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342 CINEMATOGRAPHIC ANNUAL
harmful psychologically by its tacit encouragement of excessive manipulation of the gain controls) must have, and that is imperturbability. Of all the elements of character required for the job, coolness in difficult situations is the sine qua non. Agitation, except on the part of actors and a few directors, cannot be tolerated on a stage, for the simple reason that there are so many things to be agitated about that a general demoralization would be the result if everyone yielded to panicky or irritable impulses. Furthermore, a show of apprehension or uncertainty results in a loss of confidence which, in the atmosphere of picture production, is extremely harmful. It may, for example, cause actors who play important roles to imagine that their voices will be poorly recorded, and that fear in itself may detract from their impersonations to such an extent as to seriously reduce the dramatic and box office value of the picture. Closely connected with this quality of calmness under tension is the power to make decisions quickly and without elaborate explanations. When the first recordist is asked whether a take is good for sound or not, he should be able to answer yes or no. If he is uncertain, the proper answer is no, with a compact statement of what he believes will improve the take from the viewpoint of sound. In this way production is accelerated and the best mental and emotional attitude maintained among the members of the company. Finally, the sound man who does his work on the stage must have a pleasant personality. A pleasing address is frequently as important as technical knowledge. Of course the sound men cannot expect to get by on amiability alone, but it helps immeasurably when combined with the other technical and personal qualities which are required in his work.
The assistant recordist on the stage, in addition to his function of maintaining communication with the recording booth, generally operates the microphone boom when it is necessary to follow the action. He therefore requires considerable training in practical acoustics.
Microphones are suspended as required by sound grips, who are under the direction of the stage recordist. The assistant recordist in the booth loads and unloads film and watches the machine for irregularities during operation.
Where both portable studio equipment and location sound trucks are in use, a separate crew may be assigned to the trucks,