Image - What do we know of the "Real" Footage? F:F:F Pattern Recognition, William Gibson

On a re-read of the source material, I've put together a list of the references to the footage, with page numbers as found in the UK paperback: I give the page on which the chapter starts as well as the page on which the refererence appears in order to aid navigation with other editions. It doesn't amount to a great deal, and it's exciting that we got so much from it.

(p1)Chapter 1
(p3)The Front page of F:F:F is a frame grab from segment #48 dim and almost monochrome. No characters are in view.
(p1)Chapter 1
(p4)Nothing since the beach pan (not Cannes in Winter) Mention of Tarkovsky (? director of Solaris)
(p17)Chapter 3
(p20)Kim Hee Park of "The Chinese Envoy" named as possible maker
New segment - 48 seconds "It's them" - no speech.
(p17)Chapter 3
(p21)Uploaded anonymously
(p17)Chapter 3
(p22)Segment #135
(p17)Chapter 3
(p23)Segment #135 is Lovers' cheekbones in a prelude to embrace
Timeless clothes and hairstyles (range 1914 - 1957)
He - Black leather coat with collar up
She - Dark Long Fabric coat - hatless
The Kiss
(p44)Chapter 6
(p47)"The Garage Kubrick" - postulating that the whole work may be CGI graphics.
(p72)Chapter 8
(p75)Discovery that Segment#78 is watermarked.
(p79)Chapter 9
(p86)"The Kiss" takes place in a doorway.
(p103)Chapter 11
(p86)Each segment has the same resolution - sufficient for theatrical projection.
(p120)Chapter 13
(p122)Refers to a segment where he's on the rooftop. Oddly-shaped chimney pots. He walks to a low parapet and looks out on a city that never resolves.
(p120)Chapter 13
(p123)Long shots. Girl in a formal park.
(p146)Chapter 17
(p152)The Number ... 8304 6805 2235.
(p167)Chapter 19
(p170)Whiteout where they kiss "resolves" to a T-shaped map with 135 non-sequential numbers.
(p207)Chapter 25
(p211)Sigil Technologies - watermarking
(p220)Chapter 27
(p221)Brazilian Satanic Footage... referred to but not explained AFAIAA.
(p300)Chapter 37
(p303)New segment. He is reaching out towards the camera - perhaps from the girl's point of view - as if to touch her in parting.
(p300)Chapter 37
(p305)A man stands on the platform of a station, turns, raises his hand.
(p300)Chapter 37
(p306)The couple resemble the parents of Stella & Nora.
(p309)Chapter 38
(p309)The segment with the beach pan is mapped on the jagged edge of the T-shaped component.