Macrovision: The Copy Protection in VHS

Macrovision:  The Copy Protection in VHS


When you hear the term “copy protection”,
these days you’re probably more likely to think along the lines of DRM or some clever
way to prevent copying a digital something-or-other, such as a music file, DVD, Blu-ray, or whatnot. If this is your frame of reference, you might
be a little surprised to learn that a form of copy protection had been in use for pre-recorded
video cassettes as far back as 1985. ♫ sweet music with tuba ♫ The Macrovision company, wh… which later
became the Rovi corporation, which later bought TiVo and decided to absorb that identity so
is now TiVo, came up with a way to exploit the automatic gain control circuitry in a
videocassette recorder, and create pre-recorded tapes which would mess around with that circuitry
to prevent copying them. Now to be clear, this wasn’t so much a copy
protection scheme as it was a copy deterrent. This wouldn’t exactly prevent you from making
a copy, but that copy would be almost unbearable to watch. So first let’s see what it does. I have this VCR plugged into this VCR, and
the TV is currently displaying the output of this VCR through This VCR, and I’m gonna
stick a prerecorded tape into this one and a blank tape into this one. I want to make a copy of Rain Main. So now, I’m going to hit record on this
VCR, which will copy Rain Main onto the blank tape inside it. Pay attention to what happens as soon as I
hit record. That’s not exactly a good sign. Well, aside from that, it seems to be working…OK,
no apparent issues so far. But when you play the copy back, in addition
to the generational loss brought about by being a second generation analog copy, the
brightness of the image changes wildly, and it’s not at all stable. Why is that happening? And why only when I’m recording? Well, what Macrovision does is screw around
with the vertical blanking interval of the video signal in such a way that a TV won’t
really be bothered, but that a VCR attempting to record would incorrectly interpret as a
change in signal strength. I’m not going to go too much into detail
here, as I’ve already made a video explaining the basics of analog television, but at the
start of every field there are a number of lines in the signal that are blank. They are transmitted at the highest intensity
which creates a blacker than black segment that the TV can use to synchronize itself
to a broadcast image and display it properly. To see the vertical blanking interval, you
need to get yourself an old TV that allows you to adjust the vertical hold. This particular set to the rescue once more! I have the vertical hold ever so slightly
off so the image will roll. This dark bar is the vertical blanking interval,
and the really dark portion is the sync pulse that the TV is looking for. You can tell that it almost catches it each
time it makes its way to the bottom, but with the adjustment just a tad off, it won’t
stay in one place. Many videocassette recorders would use this
pulse for determining the signal strength. Not all channels come in with the same strength,
which in the land of video means they could appear brighter or darker depending on how
clear the signal is coming in. A TV doesn’t care too much about the relative
signal strength, but a VCR really does. Just like audio tape, a recording onto video
tape needs to be made at the correct level. Too much saturation and detail is lost through
clipping, and too little saturation and the picture becomes noisy. By calibrating its signal gain to the level
of vertical blanking interval, the VCR would get a known reference point for brightness. This meant that no matter how strong the signal
was or how bright or dark the scene it was recording was, a VCR would be able to make
a recording correctly. So then, with this knowledge in their back
pocket, Macrovision Solutions Corporation devised a way to mess with the blanking interval
in order to confuse the gain control circuitry of a VCR. Let’s look at how Macrovision changed the
blanking interval.This copy of the Magic School Bus wasn’t encoded with Macrovision. Notice how there’s really nothing in there. So what does a tape with macrovision look
like? Well, with the Wrong Trousers, the BBC took
care to encode their tape with Macrovision. Notice these new blocks inside the blanking
interval. That IS Macrovision. You’ll see that next to the black blocks,
which are actually high intensity pulses because a TV signal is inverted, are white blocks
