PLANNING AND PRODUCING VISUAL AIDS

• Document Type: CREST
• Collection: NGA Records (Formerly NIMA)
• Document Number (FOIA) /ESDN (CREST): CIA-RDP78B04770A000800010013-0
• Release Decision: RIPPUB
• Original Classification: K
• Document Page Count: 76
• Document Creation Date: December 28, 2016
• Document Release Date: September 27, 2004
• Sequence Number: 13
• Publication Date: January 5, 1965
• Content Type: REPORT

Declass Review by NGA.
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Page
Five Forms of Visuals .................................................................... 3
Team Approach ................................................................................ 4
Visual Media ._ ................................................................................. 4
Planningboard Card .......................................................................... 6
Picture Story ._ ................................................................................. 6
Help To Photographer ...................................................................... 7
Three-Dimensional Title Letters .................................................. 8
Colored Light on Title Letters ..................................................... 9
Progressive Disclosure .................................................................. 9
Outline Maps ._ ................................................................................. 10
Other Lettering Methods ................................................................. 11
Casual-Style Art ............................................................................... 11
Color Versus Black-and-White ........................................................ 12
Negative Slides ._ ................................................................... 12
Adding Color to Black-and-White Slides ........................... 13
Color From Black-and-White .......................................................... 13
Material Simplification .................................................................... 14
Illustrated Script for Lecture Aid ................................................. 14
Sources of Materials ....................................................................... 16
Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
 . Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
I
0
I
I
I
I
PLANNING AND PRODUCING VISUAL AIDS
The information in this pamphlet is adapted from a two-part article
by Norman E. Salmons, Manager, Audiovisual Service, Eastman
Kodak Company, in the August and September, 1959, Volume 10,
Issues 8 and 9of The National Photographer, official publication
of the Professional Photographers of America, Inc.
The methods of planning and producing visual aids described in this
pamphlet are those in current use by Audiovisual Service of the Sales
Service Division, Eastman Kodak Company. While the results meet
Kodak's needs in a most satisfactory manner, other procedures may
suit the needs of other organizations.
A visual presentation usually falls into one of two broad cate-
gories. First, partial visualization in which something appears on
the screen at only those times when graphic information or data are
required to illustrate what is being said by the speaker. Usually,
this type of visual is in the form of a graph, chart, or diagram. The
second category is that in which there is always visualized on the
screen something pertinent to what is being said by the speaker.
Within these two broad categories, a presentation can be put to-
gether by using one or more combinations of five different forms of
visuals. The first of these forms is the picture sequence. In other
words, a series of pictures telling a story.
The second is "words on the screen;' a form which provides
visual impact, in either brief summary form or telegraphic lan-
guage, to what the speaker is elaborating upon verbally.
The third form is the symbolization of ideas - that is, setting
a mood by symbolizing with either the abstract or a symbol rather
than the factual.
Next, are charts and diagrams - the graphic data or information
referred to earlier.
Finally, there is the "action sequence:' This usually takes the
form of a short motion-picture film clip inserted at the required
place in what is otherwise a "still" presentation.
. ? Eastman Kodak Company, 1962
9 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-
TEAM APPROACH
When people come into Audiovisual Service with the problem of
visualizing a presentation, we keep in mind that, although they are
experts in many fields - even, perhaps, photography, it does not
necessarily follow that they have had much experience in planning
visuals. Certainly, with the time and budget available, Audiovisual
Service could not hope to approach the specialist's knowledge in his
particular field. So, instead of attempting a "writer-producer"
approach to providing these people with visual aids, we use the
"team" approach in order to produce a personalized talk for the
individual.
For convenience, call this the "ABC Team:' The team consists
of three people: Mr. A, who is the authority on the subject matter
and who presumably is familiar with the audience; Mr. B, the spe-
cialist versed in communication theory and practice and skilled in
presentation procedure; and Mr. C, who is skilled in audio-visual
production techniques.
The first thing that happens in the working of this producing
team is for Mr. A and Mr. B to have a pre-planning conference.
They first attempt to analyze the audience, keeping in mind the
audience's background, related experiences, problems, prejudices,
and knowledge of the vocabulary related to the subject to be dis-
cussed.
