It takes a studio camera to tell-a-vision. Back in the day, a camera operator was judged on how smoothly he/she could dolly the camera across the studio floor, or zoom the camera lens and hold focus at the same time throughout a shot . Before the arrival of the smooth as silk Vinten pedestals, it took finesse to maneuver heavy cameras that were mounted on tripods with wheels.
The studio camera operators and engineers continue to provide the picture perfect optical link between WRAL and the viewer. Take a look at the old cameras dating back to the 1960s through the early 1990s:
Bill Currie singing in front of a GE PC 11 B camera. It is mounted on a Houston Fearless PD 3 pedestal. Early to mid-60s.
Bob Debardelaben, at the podium, addressing camera 5, a GE PC 11 B. Note that it is mounted on a rolling tripod dolly. Studio sets were simple flats that could be set-up and taken down in a hurry. Mid-late 60's.
The camera in front is a GE PC 11 with zoom control. Note the crank handle on the side of the camera. The two cameras in the back have turret lenses that require the camera operator to manually switch back and forth between fixed lenses.
WRAL news anchor Bill Armstrong ready to deliver the news. The camera man is operating a RCA TK-41 camera. Check out his cover-alls with the WRAL logo on the back.
Bob Knapp, the Atlantic Weatherman, delivering his weather forecast in front of a RCA TK-41 camera. The camera is mounted on a Houston Fearless tripod dolly.
Thumbs Up for broadcasting in color. In 1968, WRAL started broadcasting in color from the studio. The station purchased two GE PE 350 cameras and one Norelco PC-70 camera. Bruce Wittman and David Gill started work at WRAL on the same day. This picture was taken in June 1975.
Chuck Maye operating the one and only Norelco PC-70 color camera. Chuck became a director at WRAL and later at WBT in Charlotte.
Clarence Williams operating a GE PE 350 color camera. Clarence is still directing and producing at WRAL.
Cameraman behind a GE-PE 350 color camera. WRAL news anchors Charlie Gaddy and Lorraine Moore-Hooks double checking their news scripts. Lorraine was with WRAL from 1972-78. Note the floor director in the background setting up the black and white scale chart. The cameras went through a manual set-up before each newscast or production.
Two GE PE 350 cameras operated by Floor Manager Ben Vick Alston (L) and Chuck Maye. Picture taken circa 1968.
RCA TK 47 camera operated by Gary Tann, who is cueing news anchor Renee McCoy. All three RCA TK 47s used in the studio were mounted on Vinten dolly/pedestals. Vinten provided smooth truck and dolly action, as well as vertical pedestal moves. The cameras were used throughout the 80's and into the early 90s.
Gary Tann and Keith Baker operating the RCA TK-47s in the WeatherCenter.
Thanks to Bill Weinel, Clarence Williams, and Chuck Maye for their assistance in identifying the era and specific makes and models of the cameras.
Thanks to Corp's Pam Allen for this capcom story. Pam Parris Allen is a former WRAL newscast producer/director who now works as a researcher and producer on the CBC History Project.
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It takes a studio camera to tell-a-vision. Back in the day, a camera operator was judged on how smoothly he/she could dolly the camera across the studio floor, or zoom the camera lens and hold focus at the same time throughout a shot . Before the arrival of the smooth as silk Vinten pedestals, it took finesse to maneuver heavy cameras that were mounted on tripods with wheels.
