On Apr 7, 5:26*pm, "Michael A. Terrell"
wrote:
"Dave Plowman (News)" wrote:

In article ,
* *William Sommerwerck wrote:
Registration on cameras. Convergence on monitors?

Yes. Thanks for the correction.

Did you have videcon colour cameras? First UK ones
were Plumbicon.

Yes, because you started so late.

The first RCA cameras used vidicons (I think) -- though they might have
used image orhticons.

Three 3 inch IO were the ones I remember. Being used for tests long before
colour broadcasting started in the UK.

They later had a four-pickup camera that used an image orthicon to
generate a perfectly registered (by definition) luminance signal, plus
three vidicons.

That's a configuration I never saw. The first colour cameras here were all
four tube plumblicons. I was taught the colour response of a
videcon
wasn't suitable.

* *RCA built their TK44 color studio cameras with Vidicons. *They
changed the model number to TK46 when they switched to Plumicons.
*Most
of the parts were interchangeable, so I used a pair of TK44 cameras
for
spare modules & as a test jig to keep three TK46 cameras working
the way
we wanted. *The TK44s were used by TV stations for years, but
needed
brighter studio lighting.

--
Lead free solder is Belgium's version of 'Hold my beer and watch
this!'

I thought TK-44s had plumbs. I _know_ that TK-45s had plumbs as I have
a used one from a TK-45. The TK-28 film camera had vidicons but AIUI,
the vidicon had its own level non-linearity that was not present in
plumbicons (Leddicons for you EEV fans) or Saticons. Vidicons required
different electronic gamma to achieve an overall gamma of 2 to 2.2.
For a film camera the vidicon issue wasn't as bad as the light levels
were much more predicable. You can look at some of the dinosaurs here.

http://www.oldradio.com/archives/hardware/TV/RCA-TV.htm

G²