Next, they discuss Mr. A's aim. What is he attempting to do in
making this presentation? To change an attitude? To help the audi-
ence in their ability to perform a certain thing? To present informa-
tion factually in order to facilitate a decision on the part of the
audience? Or to get them to take action on something? How about
testing the audience both before and after the presentation, espe-
cially in the case of a training or teaching session?
VISUAL MEDIA
How about the meeting conditions? What is the size of the audience?
How much time is available on the program; what is the character
of the meeting room; and what are the other events on the program?
What about the permissible budget to produce the visuals, and what
is Mr. A's deadline as to when the visual package must be delivered
to him? The answers to all of these questions with regard to the
meeting conditions help form a plan as to what type of visual media
will be used (Figure 1).
Basically, what Mr. A and Mr. B are accomplishing is analyzing
the problem, establishing an objective, and defining the strategy.
It is now up to them to devise a work plan that can be used by
Mr. C and his staff for the actual production of the visuals. In some
cases Mr. C works directly under Mr. B; therefore, production
supervision and maintenance of quality control fall upon both.
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 I
6
a
I
I
I
0
Figure 1 -Cycle of the ABC team. This is
also an example of the progressive disclosure
technique of adding information to the screen
through the use of a series of slides. Paper
patches of various colors were used in the
art work for "color coding.'
? PRODUCTION
SUPERVISION
I
QUALITY
CONTROL
I
I
'AN'ALYZE
Al
PMUNTATION
FACILITIES
PRODUCTIONN
SUPERVISION
DUALITY
- CONTROL
ANALYZE
PROBLEM
'ESTABLISH OBJECTIVE
DEFINE STRATEGY
ANALYZE
PROBLEM
.PRODUCTION
SUPERVISION
QUALITY
CONTROL
. Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Perhaps the best way for Mr. A and Mr. B to communicate with
Mr. C and his staff at this point is through the use of a planningboard
card. This is a 3 x 5-inch card containing areas for certain infor-
mation (Figure 2). Working together, Mr. A and Mr. B fill out a
planningboard card for each visual. The lower part of this card is
where they write in the idea continuity or summary of what will be
said while that illustration is being viewed by the audience. In the
rectangle on the left side, they sketch (roughly, to be sure) the
major elements or components of either the art work or the photo-
graph. The right side of the card contains production notes which
are, in effect, instructions to Mr. C and his staff regarding details
of the art work or photograph. Here they might place symbols desig-
nating long shot, extreme close-up, background color, etc. The
upper-right corner of the card lists job number, illustration number,
and any other information for production control.
Figure 2 - Planningboard card showing rough visualization of illustration;
idea continuity at bottom; production notes at right; production
control figures at top.
After the cards are filled out, they are lined up in sequence on a
3 x 4 1 /2-foot board, called a planningboard, and attached by means
of strips of acetate channels (Figure 3). The arrangement of cards,
called "an idea sequence," then becomes the nucleus of the whole
production. Everyone involved in the planning and production can
consult the planningboard as the authority for content and sequence.
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
At this point there is no need for an illustration list or a script. All
the information is contained on the planningboard - a description and
a sketch of the visual, and a summary of what will be said about the
visual. This is, in effect, a plan for a picture story. Mr. A will
"talk" from the pictures as they are shown.
The advantages obtained through the use of this planningboard
system are many. First of all, it is of help to Mr. A in organizing
the planning of his story. It is easier for the audio-visual people
to work by this method instead of sitting down and trying to first
write a script and then to visualize it paragraph by paragraph. The
end result of the latter method is, in most cases, a slow-moving,
poorly visualized presentation.
From the production viewpoint, the planningboard is a great help.
Instead of the photographer merely receiving an order for "a photo-
graph of a gizzmo," through the planningboard system the photog-
rapher becomes familiar with the entire story line. He sees how each
. illustration relates to others in the sequence and has full information
as to how each individual picture will be discussed. In addition, the
planningboard card forces Mr. A to clear up any fuzzy thinking
with regard to actual content of each illustration. This practically
eliminates the need for reshooting.
At any time during the actual production of the story, Mr. A
can utilize the planningboard in "talking" through his presentation
for either his own evaluation or that of someone he may bring with
him for the purpose. This does not interrupt production, so that the
polishing of the talk can be done simultaneously with the actual
production of the illustrations.
. Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-
PRODUCTION
(Numbers in parentheses refer to sources of materials, listed on back page.)
