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2) Receivers adjusted the R-Y, B-Y, G-Y decoding, but not right away when the phosphors first changed. You can see the difference in successive RCA chassis. Electrical coding of the chroma was always per FCC, even for PAL transmission, which matrixed the R,G,B linear signals differently before gamma correction to R',G',B'. 3)The CTC-100 with 15GP22 is the only set guaranteed to have both NTSC decoding and NTSC phosphors. CTC5 and some successive RCA chassis have NTSC decoding, but the phosphors may differ. 21AXP22 and 21CYP22 CRTS may have NTSC phosphors, but that needs to be measured to verify, because the introduction of sulfide blue is not clearly documented. Sets I saw at the Museum of Science and Industry in the late 50s had suspiciously violet blues and greenish yellows, which you would expect from a more-violet blue phosphor combined with NTSC decoding. 4) Yes it was very chaotic 5) I suspect that re-issued LIVE programs shot with TK-41 image orthicon cameras, such as the Dean Martin show, may not have been rematrixed in any way, and only had the chroma amplitude and phase adjusted. Assuming no rematrixing: The adjustments may have been made looking at a later non-NTSC monitor, but if there was no re-matrixing, receiver controls on a CT-100 could easily reverse any error. Later sets of the same vintage as the program or earlier will accurately reflect what those sets would have shown at the time. 6) Re-issued film programs, like Bonanza, that have been rescanned on later gear, are completely suspect as to whether they show the same color as the original broadcasts on the sets of the time. Subjectively, the color is probably much better because the newer scanners are much improved over the old Vidicon chains in terms of shading and color distortions caused by the Vidicon's nonlinearity. Last edited by old_tv_nut; 09-05-2020 at 03:13 PM. |
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