Hmm. Actually, for what it's worth, that's what I thought you meant! I don't think it's that hard any more given contemporary technology, to have sharp, clear moving images, realistic color, no noticeable blurring of motion, etc., and still somehwere the people behind those fine cameras make poor decisions about how to use them. Two separate, independent aspects of the process.
Which reminds me, the cameras at Opryland Productions in Nashville gave a particularly unsubtle color rendition, compared with those used on other television programs produced elsewhere, so that today I usually like what I see a little better in that regard by turning down the color control on my TV slightly.
IIRC, press at the time told us that Brockway and his colleagues liked to work there because they could set up very long shots, far enough back to have all the dancers in them, without revealing the lights overhead as they would in a smaller studio with a lower ceiling. (Or traveling shots where the cameras and the dancers had room to move.) Whether or not they liked the unsubtle color, I don't remember reading.
The studio's main program, a country-music show called "Hee Haw," was thought by some at the time to be conceived as something to look like a "live action" comic strip, and bold comic-strip coloring was part of that, along with some lurid "art cards" - graphics inserted between short scenes and "blackout" comedy bits.