Quote:
Originally Posted by Rinehart
OK. But I just have a couple more questions. Could you explain to me what you mean by "the studio lens"?
Also, I know that Iconoscope cameras were used for telecine devices long after they had been supplanted by I/O cameras. In this role did they still need to have a live shading console?
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1) take a look at this:
http://www.tvcameramuseum.org/bosch/.../kch1000p1.htm
- definitely studio use, as no-one could sling that over his shoulder.
Besides the optics, the lens assembly had resolvers to report the zoom and focus positions, and lookup tables to translate that into barrel/pincushion distortion (used to modulate all three tube scans) and chromatic aberration (used to differentially change the scan size of red, green, and blue).
2) I don't know if for film via iconoscope (which could have as much light as you wanted), what the situation was.
I can imagine several possibilities: a) shading was needed the same as for studio work, or b) it was less of a problem, or c) it was just ignored.
Maybe someone here knows.