"JosephKK" wrote ...
>> About the matching of the gamma curves, when i was young and had very
>> good eyes, and color TV was just becoming popular. There were still
>> plenty of broadcasts in monochrome and i could watch them on B&W sets
>> and color sets "side by side" on the showroom floors. There was
>> scant (if any, i sure did not notice) difference in the viewing
>> experience (at a reasonable distance from the screen). If there were
>> obvious/significant differences in the gamma correction they would
>> have showed up at that time. The changes to better match YUV were
>> rather minor tweaks, and the monochrome shows that i watch have no
>> observable color artefacts as a result of the change.
>
>We still use many monochrome CRT monitors for TV
>production. From camera viewfinders (either the tiny
>1.5 inch field eyepiece ones, or the 5~7-inch studio
>viewfinders) to the camera monitors in the control
>room where the director is calling shots, etc.
ALL "SteadyCams" used in Hollywood have high brightness, daylight viewable, green phosphor CRTs mounted down near the bottom of the device, where the steadycam operator has to look for his footfall points on any given scene shoot. They cannot look through the std viewfinder of a continuously changing camera apparatus, nor stay on their feet were they to attempt to do so.
I made nearly all of those displays. They utilize the same tube (CRT) that is used in the F-4 Phantoms. From Thompson. They have hard wired wide screen frame lines in them, as well as the 4:3 framing lines (our circuits).
Not quite fully immersible, but they are pretty rugged, mostly rain-proof little critters. Fun to make too. Especially the HV anode driver section. We also made the gyros that were used on the early models (they are all cantilever designs now).