There was even more color correction happening then - cameras were worse and more analog! It just was not being controlled from offsite, instead there was a ded

There was even more color correction happening then - cameras were worse and more analog! It just was not being controlled from offsite, instead there was a dedicated room and engineer in the broadcast truck doing camera configuration + color correction. The usual technique was to start by holding up a color card on the stage/floor then use a vectorscope[1] and get all the dots to line up in the right place. Then with a waveform monitor for exposure. During the event, there would be fine tuning by eye, or as things drifted out of line. [1] https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Vector.png https://en.wikipedia.org/wiki/Vectorscope#/media/File:PAL_Ve... PS: You can also see modern vectorscope / waveform monitor images in this photo from the cyanview blog. Look for the black and white X-ray looking things on the screens. https://www.cyanview.com/wp-content/uploads/2022/10/20221006-AMP-BPI-1.jpeg https://www.cyanview.com/wp-content/uploads/2022/10/20221006...