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Marty Reid
Marty Reid 2008 Indy 500 Second Qual Day.jpg
Reid at the 2008 Indianapolis 500 Qualifying Day
Martin Reid Klinegman

(1953-02-03) February 3, 1953 (age 65)
ResidenceAvon, Indiana
Alma materMarietta College
Spouse(s)Karla (m. 1996)

Martin Reid Klingeman (born February 3, 1953) is an American television sportscaster who worked for ESPN from 1982 to 2013, covering motorsports for the network. Reid served as the network's lead IndyCar Series and Indianapolis 500 announcer from 2006 until that year, and did lap-by-lap for ESPN's NASCAR Sprint Cup Series telecasts in 2010.

YouTube Encyclopedic

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  • ✪ Analog Color TV Wrap-Up--Some extra info
  • ✪ Trinitron: Sony's Once Unbeatable Product
  • ✪ Interview with Gary Sandy


Here we go. More stuff about the beginnings of color TV. We’re continuing from the last video so click up above if you got here somehow without seeing those or find the link down in the description. I’m back in a long sleeve shirt cause I’m about to go to work, so let’s get cracking. NTSC often received the nickname “Never The Same Color” or similar due to its reliance on the phase offset alone to determine hue. Unless the television set was dead on the money with the way it handled the color burst, it would be very likely that it decoded the chroma data slightly out of phase and the color would be messed up. The tint control on a television would allow for manually shifting the reference point from the color burst to correct for errors, with incorrect skin tone usually being how one identified a problem. After vacuum tube circuitry was replaced with transistorized equivalents, most of these problems went away, and automatic tint control eventually became standard on television sets. By the mid 1970’s, broadcast equipment had progressed to the point that the color burst was always transmitted with the exactly correct phase, pretty much removing the need for tint control altogether. PAL, the standard in most of Europe, reversed the phase of the color encoding on each alternate scan line, hence its name Phase Alternating Line. This made it such that a tint control was not needed as the television would automatically find the correct phase offset through averaging the alternate lines, and thus PAL was generally deemed superior. Europe received color television more than a decade after the US, in part because of the more challenging geography of Europe. The NTSC system would drift color badly if transmission conditions weren’t more or less ideal. So Europe waited patiently for a better system, which PAL most certainly is. Telefunken in Germany patented PAL, the work of Walter Bruch, in 1962. The first broadcasts of this new system occurred in 1967 on BBC 2 in the UK. Apparently this was of the Wimbledon Championships and let me just say that as an American, my reaction to learning this fact was “Of course it was Wimbledon”. ON THAT NOTE, I was rather annoyed by this sort of comment. And I’ll tell you why. Just pause for a minute as ask yourself, was NTSC a choice? How could it have been a mistake? It was the first broadcast black-and-white compatible color television transmission scheme on the planet. PAL is virtually identical to NTSC with the exception of the alternating phase. Of course it would be better, it was developed later, specifically to address NTSC’s weaknesses. We were stuck with it in the States because it was already there, and we weren’t about to pull the plug on an existing standard. That’s the whole reason we spent so much time making color TV compatible with black and white sets. I think many people appreciate PAL’s much higher image resolution of 625 lines verses 525 in the US, but that extra resolution came at the expense of a reduced frame rate. And speaking of framerates, One commenter on the last video was singing the praises of PAL because, with a framerate of 25 FPS, movies running at 24 frames per second just need to be sped up by 4% to be converted to a PAL broadcast. I’m sorry, but I completely disagree with that being “better”. I don’t want to just speed up the film! We used Three-Two pull down, which sort of blended frames together by advancing the film frame between television fields. In effect some film frames were shown over two fields, and some three. Most people, in fact I’d say virtually all people, can’t see this, since the fields aren’t drawn together. And since it leaves the runtime and audio as they should be within .1%, I’d much rather do that! And speaking of speaking of framerates, lets discuss the 29.97 frames per second nonsense brought to you by NTSC. Matt Parker of Standup Maths made a video about this very thing, which I shall link to now. Simply put, the carrier frequency of the audio signal could interfere with the chrominance carrier and produce a visible dot pattern on the screen. To keep this from happening, the audio carrier frequency needed to be an integer multiple of the line rate. Which it wasn’t. So, something had to give. You couldn’t just change the audio carrier, though, cause that would mess up existing TVs. But you could change the line rate, or frequency. By reducing the line frequency from 15,750 Hz to 15,734 Hz the audio carrier was now exactly 286 times the frequency of the line rate, rather than some nasty number. This would minimize interference and prevent the dot pattern from occurring, and existing television sets wouldn’t be bothered by the change as their vertical hold circuitry was designed to compensate for slop in the vertical retrace frequency. Of course, lowering the linerate lowered the frame rate, as it’s still 525 lines per frame, so the frame rate was lowered to 29.97 frames per second entirely as a side-effect of compatible color. In PAL countries, this wasn’t ever an issue. It turns out backward compatibility wasn’t ever on anyone’s mind in europe, or at least those disinterested in it won out. For example, in the UK, BBC2 started black and white 625 line broadcasts in 1964, and owners of older 405 line televisions just wouldn’t get to see it. This was about 10 years after NTSC had started broadcasting. And PAL was based on the 625 line standard, and likely due to the known framerate debacle, the audio carrier in this standard was specified to be an integer multiple of the linerate, 15,625 hertz. Thus the frame rate could stay an even 25 frames per second once color broadcasts began without the audio carrier affecting the image. In the previous video, I said that because the chrominance carrier is suppressed during transmission, most of the interference between chrominance and luminance is eliminated. But not all of it is. Black and white televisions made after the changeover to color were designed to filter out this interference, but earlier televisions or cheaper ones without the filter circuit would display a pattern of dots in highly colored areas of the screen. The