STOP THE PRESSES! WHAT DO WE HAVE HERE? A UNICORN?
STOP THE PRESSES! WHAT DO WE HAVE HERE? A UNICORN?
Now THIS, is INTERESTING! Behind RCA’s Dr. Paul Weimer, with his Tri-Color camera (foreground), there is something behind him I have never seen before.
UPDATE: January 2021, new photos shed new light on this camera at this link https://eyesofageneration.com/a-primer-on-rcas-earliest-compatable-color-cameras/
It is similar to the first generation of RCA color cameras, but is not one of the two built for testing in the RCA/NBC Wardman Park Studios in Washington DC. Those cameras are in the other photos here and have vents on the doors, a different lens housing on the front, exhaust blower on top, and do not have any kind of control knobs that we see at the rear of the lens housing here. Nor do they have aluminum “color” badges on their sides (just behind Weimer’s shoulder, you can see the “color” badge).
This perplexing photo, sent in by Barry Mitchell, is from a 1953 RCA publication on color television, and the only mention of the photo refers to the Tri-Color technology. I suspect this photo was taken at RCA in Camden.
As for just what this is…I’m not exactly sure, but here is my best guess. Before I go there though, let me say that I have heard that the Wardman cameras were returned to Camden when the WDC color test were concluded in 1950, and testing moved to NYC in ’51.
I think this may be one of the Wardman cameras that has been modified inside and out as a possible “go-between” lab model that tries to bridge the gap between the Wardman cameras and the second generation of color camera, which were the “coffin” cameras used in NBC Studio 3H in NYC after the Wardman experiments were concluded.
I know that having the optical system in the box on the front of the camera was never something they liked, because of the fixed focal length, which meant you had to move the camera back and forth for long shots or close ups. I suspect the controls on the back of the optics box is a newly added attempt to adjust the “back focus” into the red, blue and green filter mirrors that were in this box.
Since the turret had been introduced on the RCA TK30, in 1946, just after the Wardman cameras were built, I think one reason this mock up failed to be used was because it still had little ability to vary shots, that a turret offered.
The John Vasos designed “Television” badge on the lab model is now joined by a “Color” badge, which was also a Vasos touch. One further refinement Vasos suggested to RCA was to round the top of the viewfinder, making the first application (on the “coffin” cameras), similar in appearance to the gentle curves we came to admire on the TK40 and 41.
I’m sure there were refinements to the interior electronics, but have no idea what those may have been, but the color optics system moved inside on the “coffin” cameras which improved the image out.
Anyone have further thoughts, or ever seen this rare camera “missing link” before? Enjoy and share! -Bobby Ellerbee
I’d guess that it’s a Wardman Park camera converted into a “test mule” for developing the “coffin” camera or TK-40.
This is back when they pronounced it Tele-VI-sion !
Great bit of televison history
I believe you are correct that the camera at the right is an ‘interim’ lab camera. Further, it does look like it was built using one of the Wardman cameras as a base to construct the changes being made as an experiment. If you notice at the top, there is a hole, apparently for ventilation. The Wardman cameras both had what looked like added-on fans attached to the same openings in the top of the cameras. There are other items the two versions have in common. Perhaps one of the Wardman cameras was stripped of its side panels and lens housing in order to make the experimental changes. Then new panels were fashioned to see what a ‘finished’ version might look like. One thing is certain: This camera never went into production.