THREE-DIMENSIONAL TITLE LETTERS
Let's turn now to some of the methods and gimmicks that can help
in producing these personalized, visualized talks inexpensively and
within an extremely short production time.
We get a lot of mileage out of three-dimensional letters. (1)
They are white, ceramic, block letters available in a number of
styles and sizes. They are relatively inexpensive and can be used
indefinitely.
Easiest to use are those which have no pin or fastening on the
back. Place them on colored-paper backgrounds and copy the layout
vertically. Usually the best background colors to use are blue, dark
green, rust, brown, or dark red. The aim is to achieve contrast
between the white letter and a pleasing, soothing color in the back-
ground. The brighter, lighter colors not only reduce this contrast
but, in some cases, produce a dazzle effect as the eye scans the
screen.
The block-letter layout is illuminated with a single spotlight
with focusing snoot. The best effect is achieved if this light source
is placed so that it illuminates the letters from the upper left. This
produces a sharp-edged shadow at the lower right of each letter.
The three-dimensional effect so obtained is far more pleasing and
less static than evenly illuminated block letters or flat art work
(Figure 4).
The block letters are extremely flexible and many variations
of background can be employed. We use the letters on top of both
black-and-white and color photographic prints, as well as art work
that has been specially planned for this use.
By placing the letters on a sheet of glass that has been propped
up seven or eight inches away from the background material, it is
possible to control independently the level of illumination on the
letters and that on the background photography or art. This allows
us to emphasize the text and subdue the background illumination
wherever required (Figure 5).
Figure 5-Text emphasis, background sub-
dued.
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 . Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
I
I
0
I
4ip
Figure 6-Ceramic block letters in combination with cut out art
work blocked away from background. Notice the impres-
sion of depth.
I
The use of colored gelatin over the spotlight permits infinite control
of the use of colored light falling on the white letters. This"tech-
nique is especially effective if a piece of black velvet is used for the
background so that the appearance is that of colored letters sus-
pended in a void. Using several spotlights with various colored gels,
coming from different directions, provides a blend of colors that is
also effective.
The block letters can also be used to label drawings or other
art work. For still more effective art work, however, we make use
of pseudo three-dimensional art work by cutting out the drawing and
blocking it away from the background paper with a few of the letters
(Figure 6). This provides the same feeling of depth for the drawing
as for the letters.
. In compiling lists, it is best to add one line at a time to the list -
that is, one line to each slide in a series -- until the list is complete
(see Figure 1). This has several advantages. It is easier for the
audience to assimilate one thought at a time as it is added to the
I preceding idea. This system also keeps the audience from getting
ahead of the speaker by reading ahead of him. The procedure also
has the effect of stepping up the pace of the presentation by not
0 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-
having one slide on the screen for the length of time required to
discuss a whole list of items.
In actual practice, we copy the list backwards as follows: First
we set up the entire text to compose the layout more accurately to
the 2:3 ratio of a 35mm slide. Then, after each picture is exposed,
we remove one item from the list and, without moving copy or cam-
era, make the next slide, and so on.
Still another way that attention can be kept on each line of a list
as the speaker progresses is to highlight each line in turn and, at
the same time, subdue the lighting over the balance of the layout
area by means of barn doors on a spotlight.
Because we often have the problem of showing the geographic loca-
tions of places, people, or things, outline maps are stock items in
our studio. Suitable maps of cities, states, countries, or the world
can be procured from many stationery stores. We make enlarged
photographic prints from these outline maps, reversing the tones
in the process.
The end result is a mounted print approximately 16 x 20 inches
in size, with white lines on a solid black background. Ordinary map
pins or punched-out solid dots of colored paper can then be used to
locate the various points on the map. We find that the brighter,
lighter colors, such as white, yellow, orange, and red, are best from
a visibility standpoint. These colors contrast nicely with the black
background of the map (Figure 7).
Figure 7- Photographic enlargement of white on black outline
map. Dots are in bright colors, caption at top is made
with gummed-paper die-cut letters.
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 I
^
I
0
I
0
There are some lettering systems available that can save a great
deal of time - hence, money. (2) One of these is Letraset Instant
Lettering. These letters are transferred by a burnishing technique.
Another system makes use of gummed-paper die-cut letters. Both
are available in various sizes and styles and in black or white. They
are especially adaptable to the labeling of charts, graphs, diagrams,
flow charts, and organization charts, and they can save a great deal
of time compared to the use of hand lettering.
