[Dave A]

Steve H may be part way there. It would be interesting to learn how NBC fed the network for LA based shows in the early color days. Did it go direct to NY and then back out to the network or did ATT Long Lines reverse the feed and originate from LA? Either way, that signal had to be handled multiple times by ATT by their equipment. And how many times did it get amped to cross the time zones with short hop coax or microwave hops when it became available? I can see how the good signal from one coast degraded by the time it got to the other coast and give a difference in origination color and the final home color.

"It looks good leaving here."

I have seen the differences Vallieone describes on those same shows and I do not think it has anything to do with NY vs. LA...aside from the "tan" look. I am assuming they did talk to each other. Even accounting for transmission errors, you are still looking at the original camera differences. Transmission is going to treat all errors equally. The shows noted are for the most part from the originals and transmisson is not a factor so I would be looking at the video ops.

To me, mirror or prism is going to end up with some kind of black response in a wide swath across the screen. The first concern was always white balance. Black balance was always the red-headed stepchild.

From there it is up to the video op to make it black...no green/black or some such. Did each camera have it's own video op in the day with their own idea of color? Not the case today. One op for six cameras or so and all automated anyway.

And it is a challenge to decide if Dean Martin was wearing a dark blue jacket or a black jacket. Black adjustments could make it either way.

Steve K and Chuck P...step in to help me or correct me.