that keep fading in and out. This is likely what causes the brightness
changes in the copied tape. A VCR that is recording this video signal
keeps seeing the brightness of the vertical blanking interval go up and down, and it will
treat it as though the entire signal were getting stronger or weaker. This means that it keeps erroneously adjusting
the strength of the recording, which causes the recorded image to suffer. Warning: the following section of the video
contains some speculation. OK, I ran into a wall regarding some specifics. A lot of the information about Macrovision
you can find online seems incomplete and doesn’t really jive with what I’ve observed. Most descriptions of Macrovision will talk
about the high intensity pulses and the automatic gain control, but this only explains the image
getting brighter and darker. This might be particular to these two VCRs,
but I tried dubbing in both directions and the resulting recordings were wildly unstable–not
just too light or too dark. Because you can see the white blocks change
in intensity when you look at the blanking interval, it would seem that this is what
causes the image to go light and dark. And that’s fine. But in addition to these pulses, which are
described as “excessive voltage pulses”, there’s a little something else. These handy oscilloscope captures on the Wikipedia
page show that the intensity of the high voltage spike goes up and down, and the lower portion
here stays constant. So this means that this part is the white
boxes we can see appear and disappear. Assuming these two graphs show these two states
of the vertical blanking interval, then the only component that changes is the level of
these upper pulses. This make sense because the light portion
follows a dark portion. Within the lines, you can see dark, light,
grey. Dark, light, grey. And the graph does the same–dark light grey,
dark light grey. I think that not enough attention is given
to these lower pulses, as these appear to be at the same level as the synchronization
pulse in the vertical blanking interval. If we go back to the tape without Macrovision,
you can see this very dark portion here in the blanking interval. That is the high intensity pulse that the
TV locks onto for vertical synchronization. But the rest of the blanking interval is just
a grey color. That’s just the black level. Many black and white televisions including
this one can’t produce a true black unless there’s a good deal of contrast in the scene,
which is why it appears grey. It will however always produce true black
during the sync pulse, because that pulse is blacker than black–meaning the electron
gun is entirely shut off. When you go back to the tape with Macrovision,
you can see that the added black bars are also at that blacker than black intensity. It seems to me that these probably screw around
with a VCR’s ability to maintain vertical synchronization. These dark boxes extend the sync pulse farther
into the blanking interval than it should be, and the pulses appear multiple times within
a single line. The white bars that appear and disappear are
likely what interferes with the automatic gain control and will cause the brightness
issues, but that shouldn’t mess with tracking or image stability. There seems to be more than just that going
on. Some descriptions of Macrovision call dubbed
tapes simply annoying to watch, but this? This is unwatchable. Just to check that it wasn’t simply this
TV that was struggling to maintain synchronization from the copied tape, I played the tape back
through the LCD TV in my kitchen, which doesn’t use the vertical blanking interval in quite
the same way a CRT television does. It had a more stable image, but not only did
the image repeatedly become darker, it lost all color completely and the VCR was clearly
struggling to maintain tracking. You can hear the pitch of the audio waver
continuously. ♫ severely warbled music ♫ The signal got so bad that the TV kept blanking
the screen and giving up. It seems possible to me that not only does
Macrovision mess with the automatic gain control, but it might also mess with automatic tracking
circuits of a VCR. Which may help to partially explain the next
part: Regardless of the exact specifics of Macrovision,
there’s one interesting quirk to the system. Really old VCRs, which don’t have the same
automatic gain control circuitry of their modern counterparts, are impervious to Macrovision. (every time I need to move this thing, I regret
