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Post by simonashby on Jul 27, 2018 19:45:33 GMT
No the only Troughton story's recorded in colour were The Three Doctors, The Five Doctors and The Two Doctors Surely this counts as a colour Troughton too? youtu.be/VmylI6SOzRkNope. Not an episode of Doctor Who. Not made by the BBC. Not Patrick Troughton.
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Post by samnurden on Jul 28, 2018 14:01:17 GMT
Yes, the colour was removed before the image was recorded. That's an amazing thought,the fact that the War Games could have potentially been in colour!Why was this decision taken when Pertwee's first season was recorded in colour only a few months later?Was there a contractual reason? To keep with consistency, I imagine. That's all I can really think of, anyway. It's the very end of Troughton's run, after all. I'm glad the colour started with Pertwee, tbh. It rounded it off really well.
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Post by Ed Brown on Aug 4, 2018 4:43:21 GMT
Yes, the colour was removed before the image was recorded. That's an amazing thought,the fact that the War Games could have potentially been in colour!Why was this decision taken when Pertwee's first season was recorded in colour only a few months later?Was there a contractual reason? A moment's reflection might suggest the reason why! It would have been odd, to say the least, to have broadcast the first 5 episodes or so of the serial in b&w, but then to have broadcast the rest of that serial in colour. It would have been fun, no doubt, to watch the picture jumping back and forth between the b&w location film sequences and the colour studio footage. It would have been a terrific laugh to watch the BBC engineers wetting themselves when trying to broadcast the serial in colour SIX MONTHS BEFORE COLOUR TRANSMISSION BEGAN (which didn't happen until the following November): watching them try to broadcast a UHF 625 line colour image on a VHF 405 line transmitter, to the nations' collection of 405 line receivers (that were incapable of being tuned to the UHF band). Yeah, that would really have made sense. From the BBC's point of view, to inject a note of sanity into the thread, the problem which colour represented was that it involved a big jump in the programme's budget, because colour increased the cost of a lot of things: from props and sets that needed repainting (because b&w let you get away with a pretty shabby, shoddy set); to costume design that needed bright colours to get the best out of the new technology; to camera technicians whose Unions demanded more money for operating the more complex colour-capable equipment. And colour meant a huge leap from low-definition 405 lines to much higher picture quality, with a 50 percent jump to 625 lines, which also meant that shoddy, shabby sets had to be replaced. No way were the BBC going to look favourably on a big budgetary increase for Dr Who at the tail end of a long season, particularly one on which the ratings had tailed-off badly. The show was in real danger of cancellation, and was not in line for an unplanned jump in its budget, not no way, not no how. By the same token, all we need do is examine the programme budget in the BBC's written archives. There is no need to undertake the expense of a sixpenny bus ride down to the film and tv archive or examine the master broadcast recordings. The budget breakdown for each serial is enough by itself to show that the episodes were still being filmed in black-and-white. A comparison with similar records for the Pertwee serials will show up various differences, reflecting the changing realities of tv production in an era of high definition colour, compared to the somewhat simpler and cheaper needs of low definition 405-line black and white. I heartily recommend the autobiography of Barry Letts, 'Who And I', in which he explains the trials and tribulations of being the show's first producer in the era of colour television. He had worked on the show, as a director, in earlier times; and he had a long memory. Many problems, most of them unforseen, dogged his footsteps as he tried to solve a host of difficulties in using the new technology.
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Post by Ed Brown on Aug 4, 2018 5:05:26 GMT
The first episode of Dad's Army to be broadcast in colour was 'Branded' on 20th November 1969. However, despite the previous ten episodes of that season being transmitted in black and white, they were recorded in colour and exist in the archive as such (barring Room at the Bottom). 'Room at the Bottom' is held by BBC Archives in colour. It was an early beneficiary of the fact that, having been made in colour, the colour signal was therefore recoverable from the film telerecording using the new chroma dot colour recovery process.
