Preface | ix | ||||
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1 | (44) | |||
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45 | (31) | |||
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76 | (35) | |||
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111 | (40) | |||
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151 | (17) | |||
|
168 | (20) | |||
|
188 | (20) | |||
|
208 | (37) | |||
|
245 | (29) | |||
|
274 | (30) | |||
|
304 | (42) | |||
|
346 | (15) | |||
|
361 | (37) | |||
|
398 | (48) | |||
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446 | (26) | |||
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472 | (38) | |||
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510 | (24) | |||
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534 | (33) | |||
Appendix A. Adjusting a Video Monitor | 567 | (4) | |||
Appendix B. Depth of Field Tables | 571 | (4) | |||
Appendix C. Hyperfocal Distance Table | 575 | (2) | |||
Appendix D. Lens Angle/Focal Length Tables | 577 | (2) | |||
Appendix E. A Comparison of Running Times and Formats of 8mm, Super 8, 16mm and 35mm Motion Picture Films | 579 | (4) | |||
Appendix F. A Technique for Synchronizing the Rushes | 583 | (2) | |||
Appendix G. Splitting 16mm and 35mm Mag Tracks Prior to the Mix | 585 | (2) | |||
Appendix H. Cement Splicing | 587 | (4) | |||
Appendix I. Conforming Film Original | 591 | (2) | |||
Bibliography | 593 | (6) | |||
Index | 599 |
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