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322 WILLIAM STUU,
track. To avoid exposing the film between each character's speeches, the lamp was withdrawn, and replaced at the proper time. As there was no partial record to play back to cue the actor, and as counts were obviously impossible, the cinematographer memorized the entire scene, and devised an elaborate system of lights by which he could signal both actor and recorder their respective cues. In this case again, he had to take into account the lag in their response. Aside from this, his task was of particular interest because of the nature of one of the doubled scenes, in which the actor, having beaten himself in a fight, knelt over his own prostrate form, and talked with himself ! The effect was achieved by exact and skillful photographic matching of the actor's head onto a double's body. The scene was photographed and recorded three times — and each "take" was perfect!
So far as is known, while such double-exposure work is equally feasible with the variable area systems, none has so far been attempted, as no need for it has happened to arise in the course of the regular work of the studios using that system.
Thus, however, it will be seen that, even in the brief space of a year, studio technicians have so far mastered the sound device that they can successfully attempt most of the cinematic effects and tricks of yesteryear in today's vocal films. Had they achieved this under the perfect conditions of laboratory research, they would be deserving of the highest praise, but that they have done so instead under the hurried and nerve-wracking conditions of scheduled commercial production adds incalculably to the glory of their achievement.