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dialogues is much facilitated, by the fact that persons can be shown in permanent motion ; thus they can go on with the dialogue for quite a long time — for the ever changing optical impressions help to avoid an otherwise inevitable monotony. And as for musical pieces with their unchangeable length — thev can be more easily accorded with optics. For such scenes of course the sets must be chosen and prepared with greatest care.
In most of the studios there is no apparatus for moving camera shots, but it must be constructed always anew according to the problem. A somewhat primitive car with balloon tyres is the only perquisite to be found. It is of various shapes and systems, and is the most imperfect instrument in the studios of nowadays. It should be dirigible in order to follow every gesture of the actors, it should be shockproof and soundless. But it is nothing of the kind, no matter whether it has 3 or 4 wheels joined by a cog chain, or moving and turning freely, or constructed like the axle of a motor car. With great resistance only the car obeys its driver, even on a course specially prepared for each drive.
A " track " is very carefully prepared. The actors rehearse the scene innumerable times to be able to perform every gesture in the same place, and at the same fixed moment. It is calculated in advance whether the camera or the actor must leave their place first, at what speed the actor and the camera must move, at which place the one must wait for or overtake the other, and where absolute simultaneity is desired. Utmost precision of all these manoeuvres is necessary : For the camera-man must keep the actors always in the centre of the picture, and the sharpness of the picture must remain the same during the shot — a procedure which necessitates continual adjustment of the focus. The lighting of a moving camera shot is a difficult task, and in complicated cases special lighting bridges are constructed. The moving camera shot has also influenced the building of sets very much'; nowadays several rooms are often built in series.
Once I built a whole Komplex, consisting of a house with a street, house entrance, hall and staircase, with several stories, and a suite of apartments. For the lighting of such buildings through which the camera moved continually, a great number of lamps is necessary, and as they must burn simultaneously an enormous quantity of current is used up.
For economy the street in front of the studio was built into the open air, and the open studio door formed the connection with the sets built within. The street had a length of about 120 metres, was asphalted and consisted of two ranks of houses of 4 stories each', and ended in a cross road, the houses of which limited the view. The camera stood on a car in front of a house entrance. From the whirling traffic of motor cars, carriages and passers-by the principal actor separated and walked towards the camera. While he was coming near the camera it began to drive into the entrance hall, keeping the actor continually in the picture. He had now entered the house and was hurrying along the hall. The house is a Berlin tenement which ends in a court yard. The camera drove into the court vard in the middle of which a