‘All In The Family’…A Rare Shot On The Set
On June 23, 2014
- TV History
‘All In The Family’…A Rare Shot On The Set
Oddly, there are very few pictures of this show in production and this is one I just recently found. I think this is from the first or second season which came from CBS Television City Studio 31. Starting with season three, the show began to alternate between studios 31 and 41. The cameras are early Norelco PC60s as you can tell by the original zoom servo cable on the side of the camera on the left, and the double cables on the other. Enjoy and share!
It’s hard to believe that this great set is not in a museum even though it survives.
I think those peds are in use at 57th street.
My boss was the Production Designer: Don Roberts. Many days on that set. Still have the original wall paper!
Where’s Hector ?
I understand that CBS electronically upgraded their PC-60s to PC-70s using a kit provided by Norelco, though the dual cables and rear tally lights remained. Also, CBS developed enhancements to the PC-60/PC-70 that it sold through its CBS Laboratories division.
Amazing..thankyou for sharing…
Serge, Our family had a screen larger than that. Norman Lear liked to see the actor’s faces. That’s also why camera four is so deep into the set.
Great picture! Wow, Sid Caesar workin the camera…
Are they EV-643’s? Dynamic shotguns!!
Looks like from the 1st season…given the color Sally’s hair.
Boom in the shot.
Saw it in production when @ Metromedia Square in the late 1970s.
What a fantastic shot! Thank you for sharing!
… those were the days! 😉
Crazy show but I liked it.
Got to work that show in 1976 when it shot at Metromedia.
How well I remember the era…..
This was one of the greatest shows of its time and mine and my dad’s favorite !!!! Thank you for posting this iconic shot of our one of our favorite shows .
…maybe it was a rehearsal.
Couldn’t help noticing the strange camera position
Camera pedestals sure have come along way!
I listened to an interview of a CBS cameraman on the Emmy Legends website. He mentioned that Norman Lear always wanted tight close ups.