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I can offer one possible explanation. Many of the live shows
from the '60s were recorded on Kinescopes instead of video
tape. A special 16mm camera filmed the image directly off
a color monitor. Conrac and Setchell Carlson "Roundie" monitors
were common then, and if they were not tweaked almost
daily, they would have convergence, focus and purity problems
that would of course be recorded on the film. I know that
Color kinescopes were made as late as '71, possibly even later.
I am a Telecine Colorist (transfer and color correct film, usually
camera negative, to video tape for editing) and about 16 years
ago or so I was working for a company that was doing alot
of film for the the NYC Museum of Broadcasting, NBC had donated
their entire vault of Kinescopes to them and they were in the
process of getting it catalogued and transferred to tape.
Most of the stuff I worked on was B/W material from late
40's and early 50's, but I did do several color kinescopes
from the late 60's, '67 & '68 Tony Awards are two that come
to mind, and they had that out of convergence look especially
on the edges.
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