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About waynebretl

  • Rank
    See Yourself on Color TV!
  • Birthday 05/12/1944

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  • Location
    Rancho Sahuarita, Arizona
  • Interests
    NYWF 1964/65. RCA Pavilion, and all the big industrial pavilions, especially Disney-created, including Illinois; Bel-Gem Waffles!

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6,236 profile views
  1. For helicopter fans

    If I'm reading this report correctly, the flight to the south pole was part of "Deep Freeze 63" which started in late 1963 (antartic spring), and the polar landing actually occurred on February 4, 1964. https://s3.amazonaws.com/Antarctica/AJUS/AJUSvIVn6/AJUSvIVn6p288.pdf
  2. For helicopter fans

    thanks - gorgeous slide
  3. For fellow fans of all things electronic

    Looking at the version Bill sent, I now see that this view is looking under an overhang that has a sign for the public that says "FILM VIDEO CONTROL." Unfortunately, the overhang cuts off the tally boards for the right side color monitors in the top row. The three left side color monitor tallies appear to say: 2 RIM(?) (it's obviously film, so I need to think if it could be some other text); SPCL or SPC1 (twice) - I think this is the see-yourself camera, or maybe the ten second delayed playback being rewound; [Person doing something with the monitor showing color bars - may be adjusting it and that's why it's not showing the see-yourself video]; (Unreadable)) TAPE 2 (twice). Don't know why the designations are repeated, maybe once to ID and second time to indicate it's in live use? Have to ask someone who worked in a similar facility. The waveforms on the central test gear aren't readable - mostly you see the red graticule lighting. The lower row of camera control monitors, etc.: Unrecognizable low contrast image - maybe a telecine not in use or a studio camera not in use?; The film; Unrecognizable bright blobs (I thought before it could be the see yourself camera, now not sure); The switcher/special effects/audio has a large white-on-black RCA logo left of center. Ash tray on the console and it looks like an ashtray stand in front of it; headsets hanging on the edge. Atop the console is a box of some kind with a cord- an intercom not connected to the production intercom system? Four control monitors to the right: (View cut off) video monitor is dark; The guitar player camera; Last two: too overexposed to tell what's there. The video tape machine is threaded with a small roll of tape. This is a machine for program production, not one of the ten-second delay pair.
  4. For fellow fans of all things electronic

    More: The optical iris adjustment for exposure was controlled at these video engineer stations. The orange-lit thing in the center of each panel is a meter indicating the f/stop. The iris was located in the camera body, and all the lenses on the front were set to maximum iris opening so the internal iris controlled the exposure in all cases. These panels were also called "shading stations" and the operator might be called a "shader." This came from an earlier type of monochrome camera (iconoscope) that had variable brightness from top to bottom and left to right depending on scene content and depended on a person ("shader") to correct it from moment to moment. The image orthicon tubes from the late 1940s onward had a fixed shading that only needed to be readjusted now and then as performance drifted. Here's a picture of a control panel mounted in a rack instead of a console:
  5. Come See Yourself on COLOR Television!

    If i have the orientation right, this is late afternoon - sure seems dead until you notice people standing behind the display boards.
  6. For fellow fans of all things electronic

