[QuadList] Happy Birthday, NBC Videotape Central, Burbank

[Chill315 at aol.com]

NTSC was done in 625 with a higher sub carrier.  It was used in closed  
circuit for a while in Europe.  RCA use to make the modules for the solid  
state color encoder with the 4.42 circuits in them.  They were on the TK-27  
that I had.  
 
Chris
 
 
In a message dated 4/30/2012 7:53:51 A.M. Eastern Daylight Time,  
john at jmit.com.au writes:

Hi all,
wondered what had happened to Quadlist Emails. We never used  the 
heterodyne process here in Aus as far as I know, but I was looking through  the 
tender documents for our first VR1100 and at one point it was stated that  the 
machine must be capable of being "modified to record and play back an NTSC  
signal recorded at 625 lines". Of course this was when PAL was still in the  
Lab. Does anyone know if any work was done running NTSC  on 625? By the  time 
we bought the VR2000's (used in the Mexico Olympics and then shipped back  
to Sydney!) high band and Colortec were in existence.
 
regards
John
NETV
Creations Unlimited
Guyra
Australia.

 
____________________________________
 From: quadlist-bounces at quadvideotapegroup.com  
[mailto:quadlist-bounces at quadvideotapegroup.com] On Behalf Of David  Crosthwait
Sent: Monday, 30 April 2012 13:40
To: Quad  List
Subject: Re: [QuadList] Happy Birthday, NBC Videotape Central,  Burbank



The RCA modulator was direct color recording but of a non-standard  nature. 
Heterodyne was the process of color recovery/conversion (the scheme to  get 
a reduced bandwidth, somewhat unstable but watchable color picture off  
tape and over the air with FCC waiver) until the direct recovery method was  
developed some years later (Ampex Colortec).   


At "The Reel Thing" St. Louis, 2009, I made a presentation on the  recovery 
of the Cyd Charisse special, an RCA modulator color program. Part of  that 
presentation was a display of a typical NBC Burbank work order indicating  
the mode of the recording. A portion of that work order is displayed  here:





In 1958 at the beginning of "Color City" color recordings, the operator  
had a choice of using the Ampex modulator on the Ampex machines for mono or  
the RCA modulator for color although I have encountered mono recordings using 
 the RCA modulator scheme on Hope black & white programs from 1959. VTR 1  
& 3 were VR 1000's. They were transports with no overhead bridge. In the  
rack were both modulators.



 
 
 
 
 
 
Best Regards,

David Crosthwait
DC Video
Archived Media  Transfer and Re-mastering Services

177 West Magnolia Blvd.
Burbank, CA.  91502
818-563-1073
818-563-1177 (fax)
818-285-9942  (cell)

_david at dcvideo.com_ (mailto:david at dcvideo.com) 
_www.dcvideo.com_ (http://dcvideo.com/) 
Follow DC Video on  Facebook: _https://www.facebook.com/dcvideo_ 
(https://www.facebook.com/dcvideo) 












On Apr 29, 2012, at 7:32 PM, Ted Langdell wrote:



Yesterday, Saturday,  April 28, 2012 marked the 54th  anniversary of the 
dedication of Videotape Central at NBC Burbank. The tape  facility inside 3000 
West Alameda (at Olive Ave.) cost $1.5 million in  1957-58 dollars. 
NBC began time-zone delay from the Burbank tape  facility when Daylight 
Savings Time kicked in.  
The facility included one  RCA Color Video Tape Recorder and eight Ampex 
black-and-white machines that  could record color using with RCA Labs 
hetrodyne  electronics. 
Soon, three more RCA Broadcast Color Recorders were  at work. 
Pre-recording programs in  Burbank happened later, among them the Fred 
Astaire specials, and other  programs recorded initially with the RCA Labs color 
 process. 
 
 
 
 
 
 
 
 
Ted



 
 
Ted Langdell
Secretary













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