#46
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according to the gov's inflation calculator,
http://www.bls.gov/data/inflation_calculator.htm you should multiply by 7.8 to get today's prices, |
#47
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It would be interesting to know if there are color camera TK 41 still running, and maybe some pictures of them, as for color TV SET CT 100. Someone may say something?
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#48
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This is a great thread! I just have to jump in here after reading all the posts. I am an old color TV fanatic and have been interested in color broadcast equipment for years. I remember back in 1966 that I could actually tell, by the quality of the color image on our color TV, what brand and model color camera a station had. The TK-42 always had a very grainy and low contrast image. I could not believe how degraded the picture was compared to the TK-41. It was no wonder that NBC refused to use them.
I could also tell GE PE-250, Norelco PC-70 and Marconi MKVIII from their pictures. Another interesting point is that back in 1965 RCA came out with a color film camera version of the TK-42. It was the TK-27 and also used 4 tubes, (in this case 1" for Red, Green, Blue, and 1 1/2" for luminance vs the 4 1/2" IO luminance tube in the TK-42). This film camera replaced the outstanding TK-26 (3V color) camera. The TK-26 was the color film camera used with the TK-41 live color camera. Again, I could tell from watching a film if the station had TK-26 or TK-27 color film cameras. The TK-26 gave a snappy crisp color picture while the TK-27 made all films look low contrast, and grainy. I remember back in the fall of 1964 watching the show 'Flipper' and how beautiful the color always looked. Then starting in the summer of 1965, the show all of a sudden had poor contrast, and a grainy image. The deep blues of the water lacked contrast. A few other NBC shows also suddenly started looking that way. I thought something had happened to our TV but later I realized that NBC must have installed at least one TK-27 and was using it for some of their color film broadcasts. Not sure if they pulled the camera later on or not, but the older tube TK-26 produced such a better picture than the "New Look" transistorized TK-27. I bet NBC felt the same about the TK-27 as they did about the TK42. I read that ABC and CBS both installed GE PE-24 4V color film cameras for their network broadcasting. |
#49
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Hello !
Firenzeprima please conctact me, in private, for questions on TK41. I'm working in RAI. My email is: c dot girivetto at rai dot it No spam please ! thanks ! |
#50
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I just acquired a set of DVDs of the Dean Martin Variety Show, which was shot with TK-41s. The remastering seems to have somewhat high saturation, but otherwise looks good.
The thing I wanted to note is the frequent use of a wide-angle lens with the camera close to the performers for head/shoulder shots. I have noticed this on many programs of the time, and I don't know if it was done because of studio space constraints or as a deliberate method to make the relationship of camera and performer more intimate, but it definitely does that. When Dean gestures toward the camera, the perspective change in the size of his hand is quite large, and I think having the camera so close encourages the performers to talk to it like an individual person. There apparently was much less use of zoom lenses at the time, and I have actually seen dolly shots where it was obvioius that a wheel had developed a flat spot, and the camera "nodded" slightly, periodically, as it rolled. Anyone having insight on the evolution of camera/staging techniques over the years, I'd love to hear it. |
Audiokarma |
#51
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Cranes
Cranes were used on the variety shows a lot, Sing Along with Mitch for instance made extensive use of TK-41's on cranes as evidenced by viewing his program. Cranes quite often passed thru the entire group as they did their sing along segment.
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#52
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Following focus on a wide-angle is easier for a close-up shot with these old fixed lenses on a turret. And the depth-of-field is much wider allowing the grand sets to stay somewhat in focus. Not as touchy as a longer lens which was probably near wide-open even with the massive lighting. A longer lens would have a more narrow depth-of-field and turn the background quite soft. And a 200lb camera is not helpful either to smoothly move, even if stationary, at a further distance for the close-up.