    Hi Bill, You asked for it! I can identify the gear, but it would be interesting to identify the source of each monitor image. If you could please send me a higher res scan, it might be possible to read talley lights / input IDs and see what's on the small monitors. Anyway, starting with the upper row of monitors and gear, and going left to right: Monitor showing telecine output of a western movie of some kind. In one of my personal slides, this image is a SMPTE resolution test pattern slide. Monitor with color bar test signal. In one of my personal slides, this monitor has the "see yourself" image. Monitor with tight shot of man - probably studio camera (?) Two instruments: the wide short one is a vectorscope, used to check the color part of the composite signal; the taller narrow one appears to be a waveform monitor, used to check the overall amplitude and details of the complete video signal. A high resolution scan of these two might reveal which signal they are currently measuring. Two monitors with the same picture of a guitar player. One is probably a studio camera monitor or switcher "preview" and the other may be a "master" final output to the fair network. Lower row of gear: multiple camera/telecine control units. I count seven, and I think there were three studio cameras, one see-yourself camera, and two telecines. So, not sure if there was another telecine, a flying spot slide scanner (which could be what was used for the RCA logo that was permanently displayed on a TV where you entered), or what. EACH of those control units is attached to a six-foot high rack of support electronics, totaling about $100,000 in 1964 dollars for each chain of camera, control/monitor panel, and support gear, or about $800,000 each in today's dollars. The second control unit from the left is showing the western film on its monitor; the third from the left looks like it could be the "see yourself" camera. The ones on the right are too washed out and low res to guess, but are probably studio camera pictures we see up above. The large central metal console is the switching and special effects unit. You see buttons to select sources and special effects, and the T-shaped fader handles that control the fades or wipes between sources. The left part appears to be an audio console with the square areas being VU meters (not sure). If that is audio, it would seem skimpy today, but was probably considered as luxurious as the video gear then. It's strange that they seem to have something going on in the studio, but no-one is at the console. It's also possible there is nothing much going on in the studio and they have punched up the NBC network, or video tape. At the extreme upper right you see a portion of one of the video tape machines, which also could be the source currently on one of the monitors. I have a picture in which the color monitor just right of center has the RCA logo on it, and the operator at the console is looking in that direction, so that may indicate that this was the master. I also have a picture with duplicate images on the same two monitors that have duplicates here. By the way, it appears there was someone standing between the second and third color monitors, who moved while the shutter was open, but the monitor images do not appear blurred. A bit puzzling, that.
  7. Chasing the Moon: American Experience on PBS

    New York Times animated presentation of the Apollo 11 Hasselblad photos presented in sync with the communications at the moment of shooting,The landing area ones are shown over a 3D outline of the lander and where they were taken with respect to the lander. Free access without a subscription providing you haven't accessed too many articles in the past month. https://www.nytimes.com/interactive/2019/07/18/science/apollo-11-as-they-shot-it-ul.html?action=click&module=Well&pgtype=Homepage┬žion=Sciencehttps://www.nytimes.com/interactive/2019/07/18/science/apollo-11-moon-landing-photos-ul.htmlhttps://www.nytimes.com/interactive/2019/07/18/science/apollo-11-moon-earth-photos-ul.html
  8. Got a decoder ring?

    Also, I believe the white dots on the subway lines do not represent stops, they are just a graphic indication of a subway, instead of some other device like a dotted line.
  9. Chasing the Moon: American Experience on PBS

    I have it recorded and will be watching it this week. CBS Sunday Morning had a segment on the landing today, plus a segment on the women who sewed the space suits, plus a retrospective on Walter Cronkite's coverage. You should be able to find them online.
  10. For fans of aerial photos

    Thanks! At some point my brain would have engaged and I would have asked.
  11. For fans of aerial photos

    Super! Is anyone NOT a fan of aerials?
  12. OK, it makes more sense then. Yes, must have been metered for the sun (but no way to say if done intentionally). Slides have very little overexposure latitude, just like digital cameras. Unfortunately, at the time, there was no process for recovering the deep shadows in a slide if you exposed for the sun, as we can with digital scanning today. A professional deliberately trying to capture this scene on slide film would probably take several bracketed exposures, then choose the one that showed acceptible detail in the fairgrounds and let the sun blow out however much it had to. [Actually, careful hand printing with heavy dodging and burning could do something, but doing that with slides rather than negatives would have been rare, and the original slide would still be very dark and contrasty.]
  13. Family Phone Booth fun

    Apparently on one of some small green islands surrounding the US Pavilion? Britsh Lion Pub right rear, and Berlin directly behind? Each time I see those it's remindful of Moses's feud with the BIE. Think of how great it would have been to have those countries with large pavilions.
  14. You supply the caption

    1) Hello, is this administration? I've lost my mother....Can I leave a message in case she shows up? OK, I'll head over. 2) Let's see - Mary had a little lamb - boop-boop boop-boop boop-boop-boop 3) I just turned around and he was gone ... I don't know where - can you send someone to escort me?
  15. Bill, how much did you brighten the dark areas? The thing that's surprising is that the US Royal lights and Port Authority lights are as bright as they are compared to the sun and the surrounding grounds/buildings. Is the original much darker everywhere else (including the lighted signs) besides the sun, compared to what we see on the posted image? Maybe that's the confusion, you've just done a good job of bringing up the shadow detail.