Question: Which format was more popular in high humidity areas such as Singapore?

Answer: LaserDiscs

LaserDisc did not have high market penetration in North America due to the high cost of the players and discs, which were far more expensive than VHS players and tapes, and due to marketplace confusion with the technologically inferior CED, which also went by the name Videodisc. While the format was not widely adopted by North American consumers, it was well received among videophiles due to the superior audio and video quality compared to VHS and Betamax tapes, finding a place in nearly one million American homes by the end of 1990. <hl> The format was more popular in Japan than in North America because prices were kept low to ensure adoption, resulting in minimal price differences between VHS tapes and the higher quality LaserDiscs , helping ensure that it quickly became the dominant consumer video format in Japan. <hl> Anime collectors in every country the LD format was released, which includes both North America and Japan, also quickly became familiar with this format, and sought the higher video and sound quality of LaserDisc and the availability of numerous titles not available on VHS. LaserDiscs were also popular alternatives to videocassettes among movie enthusiasts in the more affluent regions of South East Asia, such as Singapore, due to their high integration with the Japanese export market and the disc-based media's superior longevity compared to videocassette, especially in the humid conditions endemic to that area of the world.

LaserDisc did not have high market penetration in North America due to the high cost of the players and discs, which were far more expensive than VHS players and tapes, and due to marketplace confusion with the technologically inferior CED, which also went by the name Videodisc. While the format was not widely adopted by North American consumers, it was well received among videophiles due to the superior audio and video quality compared to VHS and Betamax tapes, finding a place in nearly one million American homes by the end of 1990. The format was more popular in Japan than in North America because prices were kept low to ensure adoption, resulting in minimal price differences between VHS tapes and the higher quality <hl> LaserDiscs <hl>, helping ensure that it quickly became the dominant consumer video format in Japan. Anime collectors in every country the LD format was released, which includes both North America and Japan, also quickly became familiar with this format, and sought the higher video and sound quality of LaserDisc and the availability of numerous titles not available on VHS. LaserDiscs were also popular alternatives to videocassettes among movie enthusiasts in the more affluent regions of South East Asia, such as Singapore, due to their high integration with the Japanese export market and the disc-based media's superior longevity compared to videocassette, especially in the humid conditions endemic to that area of the world.

The format was more popular in Japan than in North America because prices were kept low to ensure adoption, resulting in minimal price differences between VHS tapes and the higher quality <hl> LaserDiscs <hl> , helping ensure that it quickly became the dominant consumer video format in Japan.


Question: How much did a LD cost in Hong Kong in the 1990s?

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100), high rental activity helped the video rental business in the city grow larger than it had ever been previously. Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.

Answer: USD100

<hl> The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100 ), high rental activity helped the video rental business in the city grow larger than it had ever been previously. <hl> Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around <hl> USD100 <hl>), high rental activity helped the video rental business in the city grow larger than it had ever been previously. Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around <hl> USD100 <hl> ), high rental activity helped the video rental business in the city grow larger than it had ever been previously.


Question: Broadcast in Hong Kong used which standard formatting?

Answer: PAL standard

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100), high rental activity helped the video rental business in the city grow larger than it had ever been previously. <hl> Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). <hl> This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100), high rental activity helped the video rental business in the city grow larger than it had ever been previously. Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the <hl> PAL standard <hl> used for broadcast (This anomaly also exists for DVD). This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.


Question: In contrast to broadcast, which format did consumers use in Hong Kong?

Answer: NTSC

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100), high rental activity helped the video rental business in the city grow larger than it had ever been previously. <hl> Due to integration with the Japanese export market, NTSC LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). <hl> This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.

The format also became quite popular in Hong Kong during the 1990s before the introduction of VCDs and DVD; although people rarely bought the discs (because each LD was priced around USD100), high rental activity helped the video rental business in the city grow larger than it had ever been previously. Due to integration with the Japanese export market, <hl> NTSC <hl> LaserDiscs were used in the Hong Kong market, in contrast to the PAL standard used for broadcast (This anomaly also exists for DVD). This created a market for multi-system TVs and multi-system VCRs which could display or play both PAL and NTSC materials in addition to SECAM materials (which were never popular in Hong Kong). Some LD players could convert NTSC signals to PAL so that most TVs used in Hong Kong could display the LD materials.