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Post by Peter Stirling on Aug 4, 2018 8:13:54 GMT
A moment's reflection might suggest the reason why! It would have been odd, to say the least, to have broadcast the first 5 episodes or so of the serial in b&w, but then to have broadcast the rest of that serial in colour. It would have been fun, no doubt, to watch the picture jumping back and forth between the b&w location film sequences and the colour studio footage. It would have been a terrific laugh to watch the BBC engineers wetting themselves when trying to broadcast the serial in colour SIX MONTHS BEFORE COLOUR TRANSMISSION BEGAN (which didn't happen until the following November): watching them try to broadcast a UHF 625 line colour image on a VHF 405 line transmitter, to the nations' collection of 405 line receivers (that were incapable of being tuned to the UHF band). Yeah, that would really have made sense. Not quite - by the late 60s most studios had converted to 625 line operation and I believe new companies like Yorkshire TV never recorded anything in 405 lines. The down conversion to 405 lines and then transmission on VHF was done at the transmitter site where the actual converter was the size of a room. These converters remained in operation until the 405 line switch off in 1985. Not a Dr Who expert, but I would think any Dr.Who recordings were on 625 lines from around mid 1968, so the BBC would have been quite capable of transmitting a colour repeat on BBC2 if they had been forward thinking enough. .
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Post by Chris Wilkinson on Aug 4, 2018 9:55:45 GMT
A moment's reflection might suggest the reason why! It would have been odd, to say the least, to have broadcast the first 5 episodes or so of the serial in b&w, but then to have broadcast the rest of that serial in colour. It would have been fun, no doubt, to watch the picture jumping back and forth between the b&w location film sequences and the colour studio footage. It would have been a terrific laugh to watch the BBC engineers wetting themselves when trying to broadcast the serial in colour SIX MONTHS BEFORE COLOUR TRANSMISSION BEGAN (which didn't happen until the following November): watching them try to broadcast a UHF 625 line colour image on a VHF 405 line transmitter, to the nations' collection of 405 line receivers (that were incapable of being tuned to the UHF band). Yeah, that would really have made sense. Not quite - by the late 60s most studios had converted to 625 line operation and I believe new companies like Yorkshire TV never recorded anything in 405 lines. The down conversion to 405 lines and then transmission on VHF was done at the transmitter site where the actual converter was the size of a room. These converters remained in operation until the 405 line switch off in 1985. Not a Dr Who expert, but I would think any Dr.Who recordings were on 625 lines from around mid 1968, so the BBC would have been quite capable of transmitting a colour repeat on BBC2 if they had been forward thinking enough. . Yes. It was proven with the recovery of The Enemy of the World that the switch to 625 lines occurred for Episode 1, broadcast 23 December 1967, just in advance of the official switchover on 1 January 1968. The episodes still remained in black and white until the recording of the Pertwee episodes, which began in September 1969.
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Post by markboulton on Aug 8, 2018 14:35:04 GMT
And indeed, it's well documented that both BBC1 and ITV undertook colour simulcasts before the official launch of colour, with programmes made in 625 lines, colour and black and white, shown on the allocated frequencies (at least from Crystal Palace and probably Sutton Coldfield and Winter Hill) but surrounded by Testcard F, with continuity and adverts only appearing on 405 line VHF as usual.
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Post by John Wall on Aug 8, 2018 23:49:46 GMT
In the Troughton era it was a treadmill, which I think contributed to him moving on.
There are lots of issues with changing to colour. For the licaotion filming you need colour film - which was generally slower (needed more light) than B&W. You also probably need different lenses, ones that are optimised for colour. In addition to the sets it would probably also be necessary to review the costumes of the main characters.
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Post by brianfretwell on Aug 12, 2018 13:50:04 GMT
From the 1963 BBC Yearbook it was stated that there was an experimental 625 line colour studio in Lime Grove with VT recording and test transmissions were being made from the Crystal Palace transmitter.
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