07 | 0:46:11 | |
Here is the electron beam, so this is what I was trying | 0:46:11 | 0:46:14 | |
to do with my wine bottle. | 0:46:14 | 0:46:16 | |
Much more sophisticated here, of course. | 0:46:16 | 0:46:18 | |
But what's really interesting here | 0:46:18 | 0:46:20 | |
is you can really see the mosaic plate. | 0:46:20 | 0:46:22 | |
Now, that plate has actually got millions of tiny photocells on it, | 0:46:22 | 0:46:26 | |
and that's the thing that will capture the image. | 0:46:26 | 0:46:30 | |
And, actually, what it's trying to do is mimic the human eye. | 0:46:30 | 0:46:33 | |
So the inventor, Zworykin, | 0:46:33 | 0:46:35 | |
that's why he called it "the electric eye". | 0:46:35 | 0:46:37 | |
-NEWSREEL: -The optic nerve of a camera picture tube | 0:46:37 | 0:46:40 | |
is the electron beam, controlled by electromagnets. | 0:46:40 | 0:46:44 | |
The beam scans the picture which is on the plate | 0:46:44 | 0:46:48 | |
in rapid, sweeping motions from side to side, | 0:46:48 | 0:46:51 | |
from top to bottom. | 0:46:51 | 0:46:52 | |
When the beam hits the image, it loses varying amounts of electrons | 0:46:52 | 0:46:56 | |
and then bounces back to the opposite end of the picture tube | 0:46:56 | 0:47:00 | |
where it is amplified millions of times. | 0:47:00 | 0:47:03 | |
It would be so nice to actually see one of these working. | 0:47:03 | 0:47:06 | |
Well, I think I can help you there. | 0:47:06 | 0:47:09 | |
-This is our makeshift studio, isn't it? -Yes, it is. -Excellent. | 0:47:09 | 0:47:12 | |
-After you. -Thank you. | 0:47:12 | 0:47:15 | |
-Welcome to my test demonstration facility. -Excellent. | 0:47:15 | 0:47:18 | |
And meet the Image Iconoscope camera. | 0:47:18 | 0:47:20 | |
That's amazing! Look at it. | 0:47:20 | 0:47:22 | |
-And there is the innards revealed. -Oh, wow! | 0:47:22 | 0:47:27 | |
-There we go. -So this is all prewar technology? | 0:47:27 | 0:47:31 | |
This is absolutely prewar technology, | 0:47:31 | 0:47:33 | |
apart from the modern electronics which are driving the tube. | 0:47:33 | 0:47:36 | |
The key thing is the tube. | 0:47:36 | 0:47:38 | |
The revolutionary tube inside American Iconoscope camera | 0:47:40 | 0:47:44 | |
was closely emulated by the British Emitron. | 0:47:44 | 0:47:48 | |
But as there are no working Emitrons left... | 0:47:48 | 0:47:53 | |
Paul's reconstructed Iconoscope is the closest we'll get | 0:47:53 | 0:47:57 | |
to seeing the sort of prewar electronic pictures | 0:47:57 | 0:48:01 | |
that would have been generated at Ally Pally. | 0:48:01 | 0:48:04 | |
OK, so if I just come in... | 0:48:04 | 0:48:07 | |
-Yes... -You can sort of see me. | 0:48:07 | 0:48:09 | |
But these lights are incredibly bright here. | 0:48:09 | 0:48:12 | |
Ah, well, that's the feature of the Iconoscope technology, | 0:48:12 | 0:48:15 | |
and it's well recorded how hot the studios at Alexandra Palace | 0:48:15 | 0:48:18 | |
and other studios around the world got. | 0:48:18 | 0:48:21 | |
Now, I've just got to adjust the beam focus, | 0:48:21 | 0:48:23 | |
-and there you are. -Yeah, that's so clear! | 0:48:23 | 0:48:26 | |
-A little bit on the image focus. -My forehead looks a bit big. | 0:48:26 | 0:48:28 | |
Yes, well, that's one of the issues of the electron gun | 0:48:28 | 0:48:32 | |
being off at an angle. | 0:48:32 | 0:48:33 | |
-OK. -We've got a control for that. | 0:48:33 | 0:48:35 | |
-We can give you an even bigger head... -Yeah! | 0:48:35 | 0:48:37 | |
..or we can bring you back down | 0:48:37 | 0:48:39 | |
to something like you would expect to see yourself in the mirror. | 0:48:39 | 0:48:42 | |
The cameraman was the tip of the iceberg, | 0:48:42 | 0:48:44 | |
in that back at the control unit here, | 0:48:44 | 0:48:46 | |
which was physically much bigger in those days, | 0:48:46 | 0:48:49 | |
you would've had the racks man, | 0:48:49 | 0:48:51 | |
who was in charge of all these tilt and bend controls. | 0:48:51 | 0:48:53 | |
And so if someone was moving in the live broadcast, | 0:48:53 | 0:48:56 | |
this racks man would have to try and keep up with that as well? | 0:48:56 | 0:48:59 | |
-Absolutely. -I love this idea of having one cameraman | 0:48:59 | 0:49:02 | |
and having a rack man and someone running around | 0:49:02 | 0:49:04 | |
with a soldering iron behind the scenes as well. | 0:49:04 | 0:49:06 | |
Oh, it was complete seat-of-the-pants stuff, | 0:49:06 | 0:49:08 | |
because this thing was going wrong frequently. | 0:49:08 | 0:49:12 | |
The complex geometry of the early camera tubes | 0:49:14 | 0:49:17 | |
was just one of the problems facing the Marconi-EMI engineers | 0:49:17 | 0:49:21 | |
in the rush to first night. | 0:49:21 | 0:49:23 | |
They'd set themselves the hugely ambitious goal of a 405-line image. | 0:49:26 | 0:49:32 | |
On paper, this would put the Emitron ahead of the 240-line flying spot. | 0:49:32 | 0:49:38 | |
But the reality was not clear-cut, | 0:49:41 | 0:49:44 | |
because the pictures from the mechanical camera | 0:49:44 | 0:49:46 | |
were considered by many to be better. | 0:49:46 | 0:49:49 | |
With our broadcast now just three weeks away, | 0:49:58 | 0:50:01 | |
Hugh's flying spot has a long way to go. | 0:50:01 | 0:50:04 | |
In search of advice, he's visiting a fellow mechanical engineer... | 0:50:07 | 0:50:11 | |
Hello. Mr Reveley. | 0:50:11 | 0:50:14 | |
..who has first-hand knowledge of Baird's prewar technology. | 0:50:14 | 0:50:18 | |
-Very pleased to meet you. -Yes, and I'm glad to see you. | 0:50:18 | 0:50:22 | |
Now aged 104, | 0:50:22 | 0:50:25 | |
Paul Reveley was just 21 when he joined Baird Television. | 0:50:25 | 0:50:28 | |
