[majormajor]

Blowing things up to that size is not representative.

Back when I first started playing things on emulators we were using 12" to 20" CRTs or LCDs with much higher resolution than a TV, so whether CRT or LCD the pixels were chunkier.

None of the nostalgia is how I remember it at all.

The average CRT TV had crap color and poor brightness and going from that and the flicker of 1-to-1 size NTSC on a 20-something TV to an emulated "chunkier pixel" rendition on a progressize-scan 72+hz 1024x768-or-higher CRT or an LCD looked way better.

Take the side by side pictures and zoom WAY out on a high-res screen or go stand several feet away from your monitor so that they're the size they were designed and expected to be seen at, and the vast majority of the perceived improvement from making the CRT subpixels visible goes away. And then put them into motion - especially vertical motion - and those lines in between, and losing half on each frame becomes more noticable and distracting.

The 4th image there of the yellow monster is a good example. Even zooming to 50% on my high-res display makes the "bad" version suddenly look way sharper and detailed as the size starts to show how frequently "rounded dots with gaps between it" just looks like fuzziness instead of "better".

And these comparisons tend to cherry-pick and not show examples of things that lose clarity as a result of the subpixels and scanlines instead of gain clarity.

[thaeli]

I'm the same way. The scanlined, subpixeled versions just look terrible to me.

[Theodores]

The article concerns 'PVMs', not a phrase I remember in period, even though we had hundreds of Sony D1 monitors, which were the pinnacle of 'professional digital monitors'.

These were different beasts to civilian TVs, even top of the line Trinitron. They had none on the RF circuitry of a regular TV and the inputs were typically component, or, in the late nineties, digital, but not the digital we know today, that signal came down one BNC connector.

We had an outside broadcast company which had massive trucks full of screens for televising sports, concerts and public events. A new boss decided to outfit the new trucks with domestic TVs rather than the expected mega-expensive D1s. The trucks did not last long, much to the amusement of the crew. The TVs rattled themselves to pieces before they made it to their first event.

Unlike the civilian TVs, the Sony D1 monitors were designed to be repaired. We had people for that and you could often see the innards of one of them if you went to see the engineers in their den. They generally did not need to be repaired, but, if you have hundreds of the things then you raised the odds of having a few need a little bit of servicing.

In the studio environment they were rack mounted with air conditioning and extremely neat cabling to some type of desk where you had the buttons to choose what camera, VT or other source went to the screen. Lighting in the gallery was also controlled, so the picture you saw was the definitive picture, with no fiddling of brightness or contrast necessary. The blacks were black, which flat screens were only really able to achieve decades later with AMOLED.

In the basement with the DigiBeta tape machines we had smaller D1s in the racks, often with an adjacent oscilloscope. You could tell if the content was 'adult material' by the oscilloscope, which I always found amusing.

The magic of TV in that era was the analog nature of the CRT. The studio set was usually very battered and yet you could put a few tens of thousands of watts of lighting onto it for the cameras to show something beautiful on the D1 monitors. The advent of HD was problematic in this regard as every dent and scratch would show, along with every wrinkle and blemish on the presenter's faces.

Video games of the era were designed around the hardware, in Europe this meant 720 x 576 PAL, with lots of that image as 'overscan'. Note that JPG was also designed for the magic of analog, with slow CPUs. You can change the look up table in JPG to make it work for digital and fast CPUs but only MozJPEG does that.

You mention flickering, and most CRTs would be flickery, think of electrical shops of the era and what you would see out of the corner of your eye. Clearly you would not want this in a studio gallery lest anyone collapse with an epileptic fit. In Europe we had 50Hz rather than 60Hz, so, even with interlacing, flicker was a thing but only in the electrical shop, not in the studio gallery. This had more to do with genlock (for analog) than phosphor persistence trickery.

Regarding the article, I am pleased that the D1 monitors of old have found a new fan base that truly appreciate them. In period we put a lot of work into our setups and, to this day, I struggle to come to terms with all of that expertise and expense having gone forever.

In broadcasting there has always been an 'old guard' that can remember the 'good old days'. I now feel like one of those fuddy duddies!!!