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#14
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I can offer one possible explanation. Many of the live shows
from the '60s were recorded on Kinescopes instead of video tape. A special 16mm camera filmed the image directly off a color monitor. Conrac and Setchell Carlson "Roundie" monitors were common then, and if they were not tweaked almost daily, they would have convergence, focus and purity problems that would of course be recorded on the film. I know that Color kinescopes were made as late as '71, possibly even later. I am a Telecine Colorist (transfer and color correct film, usually camera negative, to video tape for editing) and about 16 years ago or so I was working for a company that was doing alot of film for the the NYC Museum of Broadcasting, NBC had donated their entire vault of Kinescopes to them and they were in the process of getting it catalogued and transferred to tape. Most of the stuff I worked on was B/W material from late 40's and early 50's, but I did do several color kinescopes from the late 60's, '67 & '68 Tony Awards are two that come to mind, and they had that out of convergence look especially on the edges. |
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