In my TK-42 days, I quickly learned that to do any kind of dolly move, I did it with the lens zoomed wide and moved the camera to make the shot. Not the lens to make the shot. On the BW cameras of the day, focus was approximately set on the lens (front-focus) and the op actually moved the IO via the camera focus control for back-focus. Not knowing for sure, but the TK color cameras had to have a similar system. Please correct me if needed. To this day, we still have a front-focus/back-focus adjustment on modern cameras and lenses. On turret-style cameras, these were the days before motorized iris controls so it was film-style lighting. The lighting director, who was king on any production right after the director, determined a common iris stop on all the lenses in the turret depending on the "look" of the production and poured on the lighting to get the video level needed. Nice and bright for Dean Martin. Darker and shadowy for Peter Pan (which was more of an ensemble production and not inclined to close-ups). Today, this is almost a lost art in television lighting. Auto-iris killed this. Not sure if the early zoom lenses had iris motors. Many cameras will have a chin light mounted under the lens and that works best up close to hide the wrinkles. You can see these in many old photos. And you also get the cue cards closer to the talent. Helpful if they are getting older. Dave A
__________________
“Once you eliminate the impossible...whatever remains, no matter how improbable, must be the truth." Sherlock Holmes. Last edited by Dave A; 04-16-2009 at 10:40 PM. Reason: text |
#53
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Color camera optics including the TK-41 and later could not possibly do operational focusing by moving the pickup tubes - there is just too much that has to be aligned and bolted down so that registration doesn't get disturbed. So, operational focus had to be via the front-end. On the TK-41 with multiple fixed lenses on a turret, I believe operational focussing was done by moving the whole lens drum in and out. I don't know what adjustment was available for back focus. Regarding the iris, the TK-41 had a motor controlled iris in the relay lens path, which IIRC limited the maximum opening to F/4. (I'm out of town this week, so can't refer to the literature.) My understanding of how the optics worked was that it didn't matter if you opened the objective lens beyond f/4, f/4 is all you got due to the relay lens - so I'd guess the objectives lenses would all be opened further than f/4 to make sure they weren't affecting the iris adjustment. Unless, of course, one of the lenses was smaller than f/4, in which case I guess you could do it two ways: set all of them to the same smaller aperture, if you wanted consistency, or set all to max aperture, if you wanted the max sensitivity each could give (up to f/4).
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#54
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I believe there's a working TK-41 in a private collection in Tujunga, CA.
Charles
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Collecting & restoring TVs in Los Angeles since age 10 |
#55
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I'd give my Eyeteeth...Have absolutely no use whatsoever for one, lack the technical skills to keep one working, no real room to store/display one, but I'd STILL love to have one...Maybe someday Julian will cabbage on one, & I can go down & "love" on his, & get it out of my system...I just think they're kewl as all get-out. Always have, even when I was a widdle kid & would see one on TV...I've seen studio cameras since then, & even have owned a couple of industrial cameras, but it ain't the same thing...Those big ol' grey, humptyback beasts say "Color Television" in the same way a Roundie does-everything that came after is sorta a pretender to the throne. Or am I being silly as usual ?
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Benevolent Despot |
Audiokarma |
#56
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Out of personal interest where did you source this information from? I am interested in getting in touch with this collector and arranging a payment for a DVD recording of a direct video feed from his TK-41 in action doing outdoor and indoor shootings. I love to see the modern world through the eye of a 1950s colour video camera. I know Chuck Pharis is trying to restore one of his TK-41s to working condition and before hearing this I was expecting him to be the first to get a TK-41 working.
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AUSSIE AUSSIE AUSSIE!!!!! OI OI OI!!!!! |
#57
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Quote:
I personally have some 70s industrial Sony cameras myself including a 1974 colour Sony DXC-1200P camera http://www.labguysworld.com/Sony_DXC-1200.htm which I plan to restore with online technical help. I could go out and get myself a handycam but I think it's more fun to use an ancient colour camera made before I was born today, I love to shoot the modern world through the eye of a camera that's decades old, I get so much thrill out of it. It's a pity Australia got colour way too late, I would of loved to go trekkin around Australia tracking down TK-41s and roundie colour TVs.
__________________
AUSSIE AUSSIE AUSSIE!!!!! OI OI OI!!!!! |
#58
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Quote:
It's Chuck to whom I was referring... I sold him some of the chain equipment for his. I thought he was close to having it working a few years ago, but not sure... I haven't seen him in awhile. Charles
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Collecting & restoring TVs in Los Angeles since age 10 |
#59
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Ahh okay. Yeah, I can imagine his TK-41 would be on its way to working order, though I wish I knew what the status of his restoration job on i was, he hasn't updated his site in nearly a year and I'm waiting with baited breath to see what he'll add to his site next. It's nice to see he has some TK-31s working though and will be demonstrating one at the next convention, man I wish I were there!!! Anyways I hope his TK-41 restoration is near completion, be so good to see one working again!
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AUSSIE AUSSIE AUSSIE!!!!! OI OI OI!!!!! |
#60
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Quote:
It also seemed that on replications of slides, the reds on occasion looked rather weak when compared with the earlier TK-26's - never mind GE's PE-24 (and later PE-240) film chains. I wonder if you could tell by quality which stations used GE PE-24's vs. which ones used the TK-27. Norelco (of PC-70 fame) had their own film chain, PCF-701 (which used - surprise, surprise! - 3 Plumbicons), but would anyone know which stations, if any, used that particular machine? |
Audiokarma |
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