Question: By what year had DVD taken over the LaserDisc market?

Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.

Answer: late 1990s

Although the LaserDisc format was supplanted by DVD by <hl> the late 1990s , many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). <hl> This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.

Although the LaserDisc format was supplanted by DVD by the <hl> late 1990s <hl>, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.

the <hl> late 1990s <hl> , many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD).


Question: Which collector group highly values LaserDisc for their rareness?

Answer: movie enthusiasts

<hl> Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). <hl> This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.

Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by <hl> movie enthusiasts <hl> (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.


Question: Until the end of what year were movies released in VHS, LD, and DVD in Japan?

Answer: 2001

Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. <hl> Until the end of 2001 , many titles were released on VHS, LD, and DVD in Japan. <hl>

Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of <hl> 2001 <hl>, many titles were released on VHS, LD, and DVD in Japan.

Until the end of <hl> 2001 <hl> , many titles were released on VHS, LD, and DVD in Japan.


Question: What country was the only to receive a LD release of Disney's Song of the South?

Answer: Japan

<hl> Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in Japan on LD). <hl> This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.

Although the LaserDisc format was supplanted by DVD by the late 1990s, many LD titles are still highly coveted by movie enthusiasts (for example, Disney's Song of the South which is unavailable in the US in any format, but was issued in <hl> Japan <hl> on LD). This is largely because there are many films that are still only available on LD and many other LD releases contain supplemental material not available on subsequent DVD versions of those films. Until the end of 2001, many titles were released on VHS, LD, and DVD in Japan.


Question: In what decade did Philips produce a "professional" LD model for computer?

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

Answer: early 1980s

<hl> In the early 1980s , Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". <hl> In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In the <hl> early 1980s <hl>, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In the <hl> early 1980s <hl> , Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional".


Question: In what year were LD jukeboxes created?

Answer: 1985

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". <hl> In 1985 , Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. <hl> When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". In <hl> 1985 <hl>, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In <hl> 1985 <hl> , Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper.


Question: Who created LD Jukeboxes in 1985?

Answer: Jasmine Multimedia

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". <hl> In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. <hl> When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". In 1985, <hl> Jasmine Multimedia <hl> created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.


Question: Which musical artists were featured on LD Jukeboxes in 1985?

Answer: Michael Jackson, Duran Duran, and Cyndi Lauper

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". <hl> In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from Michael Jackson, Duran Duran, and Cyndi Lauper . <hl> When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In the early 1980s, Philips produced a LaserDisc player model adapted for a computer interface, dubbed "professional". In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from <hl> Michael Jackson, Duran Duran, and Cyndi Lauper <hl>. When connected to a PC this combination could be used to display images or information for educational or archival purposes, for example thousands of scanned medieval manuscripts. This strange device could be considered a very early equivalent of a CD-ROM.

In 1985, Jasmine Multimedia created LaserDisc Juke Boxes featuring music videos from <hl> Michael Jackson, Duran Duran, and Cyndi Lauper <hl> .


Question: How many EditDroid systems were ever built?

In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.

Answer: 24

In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. <hl> Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. <hl> Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.

In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only <hl> 24 <hl> EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.


Question: Were EditDroid discs single or multi-sided?

Answer: single-sided

In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. <hl> These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. <hl> In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.

In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto <hl> single-sided <hl> blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.


Question: Which production company engineered the EditDroid machines in the 1980s?

Answer: Lucasfilm

<hl> In the mid-1980s Lucasfilm pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. <hl> Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.

In the mid-1980s <hl> Lucasfilm <hl> pioneered the EditDroid non-linear editing system for film and television based on computer-controlled LaserDisc players. Instead of printing dailies out on film, processed negatives from the day's shoot would be sent to a mastering plant to be assembled from their 10-minute camera elements into 20-minute film segments. These were then mastered onto single-sided blank LaserDiscs, just as a DVD would be burnt at home today, allowing for much easier selection and preparation of an Edit Decision List. In the days before video assist was available in cinematography, this was the only other way a film crew could see their work. The EDL went to the negative cutter who then cut the camera negative accordingly and assembled the finished film. Only 24 EditDroid systems were ever built, even though the ideas and technology are still in use today. Later EditDroid experiments borrowed from hard-drive technology of having multiple discs on the same spindle and added numerous playback heads and numerous electronics to the basic jukebox design so that any point on each of the discs would be accessible within seconds. This eliminated the need for racks and racks of industrial LaserDisc players since EditDroid discs were only single-sided.


