My memories of Studio 72:
Regarding the early NTSC color equipment at Studio 72, I remember coming in at 6 A.M. to turn on the cameras to ensure registration stability in time for dress rehearsal. In those days all of the terminal equipment required its' own power supply which was located in the power supply room upstairs. Commercial vectorscopes did not exist. An old Dumont waveform scope was converted for this purpose.Nixie tube frequency counters were used for sync generator setup. Compared to the handheld camcorders of today, the TK-41 required racks of equipment to make up one camera chain. Does anyone remember Hugo Ripp replacing a tube circuit in the TK-41 encoder with transistors? Flying spot scanners were the first, but rarely used, film pickup devices. Compared to today's integrated beam splitters the early 3V film chains used Dichroic front surface mirrors which required delicate cleaning to prevent scratching. The TK-26 3V chains were used for 35mm, 16mm and slides. These were later brought to the Broadcast Center when Studio 72 was shut down (later to be replaced by GE 4V chains).Can anyone remember the Masking Amplifier to correct for different color films such as Technicolor, Cinecolor, Kodachrome? The earliest camera color monitors were 15" RCA later replaced by Conrac 21". As crude as the equipment was it worked remarkably well as a testament to the talented people who operated and maintained it at Studio 72.Each live production was like an opening night on Broadway. These included Cinderella, Godfrey Show, Big Record, etc.
P.S. In those days the camera was bigger than the lens--today the lens is bigger than the camera.