Within a year, he'd become John Logie Baird's right-hand man. | 0:50:31 | 0:50:35 | |
I thought you might be interested to see | 0:50:37 | 0:50:39 | |
my employment contract with Baird Television. | 0:50:39 | 0:50:42 | |
Look at that. | 0:50:42 | 0:50:43 | |
"15th day of February, 1932." | 0:50:43 | 0:50:47 | |
-This is John Logie Baird. -That's him. | 0:50:49 | 0:50:52 | |
-This is you, Paul. -Yeah. -And this is Miss...? | 0:50:52 | 0:50:56 | |
Miss Sarbury. | 0:50:56 | 0:50:57 | |
She was employed for the day just to be a model. | 0:50:57 | 0:51:02 | |
I can remember she was a very good-looking girl. | 0:51:02 | 0:51:04 | |
-And you're wearing headphones. -I'm listening to the video signal. | 0:51:06 | 0:51:10 | |
So, do you think it's good advice to listen to the signal? | 0:51:10 | 0:51:13 | |
It's a way of monitoring your signal, | 0:51:15 | 0:51:17 | |
if you don't have a cathode ray available. | 0:51:17 | 0:51:20 | |
Well, this is quite exciting, | 0:51:20 | 0:51:23 | |
because I'm trying to produce a mechanical flying spot camera. | 0:51:23 | 0:51:27 | |
-Well, yes. If you can... -And... | 0:51:27 | 0:51:29 | |
If you do that successfully, | 0:51:31 | 0:51:34 | |
you will get a very precise picture. | 0:51:34 | 0:51:37 | |
What are you going to do, steel disc? | 0:51:37 | 0:51:39 | |
Well, I'm going to use an aluminium desk. | 0:51:39 | 0:51:42 | |
-Is that a problem? -Oh... | 0:51:44 | 0:51:46 | |
Will that be strong enough to take the centrifugal forces? | 0:51:46 | 0:51:50 | |
Yeah... I'm hoping not to... | 0:51:50 | 0:51:53 | |
I don't want to run at 6,000rpm. | 0:51:55 | 0:51:57 | |
-Oh, no, you won't have to do that. -Well, I can run at 1,500rpm. | 0:51:57 | 0:52:02 | |
You'll have to run at 1,500. | 0:52:02 | 0:52:04 | |
Paul's knowledge of mechanical television | 0:52:06 | 0:52:08 | |
remains as sharp as ever. | 0:52:08 | 0:52:10 | |
But in a little-known twist to the Baird story, | 0:52:15 | 0:52:18 | |
it turns out neither Paul nor his boss | 0:52:18 | 0:52:21 | |
actually installed the 1936 flying spot into Ally Pally. | 0:52:21 | 0:52:25 | |
Desperately short of cash, Baird sold his company four years earlier. | 0:52:29 | 0:52:33 | |
Soon after, he was ousted in a boardroom coup, | 0:52:35 | 0:52:39 | |
and overall control was handed to a Captain West. | 0:52:39 | 0:52:42 | |
So Baird was not involved in Alexandra Palace? | 0:52:46 | 0:52:50 | |
No, not at all. | 0:52:50 | 0:52:52 | |
He wasn't even invited to the opening ceremony. | 0:52:52 | 0:52:56 | |
-That's very sad. -It was very sad. | 0:52:56 | 0:52:58 | |
The equipment put into Alexandra Palace | 0:53:00 | 0:53:03 | |
was under Captain West's overview. | 0:53:03 | 0:53:07 | |
-Did you ever meet Captain West? -Oh, yes, yes. -What was he like? | 0:53:07 | 0:53:11 | |
He was a much harder kind of personality than JLB. | 0:53:11 | 0:53:16 | |
And how would you describe JLB? | 0:53:18 | 0:53:21 | |
You wouldn't imagine JLB being a good works manager. | 0:53:21 | 0:53:25 | |
-But Captain West was that type of person. -Right. | 0:53:25 | 0:53:29 | |
With Captain West running the show, | 0:53:33 | 0:53:35 | |
Baird continued to work on his cameras | 0:53:35 | 0:53:37 | |
from his home in south London, with young Paul his sole assistant. | 0:53:37 | 0:53:41 | |
He used to exist in his bedroom. | 0:53:43 | 0:53:46 | |
He would perhaps... | 0:53:46 | 0:53:48 | |
Maybe once a day he would come down and say, | 0:53:48 | 0:53:52 | |
"Have you anything to show me, Mr Reveley?" | 0:53:52 | 0:53:55 | |
How did he react when things went wrong? | 0:53:58 | 0:54:02 | |
Well, they didn't go wrong, because we had it all pre-prepared. | 0:54:02 | 0:54:07 | |
HUGH LAUGHS | 0:54:07 | 0:54:08 | |
Fuelled by Paul's advice, back in Cambridge, Hugh hits the workshop. | 0:54:12 | 0:54:17 | |
Right... | 0:54:18 | 0:54:20 | |
We can cut a 580 circle in here. | 0:54:20 | 0:54:22 | |
Yeah, just about. | 0:54:22 | 0:54:25 | |
Because he can't fit 240 holes onto a single disc... | 0:54:25 | 0:54:28 | |
..he's decided to go for a 60-hole spiral instead. | 0:54:31 | 0:54:35 | |
To help compensate for the missing lines, Hugh and his team | 0:54:38 | 0:54:42 | |
need to make sure their flying spot studio is completely lightproof. | 0:54:42 | 0:54:47 | |
What we've done here is made a box for the presenter to sit in. | 0:54:47 | 0:54:51 | |
Then the light coming from the window and the disc that's out there | 0:54:53 | 0:54:57 | |
is going to shine on my face | 0:54:57 | 0:54:59 | |
and the dot will track across my face like this. | 0:54:59 | 0:55:02 | |
To try and boost the picture's definition, | 0:55:04 | 0:55:07 | |
it's time to bring out the big guns. | 0:55:07 | 0:55:09 | |
These two photomultipliers | 0:55:10 | 0:55:12 | |
we borrowed from the Cavendish Physics Laboratories in Cambridge. | 0:55:12 | 0:55:16 | |
They use them for detecting photons from the Large Hadron Collider, | 0:55:16 | 0:55:22 | |
looking for the Higgs-Boson. | 0:55:22 | 0:55:24 | |
So they've got a good pedigree. | 0:55:24 | 0:55:27 | |
We've got to learn how to use them properly. | 0:55:27 | 0:55:30 | |
Yeah, there's not much time left. | 0:55:30 | 0:55:31 | |
OK, spinning up the disc. | 0:55:33 | 0:55:35 | |
METALLIC SCRAPING | 0:55:38 | 0:55:39 | |
A bit scrapey. | 0:55:42 | 0:55:43 | |
We'd like to run at 1,500rpm, which is 25 frames per second, | 0:55:45 | 0:55:51 | |
but we're not going to get that. | 0:55:51 | 0:55:54 | |
There's a lot of windage. | 0:55:54 | 0:55:56 | |
If you put your hand here, you feel the wind. | 0:55:58 | 0:56:00 | |
That's where our energy is being lost, | 0:56:00 | 0:56:03 | |
