Quote:
Originally Posted by colorfixer
Too bad the kinescope's focus was so soft, otherwise it might have been a good candidate for the color recovery software they're using in the UK.
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Color recovery from B&W only works from the PAL systems.
Since all three colors (encoded) are transmitted at the same time, there is no way to do NTSC, except to actually film it in color. This was a Hot Kine, meaning that the head of each one hour camera reel had to be telecast three hours after the tail cleared the camera! That speed wasn't possible with any color processes in use at the time.
(Color negative was very temperamental, plus it could not yield a good sound track, so the track would have to be exposed on a separate roll of B&W negative stock and the two rolls of film synced up and then printed. That took a longer time than they had. Color reversal stocks of the era were too slow, except for Anscochrome , and that stock could not yield a good track. Nobody was magnetically striping 16mm with a coating that was good enough to survive the chemical processing. )
James