dots were a visible manifestation of the chrominance carrier’s interference. Now, I’m going to make a speculative statement because I couldn’t find anything to confirm or deny this after hours of poking about online, so here goes. Because the luminance signal is used in calculating I and Q, it seems to me that the luminance signal itself must be manipulated at precise times to actually create changes in the calculated I and Q values, otherwise it would seem their calculated output would always be the same for a given brightness. I believe that the chroma dots are the visual manifestations of this happening. I have read that the dots are most visible in highly colored areas, which makes sense as the amplitude of the chroma carrier dictates the saturation of a color, and the phase difference the hue. It therefore sounds to me like the Y carrier is constantly being altered along with color information, and that alteration appears as dots. If that’s not at all why the dots appear please comment below. ANYWAY, the dots would turn out to be useful in the 21st century. Many older television programs were recorded onto videotape masters that were re-used to lower production costs. With these master tapes lost, the only copy of the TV shows that remained were on film, transferred via telecine. In many if not most cases, this film was black and white. This had led to many of these early color television shows only being preserved in black and white. But some TV studios used a telecine to capture the output from a black and white monitor that didn’t filter out the chroma dots. Using modern software, these dots have been used to reconstruct the color. By carefully examining the magnitude and position of these dots, the color information can be extracted. This wasn’t an easy task, mind you, particularly with the extra geometry component added by the curved glass screens of the monitors, but it’s still an amazing thing. I’ll link to some more info down below if you’d like to learn more. Now let’s talk a bit more about Guillermo Gonzalez Camarena. Two videos ago I briefly talked about him and his clever but ultimately inadequate color wheel adapter for black and white televisions. He’s also known for inventing a CRT with two electron guns rather than three. This would supposedly make color televisions cheaper to produce. However, there are two glaring problems with attributing him to “inventing” that. First, if there were an individual who were to have experimented in two color TV long before Gonzalez Camarena, who would you guess that to be? Anyone? Anyone? I’ll give you a hint, he’s Scottish! That’s right, it’s JOHN LOGIE BAIRD. He’s a persistent little bugger, isn’t he? Now I’m starting to see why people feel so strongly about his contributions to television. So first, two-color “color” can be achieved using complementary colors. In fact, the first Technicolor films were done with a red and green film strip all the way back in 1916. Baird used a really wonky looking picture tube called a Telechrome which instead used cyan and red-orange phosphors. These two colors can produce a realistic skin tone and a limited range of other colors. He came upon the concept for the telechrome in 1942 and demonstrated it in 1944. Gonzalez Camarena’s idea is dated to 1963, with one source saying 1962. Links are below. But a far more damning issue against Gonzales Camarena is the fact the the 1953 NTSC standard includes support for two color receivers! That’s right, that whole I and Q business? It turns out, I on its own is a two color gamut. A television could be built with cyan and red-orange phosphors and demodulate only the I signal, and you would get a functional two color TV. This may also help to explain why I is given three times the bandwidth of Q. If it were meant to be able to produce a reasonable color image on its own, it would make sense to prioritize bandwidth to I over Q. But the fact of the matter is, two color “color” is never as good as three color. Skin tone might look right, but not much else will. Thus, since you’d need almost the same amount of manufacturing complexity to produce a two color CRT as a three color--still need a shadow mask and phosphor grid, you’re really just losing one electron gun--it was never deemed to be worth the significantly worse color fidelity in exchange for a few pennies saved. Many people correctly commented in previous videos that the color wheel from the CBS system survived in single chip DLP projectors and televisions. But you might not have known that for a brief time in the 1950s, you could purchase a kit, called the Col-R-Tel, to convert your existing black and white TV into color. By performing a few wiring modifications, you could add a device which would extract the color data from an NTSC broadcast, alter the CRT’s output to a sequential field system, and use a color wheel to reproduce the color sequentially. Gonzalez Camerena’s work would actually be a thing after all. There’s a great link down below, along with many many others, if you’d like to learn more. And for my last tid-bit, a brief word on shadow masks, aperture grilles, and Trinitron. I’m still planning on making a separate video showcasing Trinitron, but some people have correctly pointed out that the CRT set I’ve been using for demonstrations doesn’t have the same type of shadow mask that CRTs of the time did. I do have a device which has the original type CRT, but it doesn’t really fit well into this discussion. Well, here, I’ll show you. ♫ Macintosh Startup Chime ♫ Yep. That’s it. Doesn’t really fit into the video, now does it? Most CRT computer monitors--if not all that aren’t Trinitron--use a design similar to what you’d find on the earlier color sets. These CRTs don’t have the individual triads like you see here, instead it’s just a repeating pattern of red, green, and blue circles. Because of the high image resolution needed in a computer monitor, a very fine dot pitch, the term used to describe how many dots appear over a given length, was required. The CRT from the GE set uses a more modern phosphor and shadow mask design which increases the phosphor-to-mask ratio, but at the expense of a coarser dot pitch. This design was used in televisions to better compete with Trinitron displays. But again, we’ll talk more about that later. As always, thank you so much for watching! I hope you enjoyed the video. If you’re new to this channel and liked what you saw, please subscribe so you won’t miss the next ones. I’d also like to thank all of my current supporters on Patreon, especially these patrons who get their names in lights. Patreon supporters have allowed me to spend much more time focusing on this channel, which is bringing videos to you more frequently. If you’re interested in helping out, please check out my Patreon page through the link on your screen, or down below in the description. Thank you for your consideration. And, I’ll see you next time. (Exasperated) Wooh! Hoh, OK



