Quote:
Originally Posted by Rinehart
In most of the books that I've seen dealing with television production pre-1950, they mention a shading console and a shading console operator in the production booth, and their purpose was to compensate for non-uniform image brightness problems like flaring.
Is there something like this still in use today, and if not, when did it die out?
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The live shading console was needed only for iconoscope cameras. Other types of pickup tubes had shading problems that needed compensation also, but it did not change with scene content like an iconoscope did.
Modern high-end tube cameras (Plumbicons, etc.) eventually would have elaborate automated shading correction based on a test slide built into the studio lens. The shading would be dual level, compensating both lowlights and highlights (black level and gain). There would also be automatic registration of the red, green and blue images, and live dynamic correction based on a look-up table for lens distortions both geometric and chromatic as the zoom and focus were changed.