Quote:
Originally Posted by Ted Kendall
When I was briefly at BBC Bristol in the early 80s, one of the main studios had EMI 2005s, the three-tube variant of the 2001. Asked to describe it in a word, one of the studio engineers replied "soft!" The other studio had Link 110s, which were not liked, as I recall...
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Ah yes, the 2005 . . .
It wasn't being a 3 tube which made it 'soft' - it was something else - no 2 line aperture corrector? I don't know whether they bought the aperture corrector or not, but that could have been it. The 3 tube principle with 'highs out of green' is no barrier to sharp pictures. All subsequent quality studio/OB cameras were RGB with highs out of green apart from a few oddities such as a Bosch which had a 'white' (luminance) instead of green and made that colour using matrix techniques.
The other big downer on 4 tubes is the poor sensitivity - half the light goes to the luminance leaving red, green and blue rather starved. They cost a fortune in terms of studio lighting electricity (and the aircon to remove all the heat).
Philips was quite correct - any very small advantage of 4 tube would be wiped-out in a short space of time as the tubes and electronics advanced. With 20-20 hindsight the 4 tube concept was a horrible mistake, but what magnificent beasts in terms of size and weight!
Best regards,
Paul M