Update to post two 6 minute videos of the 2018 Rose Bowl Parade. Screen grabs from the videos. See links below.

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https://vimeo.com/250363347

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https://vimeo.com/250371760

Thanks. Very nice. What CRT is in the CTC-7?

A 21CYP22A. Tested very strong on all three guns.

It has been 3 months since last posting on this thread. Decided to revisit “The Red Shoes” movie with an update.

After completion of the film, still not satisfied with the color images, we went back into the chassis searching for the reason why the greens were weak. The problem was a transformer in the color circuit. 1/16 CCW turn of the slug fixed the poor green response. We then did a complete new setup which improved overall color response. Using Joe Kane’s Video Esentials DVD and blue filter, we adjusted the gray scale and color calibrated this set. The movie and screenshots therin, were taken with cell phone cameras. Below, a few screenshots after the adjustment and calibration taken with our new camera.

Camera: Sony A6300 DSLR

Aperture: 3.5

Focal length: 16mm

Shutter speed: 1/30 and 1/40

Auto white balance

Resolution: 6000X4000

Sample screenshot reduced in size for this thread.

https://visions4netjournal.com/wp-co...E6BD8DC56.jpeg

It looks blurry, but you can see 33 additional shots in full resolution, 6000X4000 at this link: https://visions4netjournal.com/2018/...-carousel-4656

Tap on any image to open a carousel and tap the resolution icon to see full resolution. The screenshots captured scenes from a 69 year old film, “The Red Shoes” on a 63 year old color television.

Here is the next series of screenshots from the Wizard Of Oz using the new camera. These were shot yesterday, April 14, 2018. We plan to also show Gentelmen Prefer Blondes and a request to show scenes from Kiss Me Kate coming soon.

This thread was created to show the progress of our restoration of the RCA 21CT55 and how good the old 21AXP22 can reproduce color images. I hope you have enjoyed the photos and I did not bore you.

As always click on this link https://visions4netjournal.com/2018/...-carousel-4803 to open an image carousel and once opened, click on the full resolution icon to open 4000X6000 resolution images. The below images are only samples.

https://visions4netjournal.com/wp-co...52ECA62D8.jpeg

Not seeing a link?

I buried it in the text.

https://visions4netjournal.com/2018/...-carousel-4803

Thanks! Beautiful!

One comment: looking at full resolution (to make sure it's not phosphor dot / camera moire), I think I see faint chroma dots on plain areas; for exampe, look at the red hourglass scene. Maybe a little tweak to the chroma trap while viewing color bars (L30 on SAMS) could eliminate it entirely? (Of course, there will be crawling dots on edges, no way to get rid of those.)

Thanks. I did not know what chroma dots were, so looked it up. They look like a virus under a microscope. Went back to the hour glass scene and I think I see what your seeing. Well organized dark dots that maybe don’t belong there.

One thing I noticed with this new camera. There is a ton of moire in the LCD screen prior to the shot. I can watch the image being processed for a few seconds and the camera moire is almost entirely eliminated. I’m happy about that! Some moire still shows up but nothing like the live image in the LCD screen.

Are you going to the ETF this year? I’m not going, but perhaps we could meet up? I presume you use Sky Harbor? I’m in Sun City West.

Definitely headed to ETF. Flying out of Tucson, using the last of my frequent flyer miles from the business travel I used to do. No options to make a detour through Phoenix this time.

Definitely would like to meet up some time; I think swapping visits would be great if you want.

I forgot about Tucson, much closer.

I’d like to do that, meet up. If I come out your way, probably fly to Tucson.

I can’t stand flying long distances unless in first class. The seating is so tight in coach and I feel doubled up and get pains in my chest. Thats why no trips to Ohio.

We did not spot this flaw in the 21AXP22 phosper screen until today. It appears to be a break down of the material between the pixels. The first two photos are with the Sony A6300. The third is by the Apple iPad Pro 2, 10.5. It looks like a total of five pixels are contaminated. The Apple barely resolves it.

The lens on my Sony is a medium class lens. Since it’s an interchangeable lens camera, a good macro lens would resolve the pixels razor sharp. Still the lens I have, did a nice job in resolving the pixels at 3 feet.

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Either a manufacturing defect or a result of shock. I have a few on my 5 and regent's 21ax's. It's rather difficult to have 1.1 million perfect phosphor dots. There are bound to be errors.

On color CRTs I've seen that at least 5 times by now...At least that is small and it does not appear to have completely ruined any single phosphor dot. I have one half the size of a pea and, one where a single color dot is dead and one where a single color dot is the wrong color (was it R gee bee or R bee gee :scratch2: :D ). The bigger the more noticeable. The other two cases are also bad as on solid colors that show primary purity they stick out like a sore thumb.

Sometimes it is a manufacturing defect, one other possibility (though I've only seen it on B&W sets) is there was no gun suppression on power off...That bright dot in the center* after each power off cycle can burn the phosphor off (color sets usually bothered to suppress it).
*Centering and other factors can move it off center a bit.

Another possibility on some tubes is leaving the tube open too long in the rebuilding cycle and allowing rust to grow in the shadowmask blocking one or more holes.

It looks like a hole opening up. If I could get a macro on it, we’d see more. I will keep my eyes on it to see if it changes in appearance.

A hole opening up in what?

Unless that is the point the beams light up for a moment after power down it should never change*.
*Unless there is some abrasive debris between the phosphor and shadow mask and you set the tube face down and shake it.