it.) This beast just really doesn’t care what’s
going on in the vertical blanking interval. It will dub that tape just fine for ya. See, it’s recording right now, and the TV
doesn’t show anything weird. Let’s play the copy back to be sure. Yep, just fine. Hey, it’s me from the future. While shooting the B-roll I needed for this
video, I noticed that the VCR which was copying Rain Man was making really odd sounds as it
recorded. Take a listen. [sound of VCR recording but with wild speed fluctuations] Normally you never hear a VCR make noises
like this, except for maybe when it’s adjusting its tracking. This really seems like the Macrovision is
confusing the VCR on where the start of the video field actually is, and it keeps trying
to compensate for that. The video head drum needs to spin in perfect
alignment with the video signal, and it seems like this VCR is being fooled into thinking
the start of each frame moves as the macrovision blocks fade in and out. The old VCR probably isn’t affected because
it doesn’t try to chase a wavering signal– I would imagine it has much less of an ability
to adjust the speed of its video head and tape transport to signal fluctuations, and
as a result Macrovision just doesn’t affect it. Anyway, Even into the days of Macrovision, there were
some VCRs that weren’t affected by it. It was estimated that 85% were, but that leaves
a significant number of VCRs floating around which just don’t care about it. Also, for those that were so inclined, getting
a Macrovision defeat device from the grey market wasn’t all that hard. In fact, you could build one yourself. Because Macrovision can’t entirely eliminate
the pulse for vertical synchronization, otherwise the TV couldn’t display an image at all,
a defeat device just needs to remove the altered parts that were messed up with the boxes and
replace it with standard black lines. Now, when DVD came along, Macrovision was
incorporated here, too. Because DVDs are a digital format, they don’t
contain the video fields like a videocassette does, so the player actually generates the
Macrovision in the vertical blanking interval of its composite output. It will only do it so long as the disc asks
for it, which not all of them did. For example, this copy of the Princess Bride
doesn’t use Macrovision, but this copy of Spirited Away does. The fact that the analog Macrovision system
was shoved into the DVD format caused some problems for early DVD adopters. Remember how the image got messed up only
after I had hit record? That happened because unless it’s recording,
the automatic gain control circuitry isn’t active and it passes the signal straight through
to the TV. But many VCRs weren’t so kind and instead
applied automatic gain control to whatever input they received, regardless of if it was
recording or not. Many TVs only had one composite input, so
for anyone who hooked their new DVD player into their TV through their VCR, and if their
VCR didn’t simply pass-through the video from the DVD player, they might get a horrible
mess. Imagine how annoying it would be to play your
first DVD and all of the sudden have the image come out like that. Many people thought their new DVD players
were somehow broken, but thankfully newer VCRs like this one won’t cause a fuss unless
you tried to record from the DVD player. And while we’re at it, this attempted copying
of Spirited Away shows a second thing added to Macrovision, which was called Level II
ACP. This would invert the phase of the colorburst
occasionally, which produced stripes of the wrong color on a copy. Quite honestly that’s the least annoying
of the issues with this recording. Now these days, far more complicated copy
protection schemes are in use, much to the chagrin of anyone who wants to make legal
copies of their media which is, by the way, allowed. But Macrovision was I think quite clever. By messing with the fundamental structure
of the video signal just enough to keep a recording VCR from working correctly, but
not enough for a TV or a playing to become confused, they actually had a pretty elegant
solution. Thanks for watching, I hoped you enjoyed the
video! If this is your first time coming across the
channel and you liked what you saw, please subscribe to Technology Connections! You can also support the channel on Patreon. Patrons of the channel are what keeps these
videos coming, and if you’d like to join the awesome people who make this possible,
please check out my Patreon page. Thanks for your consideration, and I’ll
see you next time!

