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This will probably by my last submission to this thread unless someone comes up with more questions. But, here are answers and comment to questions I didn't answer previously:
I finally solved the linearity issue of the picture monitor on the CCU. It turned out to be some cut wires coming from the Hor. Lin. pot on the CCU. While I fixed that I also upgraded some of the micas in the Horizontal drive circuits of the CCU.
The attached photo shows a closeup of the CCU CRT display as it looks now after the circuit correction and parts update. This was taken with the 135mm lens.
The camera now has a very good IO in it. It turns out that 3 of the 8 IOs I had were from good to passable. I decided not to play around and use the good one. It produces a remarkably gradient-free picture with almost no burn-in. Fact is, it behaves like it's a brand-new tube and I was very surprised how well it worked! This is the one that was used to take the picture discussed above.
The dolly is a Manfrotto from Italy. It's very light-weight yet strong enough to take the weight of the tripod, head and camera. The tripod is a Ronford-Baker from the UK and is about half the weight of the original Houston-Fearless that came from RCA. The head is a Houston-Fearless cradle head which works perfectly with this camera.
I tried to use a flat-screen monitor to do the geometry setup on the camera but for the most part it would not cooperate because it wanted color burst in the video coming from the camera. When I switched from sync to black burst I would get occasional pictures on it, probably because the black burst was not at a high enough voltage to permanently turn on the picture. It was on enough so I could tell that the camera geometry was good, so I went back to the CCU crt.
There have been questions from others how this equipment linked together with other parts of the RCA field equipment. I have attached a diagram of what each piece was and how they cabled together. I hope it is self explanatory.
Have fun!
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