and I guess that explains why Logie Baird | 0:56:03 | 0:56:07 | |
put his disc in a vacuum. | 0:56:07 | 0:56:09 | |
The 1936 vacuum chamber removed any air resistance, | 0:56:12 | 0:56:16 | |
allowing the disc to spin four times faster than Hugh's. | 0:56:16 | 0:56:20 | |
See that's wobbling around? | 0:56:23 | 0:56:26 | |
Without a vacuum, the air resistance is unbalancing his disc. | 0:56:26 | 0:56:30 | |
Unless he can maintain a precise speed, | 0:56:35 | 0:56:37 | |
turning the electrical signals into a live image | 0:56:37 | 0:56:41 | |
will be almost impossible. | 0:56:41 | 0:56:43 | |
All right, we're locking you in. | 0:56:43 | 0:56:45 | |
Annamaria? | 0:56:48 | 0:56:50 | |
Can you put your hand in front of your left eye? | 0:56:51 | 0:56:54 | |
It's not so easy to distinguish, but that is her face and her hand. | 0:56:58 | 0:57:02 | |
The speed's changed a bit, though. | 0:57:05 | 0:57:07 | |
Got no bloody time to do anything with this. | 0:57:07 | 0:57:10 | |
If Hugh doesn't get his camera up and running soon, | 0:57:13 | 0:57:16 | |
our anniversary broadcast will be over before it's started. | 0:57:16 | 0:57:20 | |
At the studios, rehearsals are about to begin. | 0:57:28 | 0:57:31 | |
Getting there. | 0:57:31 | 0:57:33 | |
80 years ago, they obviously believed less is more. | 0:57:34 | 0:57:38 | |
Many of the early variety shows were under ten minutes long. | 0:57:39 | 0:57:43 | |
RAGTIME PIANO MUSIC | 0:57:45 | 0:57:47 | |
On opening night, headliner Adele Dixon | 0:57:49 | 0:57:52 | |
was followed by American tap-dancing legend John Bubbles | 0:57:52 | 0:57:56 | |
and his partner, Buck, | 0:57:56 | 0:57:58 | |
making them the first black artists on television | 0:57:58 | 0:58:02 | |
anywhere in the world. | 0:58:02 | 0:58:04 | |
According to the Radio Times listings, | 0:58:07 | 0:58:09 | |
next up were contortionist plate-spinners from China. | 0:58:09 | 0:58:13 | |
Sadly, this niche act was dropped shortly before they went live. | 0:58:13 | 0:58:17 | |
But happily for our show, 80 years later, | 0:58:17 | 0:58:20 | |
we'll include contortionist pot-spinners from Ghana. | 0:58:20 | 0:58:24 | |
Eh, close enough. | 0:58:24 | 0:58:25 | |
What strikes me most about the opening show | 0:58:27 | 0:58:30 | |
is how light and frothy it all was. | 0:58:30 | 0:58:33 | |
So was that by accident or design? | 0:58:33 | 0:58:36 | |
The rush to get television invented | 0:58:37 | 0:58:40 | |
meant that all the money had been spent on the science, | 0:58:40 | 0:58:44 | |
-and they hadn't really thought about what to put on it. -Yeah. | 0:58:44 | 0:58:47 | |
I think Reith and the BBC at the time, | 0:58:47 | 0:58:49 | |
when they looked at the future of television, | 0:58:49 | 0:58:51 | |
I think they perceived something like the David Attenborough shows. | 0:58:51 | 0:58:54 | |
As we know, only a part of television has fulfilled that. | 0:58:54 | 0:58:57 | |
What really drives television are the low arts, are variety, | 0:58:57 | 0:59:01 | |
are soap operas, are recurring series. | 0:59:01 | 0:59:04 | |
The National Programme from London. | 0:59:04 | 0:59:06 | |
Variety had proved such a success on radio, | 0:59:07 | 0:59:10 | |
but they had to differentiate it, | 0:59:10 | 0:59:12 | |
so they made the first programmes very visual. | 0:59:12 | 0:59:15 | |
So if you look, you've got jugglers on. Juggling doesn't work on radio. | 0:59:17 | 0:59:21 | |
You've got plate-spinners - doesn't work on radio. | 0:59:21 | 0:59:23 | |
But there was another concern, | 0:59:27 | 0:59:28 | |
because they had understood from the experimental service | 0:59:28 | 0:59:32 | |
that people got eyestrain. | 0:59:32 | 0:59:34 | |
It was very difficult. You had to concentrate. | 0:59:34 | 0:59:37 | |
-The picture wobbled somewhat, it wasn't a perfect picture. -That's interesting. | 0:59:37 | 0:59:40 | |
And so having acts and presentations | 0:59:40 | 0:59:43 | |
and performances in bite-sized chunks | 0:59:43 | 0:59:45 | |
meant that you could concentrate for those few seconds | 0:59:45 | 0:59:48 | |
and then you could relax awhile | 0:59:48 | 0:59:50 | |
and get ready for the next act to come on. | 0:59:50 | 0:59:52 | |
The producers' ambition | 0:59:56 | 0:59:58 | |
for an all-singing, all-dancing live spectacle | 0:59:58 | 1:00:01 | |
in a brightly lit studio gave the Baird engineers a problem. | 1:00:01 | 1:00:05 | |
Their mechanical camera was designed to see in the dark. | 1:00:07 | 1:00:11 | |
The flying spot camera could only work | 1:00:13 | 1:00:16 | |
if the person is sat absolutely still in a blackened-out box, | 1:00:16 | 1:00:21 | |
head and shoulders straight to the camera. | 1:00:21 | 1:00:23 | |
That was its limit. | 1:00:23 | 1:00:24 | |
But they had a singer, an orchestra and dancers all in that first show, | 1:00:24 | 1:00:30 | |
so how on earth did they do it? | 1:00:30 | 1:00:33 | |
Well, the Baird Company had to get a little bit more inventive. | 1:00:33 | 1:00:37 | |
In desperation, they resorted to a tried and tested technology - | 1:00:40 | 1:00:46 | |
the movie camera. | 1:00:46 | 1:00:47 | |
For live TV, | 1:00:49 | 1:00:52 | |
they needed a way of developing the film as soon as it left the camera, | 1:00:52 | 1:00:57 | |
so they built a processing lab around it. | 1:00:57 | 1:01:01 | |
It was totally crazy, | 1:01:03 | 1:01:05 | |
but at the time, it was the only way to be able to do this. | 1:01:05 | 1:01:09 | |
Here we have a modern film processor. | 1:01:11 | 1:01:14 | |
The film runs through the machine here | 1:01:14 | 1:01:16 | |
to the chemical tanks up the steps here. | 1:01:16 | 1:01:19 | |
Each of these tanks the film goes through, | 1:01:19 | 1:01:22 | |