100 Replies to “Macrovision: The Copy Protection in VHS”

  1. There may be a component in the vcr that is in itself part of the macrovision components, The major lawsuit that was sealed may be part of this. You know the one that the producers of blank video tapes had to pay x dollars per tape.

  2. in my child time i copy almost half my videoclub with the infamous scart and the only problem when that protection start to appear was in fact the brightness nothing similar to your problem …if i remember correctly the work around was record the channel of the tv were the video was played if my memory not fail me

  3. I had access to pro VCRs in a TV station back in the late 80's. Those VCRs had manual video level controls. You could copy anything you wanted! 🙂

  4. I (on occasion) copied from VHS to Betamax in the late 80's / early 90's without issue. Perhaps Betamax worked a bit like the old VHS in the film (around 9 to 10 minute mark) and didn't care?

  5. I remember how our collective dads back in the day made it practically their life's goal to get around copy protection!

  6. You just need a splitter or a dubbing VCR. Also a cable box would work. I've used all methods.

  7. i remember how good my Hauppauge Win TV Cards (-ALL-) of removing Macrovision /Analogue Protection System (APS) / Copyguard and allowing you to composite it back Out with certain a Ati all in wonder even a few Hauppauge Win TV Cards had a component out / RCA to another VHS/Batamax

    Pay to view – film rental : was like very Cheap films to me

  8. had a mate back in the 90s he used to get around it by getting two vcrs just go from aerial out to aerial in aerial out to aerial in press play and record he said there is a signal been sent back from the TV that scrambled the picture

  9. and the reason he did that was he loved syfi action movies
    after he had made a perfect copy he ejected the original tape because the tape was hot the security seals sticks u could peel off extract the original tape replace with the copy and place the security seals than he would photo copy the cover that's what he did anyway

  10. You forgot TBC (Time Base Corrector) which makes new blanking areas. – – – Those old VHS servos were too slow to understand anything that fast used in the copy protection. Both head drum and capstan were belt driven and heavy wheras the newer are fast reacting and light. If you want to show the blanking areas, I succest you to use a monitor having delay option where you can delay both horizontal and vertical.

  11. I have a little device I bought in 1998 which cleans up the image and does a perfect copy. Was designed by someone in Melbourne. He also wrote PowerCopy (I think that was the one) that would allow deep analysis of Amiga disks and allow you to copy any protected disk.

  12. Actually, this was not to exploit the AGC, there was an agreement with JVC that all VCRs manufactured after a certain date would interoperate with the Macrovision.

  13. Interesting fact: The very-popular ADVC-100 video digitizer from Canopus had a secret function to defeat Macrovision. I haven't looked it up, but if I remember correctly you activated it by pressing and holding the power button for a few seconds.

  14. Fascinating how little things change. I don't understand how things work these days, but trying to record a clip from a lot of services like for example Netflix will make the image on the recording go black frequently which is less annoying, but similar to this deterrent.

    It also doesn't impact pirates at all since they aren't interested in screen recordings anyways. A lot of effort for so little gain.

  15. Tried to back up a Disney vhs I had with my high end capture card. I can watch it fine but when I hit record it shits the bed and crashes

  16. Text at 3:20 "Clipping only happens in digital formats"; the term 'clipping' long predates digital technology and applies anytime a waveform is truncated, ie 'clipped', no matter the technological cause, so idk what he's getting at there.

  17. Had a Hitach VCR bought sometime in late 1985 or so, which recorded absolutely anything, including these "protected" tapes. Don't remember the exact model, but it recorded anything you threw at it, versus a newer model we had upstairs, which worked as shown in this video.

  18. My own VCR, a moderately older unit from sometime in the 90s, always has its auto gain control running, as I found out the hard way when I tried to consolidate my inputs by running my DVD player through said VCR.

  19. I believe DVD Macrovision was activated by the activation of the CSS (Content Scramble System) decryptor.

  20. I still have the macrovision remover box that I found randomly at Savers for $3 back in '00 or '01. It was a game changer until DVD burners were the norm.

  21. On older model VCR's (like 'NEC' for example), you can find a frequency toggle knob on the front panel, allowing you to, at the very least, try your best to level out the constant vertical image swiping. Copy-interference/protection back in the day was and still is FAR superior than anything seen today, because it's a physical medium – something that can in no way, be altered to a point of acceptable.

    I gotta say, dude – seeing all of this stuff be talked about nowadays definitely brings me back to my youth when i would tinker around with random tech to find out what worked and what didn't 🙂 And seeing more people either appreciating or atleast dissecting older tech in various ways, and/or maybe giving some of us some answers to things we didn't know way back in the day is so damn satisfying.

  22. Does it still matter that you recorded yourself committing an act of piracy and uploaded it to YouTube? Would a studio stoop so low as to hit you for dubbing (unsuccessfully) a VHS?

