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MULTIPLE EXPOSURE CINEMATOGRAPHY IN SOUND
PICTURES
WILLIAM STULL*
It is hardly more than a year since sound pictures took their place as the major part of studio production programs. In that year an enormous amount of progress has been made, alike in the artistic utilization of the new form, and in the technic of its operation. Studio personnel has grown increasingly familiar with the sound device, and this familiarity has resulted in the overcoming of many of the obstacles which the coming of sound was thought to have placed in the path of true screen technic.
An instance of this is the reappearance of such truly cinematographic effects as lap-dissolves and multiple exposure work. A year ago they were regretfully dropped from the cinematic vocabulary due to the added complication of sound photography. Now they are reappearing, as cinematographers and recorders gain more assured mastery of the new medium.
Probably the first to reappear were the fade-out and fade-in. Screen technic demanded them. As a rule, they have been made chemically; but to cinematographers, chemical fades are rarely satisfactory substitutes for those made directly in the camera. Similarly, recording engineers greatly prefer to control the fades on their sound tracks themselves. Therefore, in practically all studios, fades are now made directly in the camera and recorder. When recording with the variable density process, by means of a glow-lamp, the most satisfactory method has been found to be the gradual removal of the lamp to a distance from the film at which its light is no longer strong enough to affect the emulsion. While this could of course be done mechanically, it is at present done manually, very little practice being required to attain proficiency. When using the light-valve method, two courses are possible. One may either gradually stop down the lens of the recorder, or reduce the amplification from the mixing-panel. Both of these methods are also appliable to the variable area processes, while of course the only control possible for the disk systems is through the amplifier * American Society of Cinematographers, Los Angeles, Calif.
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