As with block letters, the paper letters show up best when con-
trasted against paper backgrounds of the darker, well-saturated
colors.
The available sizes of the die-cut letters fit in very nicely with
a standardized size of prepared art work. Although the over- all size
is not critical, it is important to keep in mind that the 35mm slide
area has a 2:3 ratio. It has been found that a 6 x 9-inch "critical"
area works out very well. By preparing the art on a 10 x 12-inch
piece of Color-Aid or Color-Vu (3) type of paper, we have a good-
sized "safe edge" surrounding the art work, and this facilitates
both handling and eventual copying. For good legibility, no letter or
character should be less than 1/4 inch high when working to this
6 x 9-inch size of art.
Upon completion, the art work is mounted on a 10 x 12-inch
piece of chip board and protected with apiece of transparent acetate
hinged at the top edge.
Standardization of art work is of help to the artist because he
has a better mental picture of how line-widths and characters will
appear in the final projected image. Preparing all flat copy to a
standard size also makes for more efficient copying under the cam-
era. The outside 10 x 12-inch dimension allows filing of art work in
conventional letter-file drawers, thus conserving space and making
it extremely easy to locate a particular piece of art through the use
of a filing catalogue.
The hot-press lettering device (4) is another valuable piece of
equipment in the preparation of art work for visuals. By printing on
transparent overlay cells, it is possible to combine any caption with
any art work (some of which may already be in existence in the
files). The hot press is especially useful for producing presentations
bilingually. To produce a talk in both English and Spanish, for ex-
ample, we use the same basic background of art work in both
and merely flip down alternately two different language cells
printed for each piece of art.
CASUAL-STYLE ART
One of the lowest-cost methods for producing colored art work uti-
lizes colored chalk (5) on a moderately rough-surface black back-
ground paper. By their very nature, these materials produce a
0 Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
 result resembling a blackboard and therefore lend themselves to an
extremely casual style of finished art (Figure 8). The blackboard
style is not adaptable to all types of presentations, of course, but,
for such applications as training sessions, it seems to tie in very
nicely. This style is especially adaptable for extremely low-budget
and "quickie" productions.
Figure 8- Brilliantly colored chalk is used on rough black paper for
low budget, casual art work.
While the majority of the transparencies that we produce are in
color, we are occasionally called upon to make black-and-white
slides for one of two major reasons. The first of these is the time
element. The most common situation is that of someone who has a
set of color slides made sometime in the past; now he wishes to have
the existing sequence modified in order, for example, to incorporate
last-minute developments; he asks us to produce, in only the few
hours available, the art work and transparencies required.
A quickie technique involves the use of typewritten titles or text,
or art work drawn with black India Ink on white drawing paper. The
copy is then photographed on a high-contrast film, such as KODAK
High Contrast Copy Film or KODALITH Ortho Film, Type 3 (35mm x
100 ft), and processed for maximum contrast. It is this film - the
negative - that is used as the actual slide.
Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
 I Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
This not only saves an entire step of reversal,or printing to a
positive, but, in addition, by using a reversed transparency, both
increases the effectiveness and improves the legibility of the slide.
Furthermore, it eliminates the large, bright, white areas on the
screen, with their consequent glare, as well as the eye strain re-
sulting from viewing a number of transparencies of the high-contrast
"positive" type in a darkened room.
I ADDING COLOR TO BLACK-AND-WHITE SLIDES
In order to make these black-and-white negative slides blend with
existing color transparencies in a presentation, we color them
with transparent water-color dyes, such as Webster Photocolors. (6)
Of course, it is not necessary to color each character or line
separately, because no color will show where there is maximum
density. A dye is merely swabbed over the entire transparency with
a small brush or a piece of cotton. Or, with the help of a magnifying
glass, or loupe, and a small brush, it is possible to color different
areas selectively if we wish to color-code or emphasize certain
lines or areas.
The second reason we sometimes want to use black-and-white
slides (with or without color added) is for partial visualization.
Where visuals consist primarily of text, charts, and diagrams, this
high-contrast technique can be used. It is often desirable to have
the room lights partially on (preferably in the rear half of the room)
and to project visuals of this type on the screen as the need arises,
with the screen blank between the occasional slides. This eliminates
the problem of having room lights going on and off so that the audi-
ence never quite becomes adapted to either light or dark.
