- Page 1 and 2: John ison
- Page 3: CARL GENTRY OEHLER PROFESSIONAL PHO
- Page 6 and 7: THE MACMILLAN COMPANY NEW YORK . CH
- Page 8 and 9: Copyright, 1950, by The Macmillan C
- Page 12 and 13: viii INTRODUCTION picture or Office
- Page 14 and 15: x INTRODUCTION Maurer; Mitchell Cam
- Page 16 and 17: CHAPTER 5 CONTENTS KINESCOPE RECORD
- Page 18 and 19: XIV CONTENTS reels provide library
- Page 21: PART ONE FUNDAMENTALS
- Page 24 and 25: 4 FUNDAMENTALS nitrate. There are o
- Page 26 and 27: FUNDAMENTALS Fig. 1-1. Dimensions a
- Page 28 and 29: FUNDAMENTALS Fig. 1-2. 16 mm film s
- Page 30 and 31: W FUNDAMENTALS There is no apparent
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- Page 34 and 35: 14 FUNDAMENTALS Thus a standard 400
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- Page 38 and 39: IS FUNDAMENTALS blimp A soundproof
- Page 40 and 41: 20 FUNDAMENTALS one camera to anoth
- Page 42 and 43: 22 FUNDAMENTALS the odd-numbered li
- Page 44 and 45: 24 FUNDAMENTALS gamma The contrast
- Page 46 and 47: 26 FUNDAMENTALS left stage The side
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- Page 52 and 53: 32 FUNDAMENTALS vertical drive The
- Page 54 and 55: 34 FUNDAMENTALS Next is the fourth
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40 FUNDAMENTALS is the signal is fe
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42 FUNDAMENTALS As its name implies
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44 FUNDAMENTALS the lower. The lowe
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46 FUNDAMENTALS studio. At each cam
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48 FUNDAMENTALS isfactory for they
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50 FUNDAMENTALS full-frame follow-f
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52 FUNDAMENTALS Fig. 3-2. Interior
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54 FUNDAMENTALS Fig. 3-4. Group of
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56 FUNDAMENTALS (Courtesy of Bell &
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58 FUNDAMENTALS Focussing is done b
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60 FUNDAMENTALS of the panel or for
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62 FUNDAMENTALS Fig. 3-10. The Maur
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64 FUNDAMENTALS Fig. 3-11. The Mitc
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66 FUNDAMENTALS ments ranging from
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68 FUNDAMENTALS discs which were pl
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70 FUNDAMENTALS Fig. 3-13. Sound tr
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72 FUNDAMENTALS for many years. Its
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74 FUNDAMENTALS Fig. 3-14. Auricon
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76 FUNDAMENTALS the sound track wil
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78 FUNDAMENTALS Fig. 3-16. This vie
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80 FUNDAMENTALS All the necessary a
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82 FUNDAMENTALS are: the velocity o
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84 FUNDAMENTALS be used type 1230 i
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86 FUNDAMENTALS mm. The type 330 is
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88 FUNDAMENTALS by the heat of the
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90 FUNDAMENTALS periodically to pre
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92 FUNDAMENTALS Fig. 3-19. Neumade
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CHAPTER FILM TRANSMISSION EQUIPMENT
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96 FUNDAMENTALS Fig. (Courtesy of B
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98 FUNDAMENTALS Fig. 4-3. Open view
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WO FUNDAMENTALS Fig. 4-5. RCA 16 mm
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102 FUNDAMENTALS Fig. 4-6. GE synch
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104 FUNDAMENTALS A U 1 /24 Second H
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106 FUNDAMENTALS is the lenses used
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108 FUNDAMENTALS Film Camera Multip
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no 5 c * *u O 3_2 3*^oS ;2-..o c 3
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772 FUNDAMENTALS Fig. 4-12. GE 35 m
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Fig. 4-13. RCA 35 mm projector with
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116 FUNDAMENTALS has already been m
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118 FUNDAMENTALS comparing them wit
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120 FUNDAMENTALS Figure 4-17 is a l
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CHAPTER KINESCOPE RECORDING The ter
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124 FUNDAMENTALS a further loss occ
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126 FUNDAMENTALS Fig. 5-1. NBC kine
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128 FUNDAMENTALS It will be found t
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130 FUNDAMENTALS Fig. 5-2. RCA film
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132 FUNDAMENTALS these stations to
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134 FUNDAMENTALS of the fastest act
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136 FUNDAMENTALS thus the greater t
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138 FUNDAMENTALS Focussing the Lens
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140 FUNDAMENTALS in the finder, exa
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142 FUNDAMENTALS it is very similar
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144 FUNDAMENTALS The term color cor
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146 FUNDAMENTALS G. Back, has twent
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148 FUNDAMENTALS television cameras
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150 FUNDAMENTALS correct the color;
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152 FUNDAMENTALS taken as half this
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154 FUNDAMENTALS Foundation Lights
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156 FUNDAMENTALS 2000- to 3000-watt
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158 FUNDAMENTALS In addition to the
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160 FUNDAMENTALS show. But this can
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162 FUNDAMENTALS falling on the sub
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164 FUNDAMENTALS COMPARISON OF VARI
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CHAPTER 8 COLOR When movies were fi
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168 FUNDAMENTALS any, will have bee
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170 FUNDAMENTALS The functioning of
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172 FUNDAMENTALS system is truly co
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174 FUNDAMENTALS other the tripack,
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176 FUNDAMENTALS and magenta, absor
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178 FUNDAMENTALS license in color o
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180 FUNDAMENTALS available. This pr
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182 FUNDAMENTALS may be shot eight
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184 FUNDAMENTALS best served by cut
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186 FUNDAMENTALS each speaks his li
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188 FUNDAMENTALS (Courtesy of Bell
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190 FUNDAMENTALS viewer or a projec
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192 FUNDAMENTALS scene lengths and
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194 FUNDAMENTALS are run back and f
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196 FUNDAMENTALS Fig. 9-5. Bell & H
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198 FUNDAMENTALS ganization and the
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200 FUNDAMENTALS Titles are like th
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202 FUNDAMENTALS Fig. 10-1. Acme Ho
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204 FUNDAMENTALS ment would be de-e
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206 FUNDAMENTALS prints of the fini
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208 FUNDAMENTALS it is essential to
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210 FUNDAMENTALS children's shows.
