Originally Posted by walford
I was referring to the inventory of "crt" scanning cameras maybe those are what are more properly to as composite cameras.
Think you're confused - composite/composite and CCD/tubed are independent
Tubed cameras (effectively CRTs in reverse - electron scanning tube sensors) are totally obsolete - it is almost impossible to buy spare tubes and has been for many years. They were expensive to maintain, and CCDs (which used a pixel-based sensor rather than scanning electron beams) quickly replaced them from the late 80s. Totally out of use by the early-to-mid 90s - as CCDs were much cheaper to run and required less line-up.
Composite vs Component is different.
Some of the late (albeit not many) tubed camera studio builds used component infrastructure (BSB's facility in Battersea in London - later QVC UK - used Sony 360s - their last tubed camera - in a 4:3 component analogue set-up)
Conversely - many of the first gen CCD cameras were used in composite studios (though the cameras often had component outputs - which were used in composite studios for chroma key generation but not much else)
Many composite installations used CCD (component capable) cameras. Composite vs Component is the format the video signal uses (composite mixes the luma and chroma - component keeps them separate)
Analogue component infrastructure required either 3 cables instead of 1 for each signal OR expensive (and not widespread) Component MAC (multiplexed analogue components) studio gear that routed analogue component down a single cable. It came and went very quickly.
In Europe component 16:9 production arrived with SDI (serial digital) infrastructure in the early-to-mid 90s - digital component over a single cable. Any mainstream production (or even decent news) studio built or refurbed since around 1995 will be SDI component.
I recognize that your experience is far more then mine in these areas so value you inputs.
When you worked in the US were you aware of any station that was broadcasters that were actually broadcasting 16:9 aspect ratio 480i programs over their analog channels.
No - but I was under the impression that 16:9 SD was being used by some domestic broadcasters for later upconversion to 16:9 HD.
The guys at the studio I worked in were running their facility in 4:3 SD for almost everything they did for US network customers - but they were used to switching to 16:9 SD for European customers. When I asked why they had 4:3 / 16:9 switchable cameras - they said there was no reason not to have them - and these weren't brand new devices 4 years ago. (I wouldn't be surprised if the facility had since upgraded to HD)