"Television: the revolution," ([1944])

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148 TELEVISION: THE REVOLUTION some split-second wardrobe switches. You see, the dressing rooms are directly beneath us, un- derneath the center platforms of the clover-leaf. So, as the actors move from one set to the next, they pass directly by their dressing rooms, and can make quick changes without much trouble. I might add that we're much indebted to the man who invented the zipper." By now the cast and technicians are beginning to assemble on the various stages below us. The engineer is warming up his equipment. A me- lange of sound rattles the control-room speakers. "Where are the mikes?" we inquire. Again our guide draws us close to the glass of the control-room window, and points to the stage below. "Those are the microphones, down there alongside the telecameras. The mike is rigged up on a long boom, which telescopes in and out by a system of cranks; the movies use identical equipment. A fellow rides around on the top of that crane, and keeps swinging the mike back-and-forth to pick up the performers' voices. But he's careful to keep the boom out of the picture. We have some other mikes hung from the ceiling. They can't be moved about so flexibly, but we sometimes tap them for an over-