goes up and down through the tanks, all the way through, | 1:01:22 | 1:01:25 | |
and then comes out into this last tower at the back. | 1:01:25 | 1:01:28 | |
Baird, with his system, | 1:01:28 | 1:01:31 | |
managed to get this reduced down to fit under his camera. | 1:01:31 | 1:01:36 | |
The Baird team miniaturised an entire film lab | 1:01:38 | 1:01:42 | |
and installed it inside a soundproof booth in the studio. | 1:01:42 | 1:01:46 | |
But back then, film processing took up to an hour, | 1:01:49 | 1:01:52 | |
no good for live TV. | 1:01:52 | 1:01:54 | |
So to speed up the process, | 1:01:58 | 1:02:00 | |
they made some toxic changes to the developing chemicals | 1:02:00 | 1:02:05 | |
One of the bars was almost neat cyanide, | 1:02:05 | 1:02:08 | |
which is the same thing that they use in gas chambers, you know, | 1:02:08 | 1:02:11 | |
for executing people, | 1:02:11 | 1:02:13 | |
so it was almost as though the Baird team | 1:02:13 | 1:02:16 | |
were sitting on a gas chamber. | 1:02:16 | 1:02:19 | |
After developing, each frame of the still-wet negative film | 1:02:21 | 1:02:26 | |
was scanned by a spinning disc camera in a process called telecine. | 1:02:26 | 1:02:30 | |
According to presenter Leslie Mitchell, | 1:02:32 | 1:02:34 | |
the fastest they managed to turn the film into TV pictures | 1:02:34 | 1:02:38 | |
was 54 seconds. | 1:02:38 | 1:02:40 | |
Astonishingly quick, but still not quite live. | 1:02:42 | 1:02:46 | |
Despite the engineers' ingenuity, | 1:02:50 | 1:02:53 | |
the telecine camera system was obviously flawed. | 1:02:53 | 1:02:56 | |
The pictures were not as clear as those of the mechanical flying spot. | 1:02:58 | 1:03:02 | |
And the film-processing machinery was notoriously unreliable. | 1:03:05 | 1:03:10 | |
If anything failed, Leslie Mitchell, inside his box, | 1:03:12 | 1:03:16 | |
would have to be ready to carry the whole show. | 1:03:16 | 1:03:19 | |
As first night loomed, | 1:03:26 | 1:03:27 | |
the Baird pioneers had a lot riding on the flying spot. | 1:03:27 | 1:03:31 | |
80 years later, we're in the same boat. | 1:03:37 | 1:03:39 | |
-Whoa-ho. -No pressure, Hugh. | 1:03:43 | 1:03:45 | |
-Wow. -Hi, Hugh. -Hi, Hugh. | 1:03:46 | 1:03:48 | |
-Hi. This is it, is it? -Yeah. -Great, isn't it? -What do you think? | 1:03:48 | 1:03:52 | |
-Hi, Danielle. -Hi. Lovely to see you. | 1:03:52 | 1:03:54 | |
In the back of the van, I've got this booth. | 1:03:54 | 1:03:57 | |
-Where's it going to go? -It's going to go right here. | 1:03:57 | 1:03:59 | |
-It's very heavy. -Our spinning disc will be here? -Yes. | 1:04:03 | 1:04:07 | |
We need a bright light, and that's going to have to be over here. | 1:04:07 | 1:04:10 | |
Hugh, how lit is it going to be inside? | 1:04:10 | 1:04:13 | |
-How lit? -Yes. -Lit?! -How lit will Dallas be? -Lit?! | 1:04:13 | 1:04:17 | |
You're in complete darkness. | 1:04:20 | 1:04:22 | |
-Then you're going to have... flashing lights. -OK. -Brilliant. | 1:04:22 | 1:04:26 | |
-And after half an hour of this, you are going to be... -Have a coronary. | 1:04:26 | 1:04:30 | |
Right, OK. So, roof. | 1:04:30 | 1:04:31 | |
Are you confident it's going to work? | 1:04:31 | 1:04:34 | |
Along the way, everything has worked at least once. | 1:04:34 | 1:04:36 | |
-Brilliant. That's all you can ask for, isn't it? -We've only got to do it once. -Exactly. | 1:04:36 | 1:04:40 | |
Four hours and a lot of tinkering later... | 1:04:44 | 1:04:48 | |
..it's time to fire up a BBC flying spot studio | 1:04:50 | 1:04:54 | |
for the first time in almost eight decades. | 1:04:54 | 1:04:57 | |
Not plugged in. Ha! | 1:05:00 | 1:05:02 | |
Getting worried there. | 1:05:04 | 1:05:05 | |
-Now, with any luck, we should be getting something in there. -Yeah. | 1:05:11 | 1:05:15 | |
So we'll put the Maltese cross there. | 1:05:17 | 1:05:20 | |
OK, are we ready? | 1:05:21 | 1:05:23 | |
-The moment of truth. -The moment of truth. -Exactly. | 1:05:23 | 1:05:26 | |
-OK? -Yeah! -And... | 1:05:26 | 1:05:28 | |
THEY EXCLAIM IN ANTICIPATION | 1:05:28 | 1:05:30 | |
THEY CHEER | 1:05:30 | 1:05:31 | |
-My God, it works! -That's amazing! -But there is one problem. | 1:05:31 | 1:05:36 | |
Have you got the image of the photomultiplier stand in the way?! | 1:05:36 | 1:05:40 | |
Yeah, but it's a small price to pay. Look, it bloody works! | 1:05:40 | 1:05:44 | |
So it may need a little refining, | 1:05:46 | 1:05:49 | |
but to obtain a live picture from a spinning piece of metal, | 1:05:49 | 1:05:52 | |
well, it still seems pretty astonishing. | 1:05:52 | 1:05:55 | |
The pioneers transmitted the first show 25 miles or more. | 1:06:01 | 1:06:05 | |
-We're going for a more modest broadcast... -All right. | 1:06:07 | 1:06:12 | |
..all the way to our greenroom. | 1:06:12 | 1:06:14 | |
What I want is something that's going to transmit | 1:06:16 | 1:06:18 | |
-like Ally Pally was transmitting, so... -Yeah, OK. | 1:06:18 | 1:06:21 | |
-Well, let's try this one. -OK. | 1:06:21 | 1:06:23 | |
We're using a 65-year-old TV, | 1:06:24 | 1:06:28 | |
a spring chicken compared to the first cathode ray sets. | 1:06:28 | 1:06:32 | |
The original domestic sets had to accommodate | 1:06:32 | 1:06:34 | |
the two rival picture standards. | 1:06:34 | 1:06:36 | |
This is a television set that people would have actually watched | 1:06:38 | 1:06:42 | |
the opening night on in 1936, | 1:06:42 | 1:06:44 | |
and if you open it up here, | 1:06:44 | 1:06:47 | |
the first thing that you see is a mirror, | 1:06:47 | 1:06:50 | |
and the reason that you have a mirror is that | 1:06:50 | 1:06:52 | |
the cathode ray tube which is inside this is so long, so it's upended, | 1:06:52 | 1:06:57 | |