Question: In what year did the Doomsday project occur?

In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

Answer: 1986

<hl> In 1986 , a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. <hl> The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

In <hl> 1986 <hl>, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

In <hl> 1986 <hl> , a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project.


Question: Which equipment was used for the Doomsday Project?

Answer: a SCSI-equipped LaserDisc player attached to a BBC Master computer

<hl> In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. <hl> The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

In 1986, <hl> a SCSI-equipped LaserDisc player attached to a BBC Master computer <hl> was used for the BBC Domesday Project. The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.


Question: What does LV-ROM stand for?

Answer: LaserVision Read Only Memory

In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. <hl> The player was referred as an LV-ROM ( LaserVision Read Only Memory ) as the discs contained the driving software as well as the video frames. <hl> The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. The player was referred as an LV-ROM (<hl> LaserVision Read Only Memory <hl>) as the discs contained the driving software as well as the video frames. The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

The player was referred as an LV-ROM ( <hl> LaserVision Read Only Memory <hl> ) as the discs contained the driving software as well as the video frames.


Question: The Doomsday Project discs used which formatting?

Answer: CAV

In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. <hl> The discs used the CAV format, and encoded data as a binary signal represented by the analog audio recording. <hl> These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.

In 1986, a SCSI-equipped LaserDisc player attached to a BBC Master computer was used for the BBC Domesday Project. The player was referred as an LV-ROM (LaserVision Read Only Memory) as the discs contained the driving software as well as the video frames. The discs used the <hl> CAV <hl> format, and encoded data as a binary signal represented by the analog audio recording. These discs could contain in each CAV frame video/audio or video/binary data, but not both. "Data" frames would appear blank when played as video. It was typical for each disc to start with the disc catalog (a few blank frames) then the video introduction before the rest of the data. Because the format (based on the ADFS hard disc format) used a starting sector for each file, the data layout effectively skipped over any video frames. If all 54,000 frames are used for data storage an LV-ROM disc can contain 324 MB of data per side. The Domesday Project systems also included a genlock, allowing video frames, clips and audio to be mixed with graphics originated from the BBC Master; this was used to great effect for displaying high resolution photographs and maps, which could then be zoomed into.


Question: Which of Apple's programming languages allowed users to ceatively manipulate LaserDiscs?

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.

Answer: HyperCard

<hl> Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. <hl> User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.

Apple's <hl> HyperCard <hl> scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.


Question: What did LaserStacks software enable Mac users to do?

Answer: play specific content from the disc

<hl> Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. <hl> User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to <hl> play specific content from the disc <hl> through software called LaserStacks. User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.


Question: Where were "stacks" created with the LaserStack software used?

Answer: in education

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. <hl> User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. <hl> Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. User-created "stacks" were shared and were especially popular <hl> in education <hl> where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor.


Question: Which commercial company was LaserStack's most successful distributor?

Answer: Voyager

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. <hl> Commercially available stacks were also popular with the Voyager company being possibly the most successful distributor. <hl>

Apple's HyperCard scripting language provided Macintosh computer users with a means to design databases of slides, animation, video and sounds from LaserDiscs and then to create interfaces for users to play specific content from the disc through software called LaserStacks. User-created "stacks" were shared and were especially popular in education where teacher-generated stacks were used to access discs ranging from art collections to basic biological processes. Commercially available stacks were also popular with the <hl> Voyager <hl> company being possibly the most successful distributor.


Question: A combination computer/LD player was comissioned by what government entity?

Under contract from the U.S. Military, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player.

Answer: the U.S. Military

<hl> Under contract from the U.S. Military , Matrox produced a combination computer/LaserDisc player for instructional purposes. <hl> The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player.

Under contract from <hl> the U.S. Military <hl>, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player.

Under contract from <hl> the U.S. Military <hl> , Matrox produced a combination computer/LaserDisc player for instructional purposes.


