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Ah, thanks for your reply, Mi40793. Your details really take me back to that era.
I have a good friend and mentor who experimented with replacing the 1" vidicons in a trio of monochrome industrial cameras with a trio of 1" retired Plumbicons I gave him. The downside was that the spectral response of the Plumbicons was not broad enough to create a proper monochrome image for all colors (due to color optimized target of each tube), but the improvement in sensitivity and noise was absolutely spectacular.
As for telecine, I remember that the RCA TK-27 used a much larger vidicon in the luminance channel than the 1" tubes it used in its color channels. I recall the luminance channel looking pretty sharp and quiet by comparison, helped also by telecine providing lots of light.
One of the advantages of the four tube approach was that image enhancement of the luma channel included the edges of reds and blues. This was generally not true in three tube cameras, as the enhancement was usually derived solely from the green channel in order to avoid the registration errors you mentioned.
For example, I remember PC-70's looking very blurry on red and blue artwork. However, they sure were workhorses, easy to maintain and built like tanks...except the planetary control on the CCU iris knob...which so often seemed to get broken in the field. Remember those? We sure replaced a lot of those. They didn't have to get bumped very hard to get screwed up.
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