it points up towards the ceiling, and therefore, you have to have | 1:06:57 | 1:07:01 | |
a mirror here to actually see what's on the screen. | 1:07:01 | 1:07:05 | |
And what dates this particular set very, very precisely | 1:07:05 | 1:07:09 | |
to this moment at the end of 1936 is this switch here. | 1:07:09 | 1:07:13 | |
There, you see, it's switched to 405, which is 405 lines, | 1:07:13 | 1:07:17 | |
the Marconi-EMI system, and if I flick that, | 1:07:17 | 1:07:21 | |
it goes to 240 lines, which is the Baird system. | 1:07:21 | 1:07:25 | |
Who was watching television? | 1:07:29 | 1:07:31 | |
How many people had television sets | 1:07:31 | 1:07:32 | |
and could have tuned in to programme one? | 1:07:32 | 1:07:35 | |
We're only talking a few hundred, | 1:07:35 | 1:07:37 | |
-and only in a very small space in the London area. -Yes. | 1:07:37 | 1:07:40 | |
And, of course, people that could afford sets were rich. | 1:07:40 | 1:07:43 | |
-The sets were fantastically expensive. -Yeah. | 1:07:43 | 1:07:45 | |
They differed from about £50 to £80 | 1:07:45 | 1:07:48 | |
when the average wage was about 140. | 1:07:48 | 1:07:51 | |
INAUDIBLE | 1:07:51 | 1:07:53 | |
Half the average wage would be like spending £10,000 to £15,000 today. | 1:07:53 | 1:07:59 | |
That's a lot of money for a prototype gogglebox. | 1:07:59 | 1:08:02 | |
Even the name "television" seemed to be quite controversial, didn't it? | 1:08:04 | 1:08:07 | |
Yes. I mean, people thought it's a half-Greek word, | 1:08:07 | 1:08:10 | |
a half-Latin word, you know, it's not going to... | 1:08:10 | 1:08:12 | |
-It's not perfect, by any means. -Yeah. | 1:08:12 | 1:08:14 | |
I mean, I think we had to learn the grammar that you use | 1:08:14 | 1:08:18 | |
to talk about television. | 1:08:18 | 1:08:20 | |
They weren't called viewers, they were called "lookers-in". | 1:08:20 | 1:08:23 | |
-Oh, no! -No, no, we're all right. | 1:08:27 | 1:08:29 | |
Hugh's been busy honing his pictures, | 1:08:31 | 1:08:34 | |
but he's also getting sound... | 1:08:34 | 1:08:36 | |
SQUEAKING ..and not the sort we need. | 1:08:36 | 1:08:39 | |
-I can fiddle it around to get rid of the squeak. -RATTLING | 1:08:39 | 1:08:42 | |
But it's a fine line between squeak and rattle. | 1:08:42 | 1:08:45 | |
A rattling camera tomorrow will derail our entire show. | 1:08:47 | 1:08:51 | |
Because this is right here in the studio, | 1:08:53 | 1:08:55 | |
it's going to be impossible to actually hear what's going to go on. | 1:08:55 | 1:08:58 | |
It's going to be incredibly noisy. Er... | 1:08:58 | 1:09:01 | |
These are actually the words that I'm going to say tomorrow, | 1:09:02 | 1:09:07 | |
and it's an amalgamation of a couple of things. | 1:09:07 | 1:09:10 | |
It's Leslie Mitchell's words, and the chairman of the BBC, | 1:09:10 | 1:09:13 | |
and there's a lot of it, and it's not like I can actually have this | 1:09:13 | 1:09:16 | |
in the booth itself, cos it'll be pitch-black, | 1:09:16 | 1:09:19 | |
and there's no autocue, so I'm just going to have to learn it. | 1:09:19 | 1:09:22 | |
It's quite a mouthful. | 1:09:22 | 1:09:25 | |
"This is the BBC television service at Alexandra Palace. | 1:09:25 | 1:09:29 | |
"We are met, some in this studio..." | 1:09:29 | 1:09:31 | |
'Apparently, Leslie Mitchell was also handed pages of script | 1:09:31 | 1:09:35 | |
'to learn just hours before the original broadcast. | 1:09:35 | 1:09:39 | |
'I'm all for historical accuracy, but this is heavy going.' | 1:09:39 | 1:09:44 | |
LOUD SQUEAKING | 1:09:44 | 1:09:45 | |
Well, it's not that one there. | 1:09:45 | 1:09:48 | |
It can't be that one there. | 1:09:48 | 1:09:50 | |
-Oh, it's worse! -Yeah, which one is it? | 1:09:50 | 1:09:53 | |
'Mitchell got so frustrated, he tore up the script, | 1:09:53 | 1:09:57 | |
'daring the producers to sack him. | 1:09:57 | 1:09:59 | |
'I feel his pain.' | 1:09:59 | 1:10:01 | |
So, we're going to have to hacksaw this out. | 1:10:01 | 1:10:04 | |
It's getting close to the wire now... | 1:10:11 | 1:10:13 | |
We can't get rid of this squeak. | 1:10:14 | 1:10:16 | |
..but with Hugh still battling intermittent noises from his disc... | 1:10:16 | 1:10:20 | |
Right, try that. | 1:10:20 | 1:10:22 | |
..we haven't rehearsed a single line of the show. | 1:10:22 | 1:10:25 | |
-Hugh, we need to test this. We need to get on and... -Well, OK... | 1:10:27 | 1:10:30 | |
We'll switch this off, then. | 1:10:30 | 1:10:32 | |
-I mean, is it just the noise. -That's it? It's really quiet. | 1:10:32 | 1:10:35 | |
It's perfectly quiet! It's quieter than my TV at home. | 1:10:35 | 1:10:39 | |
OK, fire up. | 1:10:41 | 1:10:43 | |
-And... -Right. -Hold on. -Right, I'm going to... -Yay! | 1:10:43 | 1:10:47 | |
-Let me see. -HUGH CHUCKLES | 1:10:47 | 1:10:49 | |
Oh, yeah, excellent! | 1:10:49 | 1:10:51 | |
It's a good job I'm not epileptic, with this... OK. | 1:10:51 | 1:10:54 | |
You have to speak up. We can't hear you. | 1:10:54 | 1:10:56 | |
-LOUDER: Can you hear me now? -Yes. -Yeah, you've got to shout, though. | 1:10:56 | 1:10:59 | |
SHOUTING: This is the BBC television service... | 1:10:59 | 1:11:02 | |
But tomorrow, how are we going to cue him? | 1:11:02 | 1:11:05 | |
Cos we can't be shouting, cos the orchestra's playing as well. | 1:11:05 | 1:11:08 | |
-I do like the idea of a stick. -I quite like the idea of a stick. | 1:11:08 | 1:11:11 | |
-Danielle... -Have you got that drill? Let's just... | 1:11:11 | 1:11:14 | |
Where's the drill with the drillbit? Any old drillbit. | 1:11:14 | 1:11:16 | |
We can use our 30-hole disc and just... Pow! | 1:11:16 | 1:11:19 | |