Reid first dabbled in radio when his older brother, a disc jockey, needed another voice for a radio ad.[1] In the following years, Reid worked on his sportscasting by calling Hershey Bears games into a tape recorder.[1]

As Reid developed, he gained the opportunity to call Marietta College athletics while a student there.[1] Upon graduation, he joined WCMH-TV in Columbus, Ohio in 1975.[1] Among his duties were announcing Ohio State University hockey and Columbus Clippers telecasts. After turning down an opportunity to leave Columbus and call Charleston Charlies games,[1] Reid—a former drag racing mechanic—had the opportunity to substitute on an NHRA telecast for ESPN.[1]

In 1988, he started Marty Reid Enterprises, a video production company that worked closely with ESPN.[1] He founded the short course off-road racing series Championship Off-Road Racing (CORR) in 1997 and sold it to Jim Baldwin in 2005.[2]

Concurrently, Reid commentated off-road racing, the 24 Hours of Le Mans, and IMSA for ESPN, while also making appearances as a pit reporter on Formula One, CART, and lower division NASCAR broadcasts. Despite a hectic schedule, Reid did call one NHL game for ESPN in 1993, Los Angeles vs. Ottawa. Reid also found the time to serve as a spotter for Fermín Vélez and Team Scandia in the 1997 Indianapolis 500.