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212 FUNDAMENTALS Fig. 10-3. The Acm
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214 FUNDAMENTALS that the start of
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216 FUNDAMENTALS forming the words
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218 FUNDAMENTALS title will appear
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220 FUNDAMENTALS a fade-out is desi
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222 FUNDAMENTALS two identical film
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224 FUNDAMENTALS television produce
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226 FUNDAMENTALS editing, the effec
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228 FUNDAMENTALS film libraries are
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230 FUNDAMENTALS for it has popular
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232 FUNDAMENTALS Fig. 11-1. (A) Clo
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234 FUNDAMENTALS than the artistic
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236 Picture Lens Field Frame View F
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238 FUNDAMENTALS (A) (B) Fig. 11-3.
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240 FUNDAMENTALS Fig. 11-4. (A) Mon
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242 FUNDAMENTALS Of course, product
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CHAPTER 12 CHOOSING FILMS FOR TV As
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CHOOSING FILMS FORTY 247 Broadcasti
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CHOOSING FILMS FORTY 249 Titles sho
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CHOOSINGFILMSFORTV 251 over televis
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CHOOSING FILMS FORTY 253 area than
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CHOOSING FILMS FORTY 255 the same w
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CHOOSING FILMS FORTY 257 background
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CHAPTER 13 PLANNING THE SCENE It is
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Camera #2. Wide-angle PLANNING THE
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PLANNING THE SCENE 263 Father shoul
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PLANNING THE SCENE 265 which can ca
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PLANNING THE SCENE 267 This is comp
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CHAPTER 14 USING FILMS ON TV From t
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USING FILMS ON TV 271 Since 36 feet
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CUT TO USINGFILMSONTV 273 Set 6. Mi
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light. In this way the objects will
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USINGFILMSONTV 277 properly marshal
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USINGFILMSONTV 279 appearing on it;
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CHAPTER 15 NEWSREELS FOR TV It is i
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NEWSREELS FOR TV 283 quite the mann
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NEWSREELSFORTV 285 reader. The bigg
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NEWSREELSFORTV 287 man who knows pe
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NEWSREELSFORTV 289 sounds better th
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NEWSREELS FOR TV 291 Fig. 15-2. The
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NEWSREELSFORTV 293 cans, cards can
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NEWSREELSFORTV 295 ously, and so wi
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PROCESSING NEWSREEL SCRIPTS 297 : S
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PROCESSING NEWSREEL SCRIPTS 299 nar
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CHAPTER 17 FILM COMMERCIALS Elsewhe
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i some : (We'll i on 1 with I FILM
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FILM COMMERCIALS 305 mercial. Both
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occasion mentioned, FILM COMMERCIAL
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FILM COMMERCIALS 309 script should
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FILM COMMERCIALS 311 air. This incl
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CHAPTER 18 WHAT MAKES GOOD COMMERCI
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WHAT MAKES GOOD COMMERCIALS 315 fel
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WHAT MAKES GOOD COMMERCIALS 577 of
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WHAT MAKES GOOD COMMERCIALS 319 wit
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WHAT MAKES GOOD COMMERCIALS 321 the
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WHAT MAKES GOOD COMMERCIALS 323 erl
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WHAT MAKES GOOD COMMERCIALS 325 cle
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WHAT MAKES GOOD COMMERCIALS 327 are
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KINESCOPE RECORDING 329 permits hav
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KINESCOPE RECORDING 331 and unfortu
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KINESCOPE RECORDING 333 clined to r
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KINESCOPE RECORDING 335 certain per
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KINESCOPE RECORDING 337 would be es
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CHAPTER 20 SCENERY AND PROPS Rhythm
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SCENERY AND PROPS 341 vision, there
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SCENERY AND PROPS 343 himself build
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SCENERY AND PROPS 345 Fig. 20-2. Mo
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SCENERY AND PROPS 347 with a fine m
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SCENERY AND PROPS 349 television fi
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SCENERY AND PROPS 351 who specializ
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SCENERY AND PROPS 353 room or bedro
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STUDIO OR LOCATION SHOOTING 355 be
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STUDIO OR LOCATION SHOOTING 557 tha
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STUDIO OR LOCATION SHOOTING 359 we
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STUDIO OR LOCATION SHOOTING 361 Equ
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CHAPTER 22 COPYRIGHT AND RELEASES T
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COPYRIGHT AND RELEASES 365 time to
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COPYRIGHT AND RELEASES 367 stations
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COPYRIGHT AND RELEASES 369 televisi
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372 INDEX Color films, 173 movies,
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374 INDEX Lens 50 mm, 142 Kodak 15
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376 INDEX Sweepstake winners, 300 S
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IMPORTANT BOOKS FO* TELEVISION TECH