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178 JOE W. COFFMAN [J. S. M. P. E.
A pair of head-phones connected into the monitoring circuit, and worn by the director during rehearsal and "shooting" of thescene frequently proves of much assistance in determining production values and his efficiency is greatly increased by a complete signalling system for his use, placing at his fingertips control of every possible production factor.
Arbitrariness is, of course, not a desirable quality in a director, and these remarks are not intended to approve that frequently observed fault. But it is believed that much of the rigidity to be observed on the talking screen of today is due to too scrupulous attention to the sound man's advice upon the part of the director. Unless he understands for himself the limitations and capacities of his medium, no director can put much dramatic meaning into his work.
It is sincerely believed that utilization of the possibilities offered by dubbing is of supreme importance to the advancement of the art of talking picture production. It has long been recognized that a silent picture is made or marred in the cutting room — similarly, in the not distant future it will be generally admitted that a talking picture is made or marred in the dubbing room. The emphasis on this last statement will be far stronger than ever was placed on the former. It is probable that within a year no original sound records will be used for the making of release prints of feature productions of high quality.
By proper dubbing, it is possible to raise or lower volume levels so that an entire production can be run without change of the projection room fader setting, except in case of extremely loud noises such as artillery fire. This possibility alone would make dubbing worth while, for the greatest popular complaint against sound pictures now is that the volume levels are unsatisfactory and are continually changing. Dubbing places the relationship between volumes in the control of the producer, and prevents the necessity for manipulation of volume by the projectionist. Dubbing also makes it possible to record all sounds at the most practical level, since the volume relationship is established in the dubbing room. It makes possible those fine touches by the director which have previously marked the best stage productions — touches which are not possible until the production can be viewed as a whole. It makes acoustic cutting even more flexible than pictorial cutting; it makes possible the improvement of voices and effects through changing their frequency content by use of the requisite filters; it permits almost any imaginable acoustic trick,