In 1998, the utility player Reid was rewarded with the play-by-play role for ESPN's coverage of the NASCAR Craftsman Truck Series.[3] Reid held this role through 2000, working alongside Benny Parsons, Jeremy Dale, Larry Rice, and others. As needed, Reid would also fill-in on NASCAR Busch Series telecasts with the cable network, where he was partnered with Ned Jarrett and again with Dale.

Reid then returned to his drag racing roots as the lead TV announcer for the NHRA on ESPN from 2001 to 2006.[3] Also in 2001, Reid debuted at the Indianapolis Motor Speedway, calling time trials as a fill-in for Bob Jenkins during ESPN's extensive coverage.

After Reid's work with the NHRA, ESPN and ABC Sports moved Reid to the IndyCar Series,[3] where he succeeded Todd Harris as the television voice of the Indianapolis 500. Reid remained on the coverage in 2007, when ABC Sports dissolved into ESPN, and held his position through the 2013 season. Always partnered with Scott Goodyear, who became a personal friend,[1] Reid also shared the booth with Rusty Wallace and Eddie Cheever.

When NASCAR returned to ESPN's family of networks in 2007, Reid joined the rotation of announcers for the Nationwide Series telecasts, relieving lead announcer Jerry Punch as needed. In 2010, Reid replaced Punch altogether as ESPN's voice for Sprint Cup Series[3] and Nationwide Series broadcasts. Reid's role did not last long, however, with Allen Bestwick succeeding him by the end of July 2011. In his new position, Reid called the Nationwide races during ESPN's portion of the Cup schedule, while Bestwick handled both the first part of the Nationwide schedule and all the Cup broadcasts. While on play-by-play duty for ESPN, Reid worked with Andy Petree, Dale Jarrett, Ricky Craven, Randy LaJoie, Brad Daugherty, and Wallace, among others. Due to college basketball commitments and other scheduling conflicts, Reid occasionally called Nationwide races on the SPEED Channel on telecasts using the ESPN talent and graphics.

On September 29, 2013, Reid called his final race for ESPN, accidentally giving the win of the Kentucky 300 to eventual victor Ryan Blaney one lap early. Though the mistake was never confirmed to be the reason of Reid's departure from ESPN, he was nevertheless replaced by Bestwick in his NASCAR job for 2013 forward, and in the IndyCar position from 2014.[4]

After a thirty-one-year career with ESPN and its related networks, Reid did not return to television or radio.

Personal life

When Reid was a teenager, his older brother died in a motorcycle crash in Roanoke, VA. Reid's father, Robert Klingeman, passed in 1998,[1] the year Reid took over as play-by-play announcer for NASCAR's Truck Series. In 2006, Reid's mother, Anne Klingeman, died just one day before Reid was asked to take over the Indianapolis 500 and IndyCar coverage for ABC and ESPN.[1]

Reid and his wife, Karla, reside in Brownsburg, IN.


  1. ^ a b c d e f g h i j
  2. ^ "CORR/Vegas race report 1998 EXXON Superflor winter series". Retrieved 2008-02-16.
  3. ^ a b c d ESPN Replaces Racing Announcer 29/09/13
  4. ^ "Marty Reid Fired: ESPN Replaces NASCAR, IndyCar Announcer After Nationwide Gaffe (VIDEO)". The Huffington Post. 2013-09-29. Retrieved 2013-09-29.

External links

Preceded by
Todd Harris
Television voice of the
Indianapolis 500

Succeeded by
Allen Bestwick
This page was last edited on 2 January 2019, at 18:34
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