-Right. -..government... -Hey, Dallas. -Yes? | 1:11:19 | 1:11:22 | |
-Charlie's about to drill a hole in your back. -Should I move? | 1:11:22 | 1:11:26 | |
Here we go. | 1:11:26 | 1:11:28 | |
-OK, I'm leaning forward. -Right, it's in. | 1:11:28 | 1:11:30 | |
-OK, now, Dallas? -Yeah? -Sit down in your normal position. | 1:11:30 | 1:11:34 | |
OK. | 1:11:34 | 1:11:36 | |
Ow! OK, yeah. | 1:11:36 | 1:11:38 | |
LAUGHTER | 1:11:38 | 1:11:40 | |
-That is really annoying and distracting. -Well... | 1:11:40 | 1:11:44 | |
That's going to be your cue tomorrow. | 1:11:44 | 1:11:46 | |
-How do you feel about that? -Er... Yeah. | 1:11:46 | 1:11:49 | |
'Back in the day, | 1:11:49 | 1:11:50 | |
'Leslie Mitchell was cued by a sharp jab to his ribs from an assistant.' | 1:11:50 | 1:11:54 | |
-Got it. -Have you fallen off your chair? -Just about. | 1:11:54 | 1:11:57 | |
Then, as now, the flying spot was a cruel mistress. | 1:11:59 | 1:12:02 | |
On 2nd November 1936, a motley band of engineers, | 1:12:15 | 1:12:20 | |
ex-radio producers and variety acts | 1:12:20 | 1:12:23 | |
prepared to make television a reality. | 1:12:23 | 1:12:25 | |
'We are met, some in this studio at the Alexandra Palace, | 1:12:28 | 1:12:32 | |
'and others at viewing points miles away.' | 1:12:32 | 1:12:36 | |
This is the BBC television service at Alexandra Palace. | 1:12:36 | 1:12:40 | |
We are here, some in this studio, others at viewing points... | 1:12:41 | 1:12:47 | |
Poor Leslie Mitchell was plastered with high-contrast make-up | 1:12:47 | 1:12:50 | |
to help the flying spot's primitive photocells | 1:12:50 | 1:12:53 | |
read the details on his face. | 1:12:53 | 1:12:55 | |
But I look more like I'm about to step into a circus ring | 1:12:56 | 1:13:00 | |
than a television studio. | 1:13:00 | 1:13:01 | |
-Oh, wow! -I know! It's ridiculous! -I didn't recognise you. | 1:13:07 | 1:13:11 | |
-I don't recognise myself. -Is it the suit? Maybe it's the suit. | 1:13:11 | 1:13:14 | |
-Well, maybe it's the suit. -Yeah. | 1:13:14 | 1:13:16 | |
One of the biggest challenges in the Baird studio was coordinating | 1:13:17 | 1:13:21 | |
the live flying spot camera in the box | 1:13:21 | 1:13:24 | |
with the film telecine camera that took 54 seconds to produce images. | 1:13:24 | 1:13:29 | |
The trick was making the lookers-in at home | 1:13:31 | 1:13:34 | |
think the whole thing was seamless. | 1:13:34 | 1:13:37 | |
To work out how the pioneers might have done it, | 1:13:37 | 1:13:40 | |
we'll attempt a 54-second lag between our two cameras. | 1:13:40 | 1:13:45 | |
And in the spirit of the original live broadcast, | 1:13:45 | 1:13:48 | |
we'll just have to busk it if anything goes wrong. | 1:13:48 | 1:13:51 | |
So has someone got a walkie-talkie I could borrow? I'll unplug you. | 1:13:51 | 1:13:55 | |
Is that all right? Thank you. | 1:13:55 | 1:13:57 | |
Our intrepid floor manager, | 1:13:57 | 1:13:59 | |
AKA Danielle, will stage manage what could be pure mayhem. | 1:13:59 | 1:14:04 | |
-What are you receiving now? -Coming and going. That's not too bad now. | 1:14:04 | 1:14:07 | |
I felt, like, quietly confident before, | 1:14:08 | 1:14:12 | |
and now I've sort of gone through the script. | 1:14:12 | 1:14:15 | |
Blimey, you know, there's the whole timing side of it, | 1:14:15 | 1:14:18 | |
and it's massive, you know. | 1:14:18 | 1:14:20 | |
It's really nerve-racking. | 1:14:20 | 1:14:22 | |
SQUEAKING | 1:14:28 | 1:14:31 | |
So the noise has come back, and it's very close to the show, | 1:14:31 | 1:14:34 | |
so we're now doing a number of experiments | 1:14:34 | 1:14:36 | |
to try and work out what's causing it. | 1:14:36 | 1:14:39 | |
OK... | 1:14:39 | 1:14:40 | |
We can't have this while the orchestra are playing and while | 1:14:40 | 1:14:43 | |
there are dancers going to music, and if we don't get it fixed, | 1:14:43 | 1:14:45 | |
we kind of ruin everyone else's performance, | 1:14:45 | 1:14:47 | |
so we're working quite hard to get rid of it. | 1:14:47 | 1:14:49 | |
80 years ago, as broadcast loomed, the tense studio was under | 1:14:51 | 1:14:55 | |
the watchful gaze of the government committee overseeing the launch. | 1:14:55 | 1:14:59 | |
A lot was riding on the opening show. | 1:15:01 | 1:15:03 | |
-Hello! -'Our guest of honour is 91-year-old Lily...' -Thank you. | 1:15:05 | 1:15:10 | |
'..the oldest surviving performer from the earliest days | 1:15:10 | 1:15:13 | |
'of Ally Pally.' | 1:15:13 | 1:15:14 | |
-You get the best seat in the house. -Do I? | 1:15:14 | 1:15:16 | |
In fact, you get the only seat in the house. | 1:15:16 | 1:15:18 | |
-Because I'm the eldest, you see. -Exactly. We saved the best for you. | 1:15:18 | 1:15:22 | |
OK, right, this is your seat here. Right. | 1:15:22 | 1:15:24 | |
-Shall I sit down now? -Yep, please do. | 1:15:24 | 1:15:27 | |
Right, OK. Now, hopefully, if this all works, | 1:15:27 | 1:15:30 | |
you will see Dallas appear on there. | 1:15:30 | 1:15:32 | |
I think we've managed to fix the squeak by oiling it, of all things. | 1:15:36 | 1:15:41 | |
A little drop of oil. Who'd have thought that would work?! | 1:15:41 | 1:15:44 | |
I think we're ready for it, and... | 1:15:45 | 1:15:49 | |
fingers crossed nothing goes wrong at the last minute. | 1:15:49 | 1:15:51 | |
Everyone, can I have your attention, please? | 1:15:51 | 1:15:54 | |
Welcome to 2nd November 1936. | 1:15:56 | 1:16:00 | |
CHEERING | 1:16:00 | 1:16:02 | |
This is going to be a very difficult and challenging thing, | 1:16:02 | 1:16:05 | |
to try and get the timings between what happens in that booth | 1:16:05 | 1:16:09 | |
and what happens in here. | 1:16:09 | 1:16:10 | |