Likely its been there the whole time and you are just now noticing it. Phosphor just doesnt fall off the screen. The conditions inside the tube have been the same for over 60 years. The only real way it will get bigger is if the tube is under heavy vibration or shock.

It's nothing to worry about.

I believe your right.

Like a new tile job with pinholes of collapsed grout. Likely been there, just never noticed it.

Gentlemen Prefer Blondes on a RCA 21CT55 and 21AXP22 after an adjustment to a transformer in the chroma circuit, a full calibration and set up and photographed April 30, 2018 with a Sony A6300 with ASP-C sensor.

This sample and 18 other screenshots can be viewed in full resolution 6000X4000 here: https://visions4netjournal.com/2018/...-carousel-4877


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The last update will be a request to post “Kiss Me Kate” screenshots in a few weeks from now.

Look at the red wall in the upper left of this one and you can see the chroma dots in the red area quite plainly:
https://i2.wp.com/visions4netjournal...2B99BB373.jpeg

If you don't have a SMPTE color bar signal, you could still-frame this scene and tune the chroma subcarrier trap for minimum dots on the flat red area.

I’m certain I see what you’re referring to. I do have a SMPTE color bar signal. Okay, will put my eyes on it. Will try the adjustment both ways if necessary. In a few weeks after the adjustment, plan to post a few “Kiss Me Kate” screenshots.

When viewing them, they will be moving, not stationary as in the snapshots. It is important to view a large flat area of color. That's why color bars are best. Variable areas and edges generate sidebands that produce dots that cannot be nulled out by the trap. You will always see some dot crawl on edges. If you have an oscilloscope, you can look at the luminance amplifier output and null the "fuzz" caused by the subcarrier.

That is very helpful. Thank you. No scope. Those dots are in just about every shot. Would have never known. I thought what we are seeing as normal.

Just want to add: In the nightclub scenes, Marilyn’s dress is orange, not red.

I went looking looking for Kiss Me Kate, but the stores only had the BluRay version. I have an inexpensive DVD player hooked up to my modulator. I order a copy and will post the screenshots later.

Gone With The Wind on a 21CT55 with a 21AXP22 photographed May 6, 2018.

https://visions4netjournal.com/wp-co...F93998EFB.jpeg

See this shot and 8 more in full resolution 6000X4000 at this link: https://visions4netjournal.com/2018/...-carousel-4923

https://visions4netjournal.com/wp-co...651EA6609.jpeg

It is impossible to see those dots that Wayne talked about on a moving live screen (with my 72 year old eyes).

No, this is not a HD shot. It’s Vivien Leigh as Scarlet O’Hara in the 1939 film, Gone With The Wind, photographed May 6, 2018 on a 63 year old television.

https://visions4netjournal.com/wp-co...A9A0601F8.jpeg

The original 6000X4000. https://i0.wp.com/visions4netjournal...47D.jpeg?ssl=1

Requested by member. Kiss Me Kate screenshots, 1953 on a RCA21CT55.

https://visions4netjournal.com/wp-co...BFEB3E56F1.png

Original: https://visions4netjournal.com/wp-co...1C1835A34.jpeg

https://visions4netjournal.com/wp-co...36E58D7BA.jpeg

Full resolution: https://visions4netjournal.com/2018/...-carousel-5083

My only comment at this point is that the shadows in many shots look blue. What does a gray scale look like?

The grey scale is good at this time. It may be slightly cold. I think this has to do with the movies color balance itself.

If you look at Gone With the Wind, the shots look consistently warm.

Hmmm. When I look at the picture of Scarlett in the straw hat, I see warm highlights, but blue shadows (her hair). Before you ask - my monitor is properly calibrated.

There also is something strange in that the blue black level seems higher toward the bottom of the screen (it's less cut-off).

Just had a thought - the blue DC restorer may be weak. This would cause the blue background to drift the opposite of the dominant color and possibly vary over the height of the picture. You wouldn't see this on a grayscale pattern.

Perhaps it’s the green gun output. It was poor to start with. Grass looked amber. We corrected that. Now the plantation shot shows a nice green grass, but it is not as strong (green) as the CTC-7. Scarlett’s scarf in that shot should be greener.

A weak gun will affect mainly highlights, not shadows. This appears to be more of a tracking issue where the blacks shift towards blue on some scenes, which points to a DC restoration issue.

We played with the background controls a lot. I don’t have professional test equipment, so I used the blue filter with the Video Esentials disk to calibrate. I know this is not the best way, at a disadvantage without proper tools.

Your last comment duly noted.

This technique should be fine if the DC restoration is good or bad, because the usual test patterns (gray scale or color bars) have constant average current in the three guns. But, on regular video, when a scene has a lot of one color in the highlights, the DC restorers have to work to counter the change in average currents between the guns; so when you have a face and yellow hat filling much of the screen, the tracking gets pushed towards blue if the DC restorers are weak. I think replacing that tube would be worth a try.

Great suggestion. In case you don’t know, Mike Doyle restored this set. He lives about 50 miles NW of me. When he comes in to town, he will call to see if the sets need adjustment. What is the tube number. I can check that.

Confession...I started this comparison to see the colors on this great movie on the set. My curiosity was to see the dark brown/black costumes to see if they are reproduced in phosphors. The pastel Technicolor is spectacular as usual. I do see the blue and added a similar still from the original and a brown/black scene for reference.