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Pedestal-style camera

I'm hoping someone will enlighten me on a term (and/or technique) I'm not 
familiar with. In an interview published in the Sept '97 issue of 
Variety's On Production, Ed Lammi, of Columbia Tri Star said, "...our 
position on half-hours is, if you want to shoot 35, it's on pedestals. 
And if for any reason you insist on shooting on dollies, then it has to 
be Super 16." I get the general idea of what he's talking about, but 
perhaps one of my hollywood colleagues can tell me why a studio would 
insist that a half-hour show be shot stationary (if I interpret 
correctly) on 35 and only use S16 if they want to move the camera? 
Spence Burton
Film Services Manager
Henninger Media Services

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