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1939 found me leaving a flaming European Continent, and I came to this country to again work with Joe Pasternak, in the Art Department of Universal Studio, where, as with so many, I first learned the methods practiced in the making of the American Motion Picture.
In looking back at those years, I am extremely grateful for my training and experience in motion pictures-. sketching, drafting, designing, conceiving the set in all its phases; plan, construction, painting, decoration and furnishing— a background for ACTION, and a visual aid in STORY TELLING.
Only because of this experience has it been possible for me to design and supervise the production of amost 1500 TV settings, during my 3 years at A. B.C.— solving the background problems of as many as 5 dramatic TV shows per week.
In television, growth is so rapid that things in this new medium do not happen any more, they EXPLODE! However, whether an electronic camera is used for "live" TV, or a film camera is used for TV on film, the net result is a moving picture! The application of motion picture techniques by the Art Director, therefore, is an important factor in both fields of activity.
The many people presently employed in television, who formerly were of the theatre and motion pictures, have brought to television the benefits of their valuable experiences in these two fertile fields. Especially with reference to settings and backgrounds, they have been largely responsible for the speedy and artistic growth of this relatively new medium.
In 1949, the A.B.C. Television Center at Prospect and Talmadge Avenues in Los Angeles was formal
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