(+1) 234 567 21

‘The Price Is Right’…Behind The Scenes, 1982

•

Eyes Of A Generation.com


‘The Price Is Right’…Behind The Scenes, 1982

This is 10 years into Bob Barker’s reign as host and 3 years before the passing of Johnny Olson. Before seeing this, I had never thought of Johnny as a disco dancer…after seeing it, I still don’t but you have to give him an A for effort.

Interestingly, there is a stop tape occurrence in this piece as one of the game board displays peters out. The cameras in Studio 33 look to be the single cabled Norelco PC70s. Enjoy and share! -Bobby Ellerbee

Source

3 responses to “‘The Price Is Right’…Behind The Scenes, 1982”

  1. Alec Cumming

    I always thought The Price Is Right had the best directors and best production crews in the business…I watched it compulsively when I was in high school and college, while I still had a burning desire to get into the TV studio production side of the business.

  2. Terry Drymon

    James..i had the strange chance to work for Nautilus, Arthur Jones the inventor was once a tv film producer and he startes a ” tv network” never got off the ground but he had, and i swear 2 u know who he had 30 or more studio tv cameras with full production and 30 1″ reel 2 reel tape machinse he would shoot a show with maby 15 cAMERAS AND TAPE MACHINES RUNNING AND EDIT LATER.. he started to do a show with G. Gordon Liddy but nothing ever came of it..and what ever happened to all of the equiptment is a mistry BTW this was mid 80’s and of all things this 100k ft studio was in Lake Hellen FL..if that’s IF you can find it on a map it’s close to Daytona Beach FL

  3. James Shea

    I recall that when “The Price Is Right” was recorded on two-inch quad videotape, at least, two VTRs were slaved together to record the program. The machines would stop and start together, locked by time code. During those rare instances when it was necessary to stop down within a segment, such as when a game prop malfunctioned, one VTR would continue to record the raw studio feed. But on the second VTR, an edit-in mark was set, and the control room would be counted down over the intercom to the pickup point. If done successfully, the recording on this machine would not require additional editing; while the raw video on the other VTR provided protection should additional editing be necessary. Today, all of the cameras are iso-recorded and the show is essentially recut in post-production editing. The director’s line cut is not critical. Lost is the feel of a live-to-tape production.

Leave a Reply