  23. I never knew this existed so have never had a problem from it. I am from the UK and I remember a friend who purchased a legitimate copy of Texas Chainsaw (Band here) in the USA whilst on holiday. When he got home we all gathered round to watch and forgot we were trying to watch a NTSC tape on a PAL machine. It was just unwatchable we were gutted.

  24. 3:15 no, clipping is not only used in digital formats. The word is used all over the place and especially when you're adjusting the bias on tubes. You really need to learn some things.

  25. For reference, I rented rango to record onto a vhs for the fun of it. So even Redbox movies have this too.

  26. I would record from the vhs to a beta machine. then copy the beta to a vhs again. a lot of work…so i just ran the signal thru a beta machine to the second vhs. ending up with a pretty nice copy as i recall…a long time ago….

  27. What is surprising is the fact Macrovision was not sued and kicked out of business by a class action for infringing the customer right to do a legal backup. It was clearly a case of programmed obsolescence.

  28. we had two VCRs when I was a kid and I am guessing both did not have Macrovision because we copied quite a few movies we rented from the video store and all of them played fine without any of the issues you showed.

  29. This is the best exposition of Macrovision I've ever seen. Much kudos.

    The one thing not mentioned is that my TV would bend the top 1/8 of the picture by, say, seven degrees, and the video would be unstable in this region. This was VCR to RCA composite inputs. Magnavox, maybe … I only remember upgrading to all JVC with time-based correctors later.

    The effect was prominent on rental-store tapes. Early letterboxing with a piece of cardboard and tape was a sufficient remedy except when it cut the top off the actors' heads. Most movies weren't worth dubbing on VHS but renters got the brunt of it. Thank goodness laserdisc came along for purchases and that laserdisc player owners would never have tolerated an adulterated signal.

  30. 11:05 This is exactly what happened to my family Christmas Day. We got a new PS2 and my brothers gave me a DVD copy of Lilo and Stitch. My dad wanted to try it out, but didn’t want to mess with all the wiring in the back of the tv. So he plugged it straight into the VCR…only to have the signal go in and out, haha. Thanks for explaining that.

  31. My mom had a pair of VCR's that would let you copy anything without issue, no light dark video or other issues that had copy protection. if you hooked up another vcr then the copy protection would give you issues of copying. but the two Sylvania would copy anything without issue. and the copys would play without issues on any vcr as well. They were from the 80's then in the 90's we had a set of magnavox vcr's and they also could copy any tape without issue. My aunt bought a sony and it wouldn't let you copy any tape. but the cheaper magnavox ones would do it without issue. RCA and hitachi also gave issues of copying tapes.

  32. A time base corrector will defeat it entirely; I'm almost certain. I haven't thought about this in _years_, but I believe what really mattered was in the vertical blanking interval, as you mentioned. When I was a kid, I knew how Macrovision worked. Once an A/V nerd, always an A/V nerd, I guess. It's hard to believe that once upon a time a digital framebuffer was a high-ticket item, isn't it? I'd be surprised if somehow you didn't have a time base corrector in one form or another, and I'd love to know whether I'm correct or not. This recollection seemingly came out of the ether.

  33. I don't think I would call it "elegant". There were a lot of situations where Macrovision ruined the picture when nothing untoward was being attempted by the user. Some televisions would exhibit severe tearing of the picture at the top, or sometimes the bottom. This happened to me many times. I had a "video enhancer" box, which was able to sharpen the picture somewhat, but its real function was to strip off the sync pulses and generate new ones, thus removing all traces of the macrovision.

  34. There's a thin white bar next to the ones that fade in and out that does NOT fade…is that what's making the vertical go nuts? As always I enjoy your technology info and seeing all those old machines. c:

  35. Excellent video, and thank you for explaining something from my childhood! I always wondered about this and guessed it was some form of anti-copying. I actually defeated it through sheer dumb luck, I found that feeding it through an RCA converter, or any other video converter device (Which now I've seen your information, my assumption is that it 'corrected' the macrovision data, or ignored/stripped it) then it allowed me to playback through another VCR and make "mix" copies of the tapes which was my goal at the time.