Question: How much did Matrox's computer/LD combo weigh?

Answer: 43 lb (20 kg)

Under contract from the U.S. Military, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. <hl> Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. <hl> The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player.

Under contract from the U.S. Military, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed <hl> 43 lb (20 kg) <hl> and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player.


Question: How could Matrox's computer unconventionally be controlled?

Answer: removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player

Under contract from the U.S. Military, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. <hl> Nevertheless, it is possible to control the unit by removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player . <hl>

Under contract from the U.S. Military, Matrox produced a combination computer/LaserDisc player for instructional purposes. The computer was a 286, the LaserDisc player only capable of reading the analog audio tracks. Together they weighed 43 lb (20 kg) and sturdy handles were provided in case two people were required to lift the unit. The computer controlled the player via a 25-pin serial port at the back of the player and a ribbon cable connected to a proprietary port on the motherboard. Many of these were sold as surplus by the military during the 1990s, often without the controller software. Nevertheless, it is possible to control the unit by <hl> removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player <hl>.

Nevertheless, it is possible to control the unit by <hl> removing the ribbon cable and connecting a serial cable directly from the computer's serial port to the port on the LaserDisc player <hl> .


Question: What quality made LDs a consideration for videogames in the 1980s and 1990s?

The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with Sega's Astron Belt. American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.

Answer: instant-access capability

<hl> The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with Sega's Astron Belt. <hl> American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.

The format's <hl> instant-access capability <hl> made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with Sega's Astron Belt. American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.


Question: What was the first game to use LaserDiscs?

Answer: Sega's Astron Belt

<hl> The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with Sega's Astron Belt . <hl> American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.

The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with <hl> Sega's Astron Belt <hl>. American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.

The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with <hl> Sega's Astron Belt <hl> .


Question: In what year was Sega's AStron Belt released?

Answer: 1983

<hl> The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in 1983 with Sega's Astron Belt. <hl> American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.

The format's instant-access capability made it possible for a new breed of LaserDisc-based video arcade games and several companies saw potential in using LaserDiscs for video games in the 1980s and 1990s, beginning in <hl> 1983 <hl> with Sega's Astron Belt. American Laser Games and Cinematronics produced elaborate arcade consoles that used the random-access features to create interactive movies such as Dragon's Lair and Space Ace. Similarly, the Pioneer Laseractive and Halcyon were introduced as home video game consoles that used LaserDisc media for their software.


Question: With what operating ratio would MUSE Discs operate?

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.

Answer: 5:3

a 5:3 aspect ratio.

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with <hl> a 5:3 aspect ratio. <hl> The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a <hl> 5:3 <hl> aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.


Question: What benefits did the MUSE narrow wavelength red laser have?

Answer: capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. <hl> The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out . <hl> Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was <hl> capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out <hl>. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.

The red laser was <hl> capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out <hl> .


Question: In addition to scratches and rot, what other common LaserDisc issue was to be eliminated by MUSE discs?

Answer: Crosstalk

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. <hl> Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs. <hl>

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. <hl> Crosstalk <hl> was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.


Question: How many years did it take Blu-ray and HD-DVD players to duplicate MUSE technology?

Answer: almost 15 years

<hl> In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of almost 15 years until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. <hl> Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.

In 1991, several manufacturers announced specifications for what would become known as MUSE LaserDisc, representing a span of <hl> almost 15 years <hl> until the feats of this HD analog optical disc system would finally be duplicated digitally by HD DVD and Blu-ray Disc. Encoded using NHK's MUSE "Hi-Vision" analogue TV system, MUSE discs would operate like standard LaserDiscs but would contain high-definition 1,125-line (1,035 visible lines) (Sony HDVS) video with a 5:3 aspect ratio. The MUSE players were also capable of playing standard NTSC format discs and are superior in performance to non-MUSE players even with these NTSC discs. The MUSE-capable players had several noteworthy advantages over standard LaserDisc players, including a red laser with a much narrower wavelength than the lasers found in standard players. The red laser was capable of reading through disc defects such as scratches and even mild disc rot that would cause most other players to stop, stutter or drop-out. Crosstalk was not an issue with MUSE discs, and the narrow wavelength of the laser allowed for the virtual elimination of crosstalk with normal discs.


