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TECHNIC OF RECORDING CONTROL
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see around the girl, in order to find out who was speaking in the room behind her. The effect was so disconcerting that it was necessary to retake the closeup with its own sound track.
Since the interpretation of distance by the microphone de
POSITION NQ2
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LONDON • 9
MICROPHONE
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MICROPHONE
MICROPHONE
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CAMERA BOOTH POSITION POR LONG SHOT
POSITIONS OP CAMERA SOOTH POR CLOSCUPS
FIGURE 5
pends upon the acoustic properties of the set, there is only one microphone distance at which the proper sound distance will be obtained. This is analogous to limiting the cameraman to a single lens for his camera. Hence, when a change is made to a long focus lens, it is necessary to move the microphone nearer the scene than was necessary for the shorter focal length.
It is now time to consider how much the microphone must be moved when the lens is changed. With sets built in the manner to be described later, the microphone should be as far away from the foreground action as it would be necessary to place a 30 to 35 millimeter lens, in order to obtain the same sized image as will be obtained with the long focus closeup lens actually in use.
Fortunately, if the difference in focal length between two cameras used simultaneously is not too great, the ears' interpretation of the depth effect is not sufficiently accurate to cause any trouble. It is, therefore, possible to use a 35 to 40 millimeter lens simultaneously with a two inch lens without difficulty, provided the depth of action is not over 12 to 15 feet. In