Perhaps you are interested in a method for producing quickie "color"
slides from existing black-and-white file prints. Take, for example,
a stock picture of some object, such as a manufactured product. We
cut out around the outline of the product and mount this cutout portion
of the photograph on a piece of colored background paper. Required
labels, arrows, etc, can then be added by using the paper die-cut
letters or one of the conventional stencil lettering systems. By copy-
ing this setup on color film, we can produce very quickly what many
people interpret as a color slide of the original subject. This, of
course, is especially true where the original subject is a piece of
machinery or equipment that is actually finished in shades of gray
or chromium.
0 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30: CIA-RDP78BO477OA000800010013-8
As is true in many companies, we have brought to us for conversion
into slides a great deal of material of an extremely complicated
nature. We must work very closely with the people supplying this
kind of material, in order to help them simplify the subject content
for use on the screen. One simple example might be the conversion
of a series of seven- or eight-digit figures into a figure representing
one or two decimal places. This not only saves space and time in
the preparation of the art work but, still more important, makes
for easier and quicker assimilation on the part of the audience.
Another problem is that concerning bar and line graphs where
the individual has original copy involving extremely fine details and
grid lines. Instead of copying this original material to produce a
completely illegible and useless slide, it is most important to suggest
possible methods of simplification and of remaking the chart or
graph. This is as important as the actual production.
As a matter of fact, it is a good idea to maintain a file of sam-
ples illustrating such simplification, along with examples of "posi-
tive" versus the reverse type of high-contrast black-and-white
transparencies.
In addition to the consultation and production service that we per-
form for Mr. A, we may also have the responsibility of preparing
material that will assist him in making the best possible presen-
tation of the material. For this, we can use either of two methods,
both of which involve converting 35mm transparencies to small
black-and-white prints as follows: First, place 20 of the 35mm
slides (in ready-mounts or glass-bound) on an illuminator at a time;
copy them on 4 x 5-inch black-and-white film; then enlarge the
negatives on 8 1/2 x 11-inch or 8 x 10-inch enlarging paper.
One system involves cutting out each of the 20 prints per sheet
and pasting them in the left-hand column of a preprinted 8 1 /2 x 11-
inch manuscript form (Figure 9). The commentary for each of the
illustrations is typed on the right side of the page. Each slide change
can then be indicated by a red dot imprinted, with the help of a lead-
pencil eraser and a red-inked stamp pad, right over the exact word
where a slide change is desired. If a remote-controlled projector
system is not being utilized, a second copy of this script can be
supplied the projectionist for complete co-ordination between the
speaker and projectionist. This illustrated manuscript is used where
the speaker feels it is necessary for him to read his presentation.
For the speaker who wishes to "talk-from-the-screen," we can
take the same 8 1 /2 x 11-inch sheets with 20 slides each, and spiral-
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 ^ Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
, e~_-
?' afn.N. futmt SUk eaaezar. Priwtvw .vI
P4ttits.
iheu sro 9. pane wM'Iw Hadvr aeG m eaw
vr, btiva Nat the 4.elm of the {twa .air fa
avtizelr Stir.,..: aW 5 5rtlw t, the a .5 5.5
mt r rte r' ar tw ve Nzee .r tw mttenn<
tlaL vt tw [er Sifimwt DteSru thvt wrttvn tv
Therv an ? WQ1 of etz e.nggz .S' atelLbL
Sa sa? et tGa tNw eerie.. 16na we en S clams 6
lwhea evS three an 1 evi?K famr. 1'M1aes
ewv'tl ev v e, tm.
e'ee ma _ yt,mtivv wvs / 'k 41 4r -- 1,
7-a- Co`o (- c Q , s~ sfc? ~'cwrr~
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30: CIA-R
V i. I
N..".1
Imeg? Farming
light
2
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
PAP, 212
C4AFT1NO. 2oF
DAZE. C-,
COMMENTARY;
COLOR ACQ. STUDY
FILM ]RESPONSE
O
VISUAL
NEAT RA L
IMAGE for. IIN& LIL T
7o- /a /- 4~~, Str1't?rn 1~Ckl~~
Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
 Approved For Release 2004/11/30: CIA-RDP78B04770A0
UPLICATION TESTS
6Y6N MNE kEP w" lINE yc
-
DUPLICATE DUPLICATE NEGATIVES ITIVES
MERCURY
PRINTING PRINTING
DUPLICATE DUPLICATE
POSITIVE POSITIVES
KODAK [IN[ GRAIN AERIAL DUPLICATING 1`11M
TYPE 8130 i I.___
71 NEGATIVE
KODAK EKTACOLOR
2 n POSITIVE d I POSITIVE
EKTACOLOR PRINT FILM
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
PAR ZI3
CHART O.
