For a fortunate few, the Rose Parade can be seen in its full spectral glory.
For the rest, narrow spectrum compromise after 1954 :(

I haven't watched it at all in at least 10 years LOL

I haven't watched it .. in .. 10 years

If you had a Merrill it would be a different story; you could watch White Christmas, filmed in VISTAVISION - 'motion picture high fidelity' - I notice VISTAVISION movies have extra vibrant colors as film was ran sideways thru special camera for larger frame format!

film was ran sideways thru special camera for larger frame format!
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That would have absolutely no effect on the colors!

Given the proviso that I don't have a Merrill to evaluate the spectral-gamut of 1950's film titles that appeal, noting that White Christmas was filmed using modified 'William Fox Natural Color cameras'. If someone could "elucidate" [pun ;)] on this process/filmstock, I'd be curious.

I haven't run my CT-100 in over a month due to the color osc going off freq and returning with a 15min cycle....My 21CT55 is going strong though.

I haven't run my CT-100 in over a month due to the color osc going off freq and returning with a 15min cycle....My 21CT55 is going strong though.

it's just trying to be psychedelic, man! :D


https://www.tmc.edu/news/wp-content/uploads/sites/2/2020/01/wallpaper-2767134_1280.png

you've gotta get it running for the season.

you've gotta get it running for the season.

It IS working! it's just being extra colorful 1/3 of the time! :D

The following link explains that the "Natural Color" camera was part of a 1920s attempt at a two-color movie process. Not really natural color at all, but in Hollywood, hype springs eternal. The camera was adapted by eliminating the physical barrier between the two color frames and turning it sideways to create the wide Vista Vision frame.

http://www.widescreenmuseum.com/widescreen/wingvv1.htm

Regarding the wider color gamut of the 15GP22, it was mostly wasted on the Rose Parade except for the possibility of turning the color up beyond true reproduction. The reason is that natural plant material colors are practically always within the gamut of the modern phosphors (bright and highly saturated blue-greens are not usual, foliage greens being on the yellowish side).

you've gotta get it running for the season.
That isn't happening I'm about to bench my Philco TV123 and even if my bench was free the CT-100 is boxed in with a Stromberg Carlson TV10 (read that 100lb table set) and a bunch of knickknacks on it... I'd have to do a bunch of rearranging to get to it.

My RCA 21CT55 is basically a CT-100 chassis with factory sweep circuit mods to drive a 21AXP22.... the AXP has a finer dot pattern that can resolve better detail than a 15G. 15Gs have a bit of a portacolor look on details thanks to a dot pattern too course for full NTSC resolution.
So basically the 21CT55 has the same color performance and better detail and HV/focus stability than a CT-100 ever will.

"..in Hollywood, hype springs eternal"

I think White Christmas ("Motion picture High Fidelity") came out same year as the RCA-Merrill ("Wide spectrum High Fidelity")

Other than hi-res mastering, I don't know what other steps Paramount took to claim "Motion picture High Fidelity" - perhaps Eastman/Technicolor Dye-Transfer film printing?

Some other eye-popping VISTAVISION titles to check out on a Merrill would be Artists & Models (1955) and Lil' Abner (1959)

I haven't watched it .. in .. 10 years

If you had a Merrill it would be a different story; you could watch White Christmas, filmed in vistaVision - 'motion picture high fidelity' - I notice vistaVision movies have extra vibrant colors as film was ran sideways thru special camera for larger frame format!

But they also do not have the sound to match the picture. Perspecta fake Stereo is no match for Todd-AO, Cinerama, or 70 mm 6 track analog. Got to have the sound to go with that picture. And only a tiny few movie goers got to see VistaVision in a cinema, most saw them printed down to normal 35 mm prints in mono or Perspecta. Todd-AO and 70 mm, now that's a movie epic.

The Merrill does not like the New Orleans Saints! Nor does any true NTSC set.

That because they are very very Q-ish.

Grass is green and the Saints are purple and the Merrill hates you. Both of these are almost pure Q and thus bleed into one another.

I normally watch football and golf on my CT-100, as they are nucely colorful.

But not good for the Saints.

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Edit: no one noticed the horrible goof in this. Its the Viklings that are purple.

Perspecta fake Stereo .

Interestingly, in '54, the year of the Merrill, Paramount's previous to the VISTAVISION Jerry Lewis film, Artists & Models was Money from Home, which, tho not vistaVision, was in extremely rare Technicolor-3D (six strips of film!) plus 3-channel stereo! This is now in Blu-Ray, but the 3-channel soundtrack was 'lost'! Paramount, how could you?!

. no match for Todd-AO .

This may be true, but VISTAVISION has better font modulation.

Font modulation. Now there's a concept. Haha

Further discussion of film>TV continues here (http://videokarma.org/showthread.php?p=3230410&posted=1#post3230410)