Question: What was the price for early HDTVs?

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was tiny. Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

Answer: US$10,000

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. <hl> Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000 , and even in Japan the market for MUSE was tiny. <hl> Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. Equipment prices were high, especially for early HDTVs which generally eclipsed <hl> US$10,000 <hl>, and even in Japan the market for MUSE was tiny. Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

Equipment prices were high, especially for early HDTVs which generally eclipsed <hl> US$10,000 <hl> , and even in Japan the market for MUSE was tiny.


Question: Did MUSE have a large or small target market, even in Japan?

Answer: tiny

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. <hl> Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was tiny . <hl> Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was <hl> tiny <hl>. Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was <hl> tiny <hl> .


Question: What were some movies that were released on MUSE LaserDiscs?

Answer: Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was tiny. Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. <hl> Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin were among the theatrical releases available on MUSE LDs. <hl> Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.

In order to view MUSE encoded discs, it was necessary to have a MUSE decoder in addition to a compatible player. There are televisions with MUSE decoding built-in and set top tuners with decoders that can provide the proper MUSE input. Equipment prices were high, especially for early HDTVs which generally eclipsed US$10,000, and even in Japan the market for MUSE was tiny. Players and discs were never officially sold in North America, although several distributors imported MUSE discs along with other import titles. <hl> Terminator 2: Judgment Day, Lawrence of Arabia, A League of Their Own, Bugsy, Close Encounters of the Third Kind, Bram Stoker's Dracula and Chaplin <hl> were among the theatrical releases available on MUSE LDs. Several documentaries, including one about Formula One at Japan's Suzuka Circuit were also released.


Question: What were "Squeeze LDs"?

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

Answer: enhanced 16:9-ratio widescreen LaserDiscs

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. <hl> Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs . <hl> During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were <hl> enhanced 16:9-ratio widescreen LaserDiscs <hl>. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

Squeeze LDs were <hl> enhanced 16:9-ratio widescreen LaserDiscs <hl> .


Question: With what aspect ratio did Squeeze LDs operate?

Answer: 16:9-ratio widescreen

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. <hl> Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. <hl> During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced <hl> 16:9-ratio widescreen <hl> LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.


Question: Why did Squeeze LDs have a very limited market?

Answer: very few people owned 16:9 displays

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. <hl> Since very few people owned 16:9 displays , the marketability of these special discs was very limited. <hl>

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since <hl> very few people owned 16:9 displays <hl>, the marketability of these special discs was very limited.

Since <hl> very few people owned 16:9 displays <hl> , the marketability of these special discs was very limited.


Question: Could the 16:9 aspect ratio be easily resized by a normal LD player, or was the image significantly distorted?

Answer: distorted

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. <hl> If the discs were played on a standard 4:3 television the image would be distorted . <hl> Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be <hl> distorted <hl>. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

If the discs were played on a standard 4:3 television the image would be <hl> distorted <hl> .


Question: What percent vertical resolution increase did Squeeze LDs feature over regular widescreen LDs?

Answer: 33%

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. <hl> The advantage was a 33% greater vertical resolution compared to letterboxed widescreen LaserDisc. <hl> This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.

With the release of 16:9 televisions in the mid-1990s, Pioneer and Toshiba decided that it was time to take advantage of this aspect ratio. Squeeze LDs were enhanced 16:9-ratio widescreen LaserDiscs. During the video transfer stage, the movie was stored in an anamorphic "squeezed" format. The widescreen movie image was stretched to fill the entire video frame with less or none of the video resolution wasted to create letterbox bars. The advantage was a <hl> 33% <hl> greater vertical resolution compared to letterboxed widescreen LaserDisc. This same procedure was used for anamorphic DVDs, but unlike all DVD players, very few LD players had the ability to unsqueeze the image for 4:3 sets, and very few if any 4:3 sets could be set to play them properly either. If the discs were played on a standard 4:3 television the image would be distorted. Since very few people owned 16:9 displays, the marketability of these special discs was very limited.


Question: Which movie was released twice on Squeeze LD?

