I wrote a paper in 2008 on the color performance of the TK-41, including not only the hue and saturation errors, but the tonal rendition due to the limitations of gamma correction.
http://www.bretl.com/viewing1950scolor.htm
There is much more than I can summarize here, so I suggest you download it and take some time reading, but some things worth noting are:
1) The camera spectral response was carefully tweaked to match the NTSC phosphors. An incorrect green response in the early prototypes (October 1949) caused flesh tones to be too red-orange (and yellows to be orangish), which contributed to comments at the time that the RCA system color was not right.
In November 1949, they had corrected the green trim filters, and the resulting response was very close to correct. This spectral response was maintained from that time forward until the flat dichroic mirror optics and narrow trim filters were replaced by dichroic prisms in the early 60s. While the prism optics spectral curves were much wider (and therefore more efficient), they still matched the NTSC phosphors very closely. It is interesting to note that Technicolor film cameras had gone through a similar evolution from more lossy filters to dichroic prisms in the late 1940s.
I see variations in flesh tones on some of these DVDs (even differences from one Dean Martin clip to another) that I attribute to electrical setup of the cameras (especially the long menu of image orthicon settings) and variations in the NTSC signal as it passed through the less than perfectly stable video distribution amps of the day.
2) It was not possible to fully correct for the CRT gamma, because the shadow noise would become unbearable. As a result, the TK-41 pictures as displayed on a low contrast color CRT of the time lost most detail and color saturation in the shadows. Also, the rendition of the midtones was overly contrasty, resulting in the need for rather flat lighting, careful exposure, and controlling the contrast range of the studio set. Another interesting comparison is that Technicolor was a similarly contrasty process, requiring similar control of scene contrast, but it had the advantage of showing dense prints in a darkened room, so shadow detail could still be seen, while the contrast compensated for the color appearance effects of bright projected pictures with a dark surround.