DATE 1_ ~9-to a'
ORIGINAL COLOR MATERIAL
TYPE 150-121
W N 1TE. LIGHT PR1 NTN&
DUPL. NECK. TYPE 4400
MERCURY ARC RZI NTINC3
COLOR DUPE STUDY
HIGH ALT. ACQ. OF 14 AUG. 1964
(~EPROD. SEt~IES
COMMENTARY :
/ .C' .tom' ft's ed/d1? dupe
Approved For Release 2004111130: CIA-RDP78B04770A000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
CCmHENtrar~Y?.
PT
Lii
I, eket-,t9ewc( Gdlaf
( C A-10 ,Q ppro d Rev' -, " /
oov/r~~it~r-~v~tc~ try t- P~ vc~
17
elL
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
PA 2 I
r o -
 Approved For Release 2004/11/30 : CIA-RDP78B647703-0
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
PAR Z V;!)
CHART. NO. 4 rf= c
DATA I-
COLO2 DUPE STUDY
COLOR STEREO SYSTEM
e&-w NEG.
TYPE 4404
5&W POS.
TYPE 8430
COLOR OR)&.
TYPE 50-121
COLOR ; DUPE
TYPE 50-108
TEREO IMoG E
COLOR
SATU RA710N
LOW
IL-
COLOR DUPE
TYPE SQiZl
5rEREO IMAGE
COLOR
SATURAT-ON
MEDI UK)
~Q 3 D
!t ~. a 1- 4-
L
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
COMMENTARY: e /c
CAa II c-a/a/- "1?e U t IJ74V
It e- Rep's-dol.
,2 C/La-7i 7( ~4 ~` ?-1 v~k. bar d
 Approved For Release 2004/11/30: CIA-RDP78B04770A000$OUO aOT3-0
Approved For Release 2004/11/30 : CIA-RDP78B04770A000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
COLOR DUPE STUDY
COLOR ST ER'EC7 SYSTEM
COLOR ORIG.
'TYPE SO-121
COLOR ORK131.
TYPIE GO?i 21
PAR 213
CHART No. 4 01 =9,
DA?E t-! q-#,&S
COMMENTAIZY- /<
fcfia-%,p ce/e~- d of e 5-74 el
CU/a~-Repi-od?RN~~'
r
{ cr
C A-a.}-4- 21 O y d 7Q ? )j
STEREO I MBE
CO LoR
SATURAT I ON
h~IC~H ;
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
COMMENTAR Y
LOL K LJU;d- SIUUT
4-
I i& ! AL ACQ, OF 14 AUC'. 1
T`(PE S0-121
L
SUS, PRINT1)C TUNGSTEN A
l SU ~, PR N~TI NC7 TU-~S?TEJ
1X P05 ZX Po5 4x wt.
LKOc-~< LE KTACOLOR PR)I ' FILM
r r~M~
r~dwr~
PAR 213 _
DATE 1- V3-(5
CRP, r 4". S- OF `j
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
COLOR M ERiAL
 Approved For Release 2004/11/30: CIA-RDP78B04
Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
 Approved For Release 2004/11/30 : CIA-RDP78BO477OA000800010013-0
wiz 213
C 4A T No. (, o
DATE I -iq
COLO1 'D-UPE "S"TUDY
EN LARG1 N& S'!_ML_ 5 - _T
C CONTAC ,
F-ECOR ORIG. EN LGM'T.
TYPE 50-121
DUPE
T'IPE
5Q-106
DUPE
Y PE,
5o-1 tt
II~ERNE~ INTERNEG
I'M>E 5270 TYPE 5270
PRINT [PRINT
-109 Cc~
ITrE (o 1 Y
COMMENTARY
/ ~~ak~ C?o /tlf Avp
d
'J
~ SU
-
/ 7-,f
/