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

Answer: Terminator 2

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. <hl> A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2 : Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. <hl> Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, <hl> Terminator 2 <hl>: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, <hl> Terminator 2 <hl> : Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger.


Question: What improvement was added to Terminator 2's second Squeeze LD release?

Answer: THX certified

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. <hl> Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first. <hl>

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. Terminator 2 was released twice in Squeeze LD, the second release being <hl> THX certified <hl> and a notable improvement over the first.


Question: What Warner Brothers films were available in 16:9 aspect ratio Squeeze LDs?

Answer: Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. <hl> Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy . <hl> The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include <hl> Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy <hl>. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger. Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

Titles include <hl> Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy <hl> .


Question: What films were available for Japanese market Squeeze LDs?

Answer: Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. <hl> A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger . <hl> Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

There were no anamorphic LaserDisc titles available in the US except for promotional purposes. Upon purchase of a Toshiba 16:9 television viewers had the option of selecting a number of Warner Bros. 16:9 films. Titles include Unforgiven, Grumpy Old Men, The Fugitive, and Free Willy. The Japanese lineup of titles was different. A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included <hl> Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger <hl>. Terminator 2 was released twice in Squeeze LD, the second release being THX certified and a notable improvement over the first.

A series of releases under the banner "SQUEEZE LD" from Pioneer of mostly Carolco titles included <hl> Basic Instinct, Stargate, Terminator 2: Judgment Day, Showgirls, Cutthroat Island, and Cliffhanger <hl> .


Question: What does the acronym RLV stand for?

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc. It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in 1984. RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.

Answer: Recordable LaserVision disc

<hl> Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc . <hl> It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in 1984. RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or <hl> Recordable LaserVision disc <hl>. It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in 1984. RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or <hl> Recordable LaserVision disc <hl> .


Question: Which company originally developed and marketed the RLV?

Answer: Optical Disc Corporation (ODC, now ODC Nimbus)

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc. <hl> It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in 1984. <hl> RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc. It was developed and first marketed by the <hl> Optical Disc Corporation (ODC, now ODC Nimbus) <hl> in 1984. RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.


Question: In what year did ODC develop the Recordable LaserVision Disc?

Answer: 1984.

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc. <hl> It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in 1984. RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. <hl> RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.

Another form of recordable LaserDisc that is completely playback-compatible with the LaserDisc format (unlike CRVdisc with its caddy enclosure) is the RLV, or Recordable LaserVision disc. It was developed and first marketed by the Optical Disc Corporation (ODC, now ODC Nimbus) in <hl> 1984. <hl> RLV discs, like CRVdisc, are also a WORM technology, and function exactly like a CD-R disc. RLV discs look almost exactly like standard LaserDiscs, and can play in any standard LaserDisc player after they have been recorded.


Question: What is the difference in appearance between an RLV disc and a regular LD?

The only cosmetic difference between an RLV disc and a regular factory-pressed LaserDiscs is their reflective purple-violet (or blue with some RLV discs) color resulting from the dye embedded in the reflective layer of the disc to make it recordable, as opposed to the silver mirror appearance of regular LDs. The purplish color of RLVs is very similar to DVD-R and DVD+R discs. RLVs were popular for making short-run quantities of LaserDiscs for specialized applications such as interactive kiosks and flight simulators.

Answer: reflective purple-violet (or blue with some RLV discs) color

<hl> The only cosmetic difference between an RLV disc and a regular factory-pressed LaserDiscs is their reflective purple-violet (or blue with some RLV discs) color resulting from the dye embedded in the reflective layer of the disc to make it recordable, as opposed to the silver mirror appearance of regular LDs. <hl> The purplish color of RLVs is very similar to DVD-R and DVD+R discs. RLVs were popular for making short-run quantities of LaserDiscs for specialized applications such as interactive kiosks and flight simulators.

The only cosmetic difference between an RLV disc and a regular factory-pressed LaserDiscs is their <hl> reflective purple-violet (or blue with some RLV discs) color <hl> resulting from the dye embedded in the reflective layer of the disc to make it recordable, as opposed to the silver mirror appearance of regular LDs. The purplish color of RLVs is very similar to DVD-R and DVD+R discs. RLVs were popular for making short-run quantities of LaserDiscs for specialized applications such as interactive kiosks and flight simulators.