Danielle is going to also be floor manager. | 1:16:10 | 1:16:13 | |
Yeah, I'm going to try and manage this live performance, | 1:16:13 | 1:16:17 | |
so we have to try and put this delay into our broadcast today. | 1:16:17 | 1:16:21 | |
-LAUGHTER -I know, exactly. What is it? | 1:16:21 | 1:16:24 | |
So we need to have a 54-second delay towards the end of your speech. | 1:16:24 | 1:16:29 | |
I then cue the orchestra, and then you can start off. | 1:16:29 | 1:16:33 | |
As with any live show, the mantra is "keep going". | 1:16:33 | 1:16:37 | |
We're very much into a journey of the unknown. | 1:16:37 | 1:16:39 | |
-OK, good luck, everybody. -OK. | 1:16:39 | 1:16:41 | |
The programme is about to begin. | 1:16:49 | 1:16:51 | |
Engineers stand by in the control room. | 1:16:51 | 1:16:54 | |
The producer is waiting at his microphone | 1:16:54 | 1:16:57 | |
to speak his last word to the artist. | 1:16:57 | 1:16:59 | |
-I'm, "Argh!" Rabbit, headlights. -You're going to be fabulous. | 1:17:01 | 1:17:04 | |
-This is all good, it's working? -Yeah. -Lily's plugged in? | 1:17:04 | 1:17:06 | |
Lily's in place. | 1:17:06 | 1:17:08 | |
Is everybody ready? | 1:17:12 | 1:17:14 | |
Excellent, OK. Dallas, you OK? | 1:17:14 | 1:17:16 | |
-Yeah. -Good luck. See you on the other side. | 1:17:16 | 1:17:19 | |
OK, PM's live. | 1:17:20 | 1:17:22 | |
And there we go. Rolling at 15 frames per second. | 1:17:24 | 1:17:27 | |
15 frames per second. | 1:17:28 | 1:17:30 | |
Oh, there he is. | 1:17:30 | 1:17:32 | |
-Dallas. -Oh! -That's Leslie Mitchell. -Silence, everybody! | 1:17:32 | 1:17:37 | |
Vision and sound are on. | 1:17:38 | 1:17:40 | |
MAN BLOWS WHISTLE | 1:17:40 | 1:17:42 | |
The station goes on the air. | 1:17:42 | 1:17:44 | |
This is the BBC television service from Alexandra Palace. | 1:17:52 | 1:17:56 | |
We are met, some in this studio, and others some miles away. | 1:17:58 | 1:18:03 | |
At this moment, at the beginning of television, | 1:18:03 | 1:18:07 | |
we'd like to thank those whose brilliant and devout research | 1:18:07 | 1:18:13 | |
have gone on to make television happen. | 1:18:13 | 1:18:16 | |
As for the future... CLASSICAL MUSIC PLAYS | 1:18:16 | 1:18:21 | |
Did it work? | 1:18:22 | 1:18:24 | |
Now, today's programme will no doubt, in the future, | 1:18:26 | 1:18:30 | |
be looked back on as being rather primitive, | 1:18:30 | 1:18:33 | |
but one that we hope today | 1:18:33 | 1:18:35 | |
will be recorded as an important moment in history. | 1:18:35 | 1:18:40 | |
Now, ladies and gentlemen, | 1:18:41 | 1:18:43 | |
we're very lucky to have today Adele Dixon, | 1:18:43 | 1:18:46 | |
who'll be singing a very appropriate song, simply called Television. | 1:18:46 | 1:18:51 | |
Following that, we have a performance from Bubbles and Buck, | 1:18:51 | 1:18:55 | |
who have been delighting audiences all across America, | 1:18:55 | 1:18:58 | |
and lately, here in London. | 1:18:58 | 1:19:00 | |
MUSIC STARTS | 1:19:01 | 1:19:03 | |
-I feel like clapping! -What do you think? | 1:19:05 | 1:19:09 | |
No-one watching the show 80 years ago recorded whether the film | 1:19:09 | 1:19:12 | |
from the camera kicked in at the right moment... | 1:19:12 | 1:19:15 | |
# A mighty maze of mystic, magic rays... # | 1:19:15 | 1:19:21 | |
..but assuming the pioneers timed it as well as Danielle, | 1:19:21 | 1:19:24 | |
we think it might have looked a bit like this. | 1:19:24 | 1:19:27 | |
# And in sight and sound they trace... # | 1:19:27 | 1:19:29 | |
It's a lovely studio, isn't it? | 1:19:36 | 1:19:38 | |
In the studio, our performers | 1:19:38 | 1:19:40 | |
are now running almost a minute ahead of our broadcast. | 1:19:40 | 1:19:44 | |
# The news will flit | 1:19:44 | 1:19:46 | |
# As on the silver screen | 1:19:46 | 1:19:51 | |
# And just for entertaining you... # | 1:19:51 | 1:19:55 | |
# ..That bring television to you. # | 1:20:21 | 1:20:33 | |
With just the one film camera, live scene changes were unavoidable. | 1:20:37 | 1:20:42 | |
PIANO MUSIC | 1:20:44 | 1:20:46 | |
Some lookers-in, used to the slick editing of the cinema, | 1:20:48 | 1:20:51 | |
were unimpressed... | 1:20:51 | 1:20:52 | |
INDISTINCT | 1:20:52 | 1:20:55 | |
..but no doubt any theatre and variety fans felt right at home. | 1:20:55 | 1:21:00 | |
Break it up, now! Whoo! | 1:21:00 | 1:21:03 | |
Because it was bolted to the processing unit, | 1:21:03 | 1:21:05 | |
the Baird film camera could not follow the performers... | 1:21:05 | 1:21:09 | |
..so the golden rule was to stay within the frame. | 1:21:11 | 1:21:14 | |
-Ready? -Yep. -Yes! -Excellent. | 1:21:20 | 1:21:22 | |
-INDISTINCT SPEECH -Shh-shh. When you go in there, shh. | 1:21:22 | 1:21:24 | |
The performers also couldn't overrun their allotted slots | 1:21:24 | 1:21:28 | |
in case the film ran out. | 1:21:28 | 1:21:29 | |
As our final act begins, | 1:21:39 | 1:21:42 | |
Buck and Bubbles finish performing to viewers at home. | 1:21:42 | 1:21:45 | |
The engineers were on constant alert for air bubbles | 1:21:46 | 1:21:50 | |
inside the film processor, as these would distort the picture... | 1:21:50 | 1:21:53 | |
..but nothing a sharp kick to the side of the tank couldn't sort out. | 1:21:56 | 1:21:59 | |
I'm talking about love. | 1:21:59 | 1:22:02 | |
Yeah! | 1:22:02 | 1:22:04 | |
DRUMS PLAY | 1:22:04 | 1:22:05 | |
DRUMS STOP | 1:22:37 | 1:22:39 | |
SILENCE | 1:22:40 | 1:22:41 | |
As the studio goes silent, | 1:22:44 | 1:22:46 | |
the film processor catches up in the almost-live broadcast. | 1:22:46 | 1:22:50 | |
It is incredible the Baird team | 1:22:55 | 1:22:57 | |
actually managed to make television this way. | 1:22:57 | 1:23:00 | |
