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418 CINEMATOGRAPHIC ANNUAL
scenes of ordinary living rooms, no trouble would be caused by this arrangement, provided the two inch lens is not brought much closer to the subject than the shorter focus one.
Figure 5 shows two views of the same set and the same action, the right hand section indicating the situation for a long shot, while the left hand section indicates the camera and microphone positions for close-ups of each of the three dialogues, namely, those at positions 1, 2 and 3 respectively. The long shot was made with a 35 millimeter lens, whereas the close-up cameras were equipped as follows: Camera for position 1, 4", for position 2, 6" and for position 3, 4". The corresponding microphones are shown. It will be noted in the close-up section that three microphones were in use, but it should be further noted that only one was used at any one time. That is, when the dialogue was taking place in position 1, its microphone was on, and similarly for positions 2 and 3. The action occurring during the transition from positions 1 to 2, and 2 to 3, was taken care of by the long shot made under the conditions shown in the right hand section.
The next major item deals with the design of the set, with a view to obtaining the proper conditions for the acoustic perspective. When a person listens with two ears in a real scene, he is able by his sense of direction, to pay attention to the sound coming directly from the speaker, to the partial exclusion of the reflected sound and incidental noises coming from all around him. However, with this sense of direction destroyed by the use of one ear only, he is no longer able to make this discrimination, and the reflected sounds, that is, the reverberation and incidental noises, appear to increase in intensity. It is necessary, therefore, to insure that the set have less reverberation than would have been actually present in the real scene. It has been found by experience, that if the walls of a three walled set are built of materials having similar acoustic properties to those depicted in the real scene, that the absence of the ceiling and end wall provide sufficient damping to render the acoustics suitable for recording. This of course assumes that the sound stage is dead, or that the set is built out of doors. In practice, however, it would be both inconvenient and expensive to build the walls of