[QuadList] Early Quad Color--"Saving Cyd Charisse" gets asecondlook at AMIA's The Reel Thing, this Saturday.

[Dale Lamm]

[snip]

Other more easily observed factors are the care with which the cameras were 
set up by NBC engineers, coupled with the lighting and staging in front of 
the camera.

It would be interesting to compare how local stations TK-41 video looked 
compared to the networks' TK-41 pictures.

As for the algorithm:  TK-41 look applied to some HD material?  I'd think 
there'd be a "halo" button in the software controls and a slider to address 
halo intensity and width.

Ted

[end]

Around 1975, an engineering manager from the Cleveland NBC O&O took pity on 
us poor UHF folk from a small city on the edge of the market. He arranged 
for a few thousand pounds of TK-41 stuff (cameras, Conrac monitors, early 
RCA monitors, TO-1 WFMs, etc) to be given to us. All we had to do was drive 
a truck to Fairview NJ and load it up. Our prod manager and I drove a 
straight truck to the NBC garage. We filled the truck, but hardly made a 
dent in NBC's pile of discarded equipment, so we contracted a mover. When I 
fired up the first TK-41C back home (with International Nuclear pre-amps!) 
it was still registered and looked pretty darn good. We were in hog heaven, 
with TK-41's and other gear coming out our ears. A pair of them ended up at 
a nearby state university branch.

So, thanks to the skill of the NBC video and maintenance guys, we were able 
to look as good as New York City for a few years until we retired the 
cameras for the second time in their lives.

Somewhere I read that the Orthicon's halo was due to a surplus of electrons 
coming off the target due to a bright part of the scene and being drawn to 
surrounding areas. No need for an enhancer as with vidicons or plumbicons. 
It's been a while since I played with an RCA 5820. Nice camera tube site at: 
http://members.chello.nl/h.dijkstra19/page4.html

That's enough camera stuff for now.