Hats off to them. | 1:23:01 | 1:23:02 | |
You've been watching the opening programme | 1:23:09 | 1:23:11 | |
of the London television service by the Baird system. | 1:23:11 | 1:23:15 | |
Would you now please switch your television sets | 1:23:15 | 1:23:18 | |
to the Marconi-EMI system, | 1:23:18 | 1:23:20 | |
where we will be radiating a signal at a quarter to four. | 1:23:20 | 1:23:24 | |
Until then, we leave you with a little light music. | 1:23:24 | 1:23:27 | |
CLASSICAL MUSIC PLAYS | 1:23:27 | 1:23:30 | |
Oh, my goodness me! | 1:23:32 | 1:23:33 | |
We did it! | 1:23:35 | 1:23:37 | |
Well done, everybody! Well done. | 1:23:37 | 1:23:39 | |
-It was... That was really quick as well. -That was incredible! | 1:23:41 | 1:23:44 | |
Well done. | 1:23:44 | 1:23:46 | |
-What did you think? -Wonderful. Absolutely wonderful. | 1:23:46 | 1:23:50 | |
-It took me back years and years. -Did it? -Oh, yes. Wonderful. | 1:23:50 | 1:23:54 | |
-It was fantastic. -It was really good. | 1:23:54 | 1:23:56 | |
It was like going back in time. | 1:23:58 | 1:24:01 | |
It was wonderful seeing those tap dancers, because I could imagine | 1:24:01 | 1:24:05 | |
Leslie Mitchell and me doing it all those years ago. | 1:24:05 | 1:24:08 | |
It really came back to me. | 1:24:08 | 1:24:09 | |
It was crazy. It was like, "As soon as you walk on, begin!" | 1:24:10 | 1:24:14 | |
And it was like, "OK!" | 1:24:14 | 1:24:16 | |
That was just a complete circus. That was absolutely ridiculous. | 1:24:17 | 1:24:21 | |
The whole thing was insane, but utterly brilliant. | 1:24:21 | 1:24:25 | |
Well, it's been hard work. We've had... | 1:24:31 | 1:24:33 | |
RATTLING | 1:24:33 | 1:24:35 | |
We've had a lot of things not working along the way. | 1:24:35 | 1:24:37 | |
It's quite emotionally exhausting, because you spent all that time | 1:24:40 | 1:24:44 | |
in the lead-up, just the tension of it, "Is it going to work?" | 1:24:44 | 1:24:48 | |
And it's over so quickly. It just worked so well. | 1:24:48 | 1:24:52 | |
It must have been extraordinary back then in 1936. | 1:24:52 | 1:24:56 | |
How are you feeling? | 1:24:56 | 1:24:57 | |
Good. | 1:24:59 | 1:25:00 | |
The first night of television. | 1:25:02 | 1:25:05 | |
-ALL: -Cheers! | 1:25:05 | 1:25:06 | |
-BOTH: -Cheers to the engineers. | 1:25:06 | 1:25:08 | |
Of course, we did cheat a bit. | 1:25:11 | 1:25:13 | |
Our film of the variety acts had to travel across London | 1:25:15 | 1:25:18 | |
to be processed and telecined, | 1:25:18 | 1:25:20 | |
taking hours to do what the Baird studio managed in under a minute. | 1:25:20 | 1:25:25 | |
Immediately after the first broadcast, the producers | 1:25:34 | 1:25:38 | |
and artists traipsed next door into the Marconi-EMI studio... | 1:25:38 | 1:25:42 | |
..to perform exactly the same show to the electronic cameras. | 1:25:45 | 1:25:49 | |
This is the BBC's television service at Alexandra Palace. | 1:25:52 | 1:25:57 | |
-So literally the second thing that was broadcast was a repeat. -Yeah! | 1:25:57 | 1:26:01 | |
-Nothing changes. -Yeah! | 1:26:01 | 1:26:03 | |
The government should have entrusted to us the conduct... | 1:26:03 | 1:26:07 | |
This idea of two studios, two rival systems, | 1:26:07 | 1:26:11 | |
drove the pioneers of Alexandra Palace crazy, to have to do this. | 1:26:11 | 1:26:16 | |
And they were pretty clear straight away which system, | 1:26:18 | 1:26:21 | |
as far as they were concerned, was the better one. | 1:26:21 | 1:26:24 | |
But politically, | 1:26:25 | 1:26:27 | |
it was really difficult to extract the Baird system from the equation, | 1:26:27 | 1:26:31 | |
because Baird had been around for a long time, | 1:26:31 | 1:26:33 | |
had campaigned a long time, | 1:26:33 | 1:26:36 | |
and so the idea of a competition was written in to the process. | 1:26:36 | 1:26:40 | |
The early Emitron cameras were far from perfect, | 1:26:42 | 1:26:46 | |
but they were mobile and fully live. | 1:26:46 | 1:26:49 | |
One producer described going back to the Baird studio as, | 1:26:53 | 1:26:56 | |
"Like using Morse code when there was a telephone next door." | 1:26:56 | 1:27:00 | |
Baird was a pioneer, but rapidly rotating discs, | 1:27:03 | 1:27:08 | |
they don't suit themselves to being in a camera, do they? | 1:27:08 | 1:27:12 | |
I think Baird himself must have realised | 1:27:14 | 1:27:16 | |
that the time of mechanically rotating things was gone. | 1:27:16 | 1:27:21 | |
The competition was meant to last six months, | 1:27:23 | 1:27:26 | |
but after only three, the plug was pulled. | 1:27:26 | 1:27:30 | |
It was official - the future was electronic. | 1:27:32 | 1:27:36 | |
From his home, John Logie Baird continued to dream... | 1:27:41 | 1:27:44 | |
..working on ideas for colour and 3-D television, | 1:27:46 | 1:27:50 | |
but the age of the lone inventor was over. | 1:27:50 | 1:27:53 | |
-Ladies and gentlemen... -..the Television Orchestra. | 1:27:56 | 1:27:58 | |
CLASSICAL MUSIC PLAYS | 1:27:58 | 1:28:00 | |
In the years after first night, the Ally Pally pioneers | 1:28:06 | 1:28:09 | |
and their freewheeling cameras set about taking | 1:28:09 | 1:28:12 | |
those magic rays of light beyond the boundaries of north London. | 1:28:12 | 1:28:16 | |
A beauty. | 1:28:18 | 1:28:20 | |
Soon, the world would indeed be at their door. | 1:28:20 | 1:28:23 | |
# There's joy in store | 1:28:23 | 1:28:26 | |
# The world is at your door | 1:28:26 | 1:28:29 | |
# It's here for everyone to view | 1:28:29 | 1:28:35 | |
# Conjured up in sound and sight | 1:28:35 | 1:28:38 | |
# By the magic rays of light | 1:28:38 | 1:28:42 | |
# That bring television | 1:28:42 | 1:28:47 | |
# To you. # | 1:28:47 | 1:28:55 |