  36. I believe you used to be able to copy VHS tapes if you played the original on a VCR that was playback only.

  37. Clipping happens in the analog world. Look up how a full wave rectifier power supply works. Feed any analog circuit a voltage higher than it was designed for and clipping will occur.

  38. What really struck me while watching your video: I was sitting here thinking, "Hmm, my grandad never had this problem copying videos." I mean, as a pirate in my own right I'd always heard of Macrovision (specifically the DVD variety, as that's when I becoming interested in copying) but for my grandfather in the VHS era this was NEVER an issue.
    Cue the ancient VCR. And now everything makes sense. He had a relatively new VCR that we played the tapes on, hooked up to an old-as-hell VCR (an RCA also I believe) that did all the recording. Funny how something as simple as an older device defeats the complicated protections that Macrovision put into place.
    This video really brought me back to my childhood and my grandfather's obsession with copying rented VHS tapes. The man rarely ever bought a brand new video when it came out, but went to the video rental store weekly and copied everything. He had copies of every action film imaginable from the early 80s to mid 90s. Norris, Bronson, Stallone, Seagal, Van Damme, Schwarzenegger (I especially liked Terminator & Predator). The guy never thought twice about us kids watching these violent films with him either. Lol. Fun times, man. Thanks for reminding me about my Grandad!

  39. The codes I experienced didn't flip/roll the picture rapidly (if at all), instead it altered the brightness – it would go very dark so you couldn't see anything (horror films and other movies with darkness or night time environments were virtually blacked out) and it would stay that way for several minutes, then it would go back to a proper brightness, but that would only last for a few seconds before going dark again. Back and forth, round and round. It was awful.
    What was wrong with just applying a ©-protection that produced a quality-reduced copy (less definition and duller audio) instead of these extreme interferences? Kind of like how audio cassettes do when making copies (the copy is never quite as high-fidelity as the original)?
    Obviously most people just want a "good enough" copy for themselves and cannot afford to shell out $20-$50 for a retail copy. Anyone fixing to "pirate" and mass-produce a bunch of bootleg copies is not gonna sell very many once the buyer knows it's poor quality. The would-be pirate would have to undersell the actual cost of making a copy : price of blank VHS tape, which was probably well under $5, even for the "high quality" tapes. It would not be cost-effective and just poor economics to pirate for profit.
    Didn't much matter cos I rather preferred to buy a proper retail copy anyway, for quality reasons, but also for the cover art and movie credits on the slip cover. But VHS sucked. It really did. Thank crikey for DVD.
    Screw Blu-Ray… that shit is just a money-grab.

  40. i made several microvision defeat boxes from a circuit published in television magazine. it worked perfectly and was fully automatic . i was too young to understand the details of how it worked -i dont think i even had a scope at that time but i do remember it split out the h sync vsync lumanence and chromanence removed dc bias then restored dc levels and rebuilt the composite

  41. Any electronics magazine I had in those days featured a circuit to build a "video stabilizer" to defeat Macrovision.

  42. Has anyone noticed that sometime before 2002 VCR Manufacturers stopped putting the Date of Publication
    on their VCR Manuals? I find it also funny that I haven't been able to find any Pre-1995 Manuals on the internet either.

  43. I'm going to test out this Speculation in just a couple of weeks. By any chance, did we learn how the Copy of the Copy
    turned out after making all that noise?

  44. What I wonder is (And pardon if it was addressed in the video) what if your crt tv or display output has an extra set of video out, would the copy protection be bypassed albeit having the quality degraded.

  45. How are betamax recorders affected by marcovision so it is hooked like this VHS player —> betamax recorder —> TV and try to record the movie to a blank betamax tape

  46. I defeated it by copy my VHS tape to SuperBeta. Back in early 90s. He is too young to have known this works.

  47. That's not bad, Netflix not letting me watch 1080p just because my phone is bootloader unlocked even though i pay them is bad…
    I get 540p unlocked 720p when locked while i get 1080p to 4k on pirated Netflix content.

  48. I still have a dual deck VCR from Magnavox/Go.Video that took out macrovision. I was pretty shocked that a company would actually put that in themselves.

  49. Yea I ran into that issue of running the DVD via the VCR. The TV only had two inputs so one for the nintendo and the other for the VCR or DVD. It was a pain changing plugs around.

  50. I remember when i was a kid in Sweden, me and a friend was trying to copy a rental (maybe around 86-88 sometimes?), and it didnt work at first. We then took the tape apart and removed a plastic part inside the rental, and voila, it worked fine to copy. We must have gotten lucky or something 😀 It doesnt make sense?

  51. I think it might have been your particular VCRs. I remember the whole thing of renting videos and making copies of them when I was a kid, and sometimes the video would be literally just go from light to dark. Maybe it did affect other videos we had, but I chalked it down to the limitations of VCRs.

  52. Macrovision – wonderful assholes who managed to force you, the consumer to buy a VCR with their technology to mess with copies. IIRC they sued any OEM who refused to put their stupid chip in the VCR. Course I thought that is how it worked, by forcing them to put in those AGC circuits inside that messed it up.

  53. Even worse, my old Lite On DVD recorder would detect macrovision and then refuse to record those tapes. I got around that by starting the recording, then playing the tape. They figured that out and offered a firmware update that promised stability improvements, of which they didn't tell you it now checks continuously.

    I couldn't downgrade due to CRC protections.

  54. I used to have a Sony SLV-920HF, which oddly enough almost seemed as though it was bypassing the AGC when it was recoding in the slower lesser quality EP mode. I found that if I attempted to record in SP mode, that the copy was of course a victim of Macrovision as expected. If I recorded in EP however, the copy was fine.

  55. Yes, I was affected by DVD Macrovision. When I bought my own personal VCR and DVD player(so I did not have to use the families) and hooked them together I had the problem you talked about. I thought my TV(which only had an RF input) was too old. I returned them and got a TV/VCR instead. When I got a DVD player to go with the TV/VCR years later it had no problem.

  56. Clipping does happen in analog formats too, just try to record too hot on your reel to reel machine, and record the hot sound in audacity 😉

  57. Anyone know which was the first film to have macrovision, was it alien 👽??
    Also I knew someone who used to defeat macrovision by using the rf out into aerial socket of the recording vcr

  58. I could be doing work; instead I'm watching a video about VHS protection.

    And I wonder why I'm single…

  59. In those years in the 90s VCR with 4 heads to VCR with 4 heads copying motion picture movies doesn’t have vertical distortion videos problems anymore.I copied motion picture movies rentals from Blockbuster store all the times for the movies that l like to watches again and again.

  60. There is a relatively easy way to rid of macrovision from effecting DVD to VHS transfer all you need is an old laptop with a dvd drive and an s-Video or composite output hook up the lap top the vcr and simply play – record! -ps I DO NOT encourage piracy in any way this is backing up your own movies in a legal way

  61. Imagine if this video got age-restricted either because Rain Man is Rated R or to prevent them from getting VHS tapes, VCRs and video stabilizers to pirate movies!

    Also, isn’t it a coincidence that my favourite action/Xmas movie, Die Hard and Rain Man both came out in 1988 with similar running times?

  62. I don’t understand the tech aspects. I understand the concept but how did they do it? How did the add it to the cassette?

  63. It would be interesting also watch the Cinavia copy protection explained by you, kind Sir!
    Btw, you work is amazing!

  64. Another ANAZINGLY knowledgable vid – very refreshing. When you were a kid watching the TV engineer at work wondering how all the magic was done ITS RIGHT HERE AND MORE 😍🤩☀️🌟☀️⭐☀️⭐☀️⭐☀️

Leave a Reply

Your email address will not be published. Required fields are marked *