We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
218 SOUND MOTION PICTURES
operate at will on the stage itself, he is now confined in a soundproof booth, which brings to him many problems that he has not had to face before. In photographing ordinary scenes in silent pictures each shot is made separately. The camera is placed approximately twenty feet away from the player, and when close-ups are taken of the same action the camera is moved somewhat closer, and the lighting is changed accordingly. In the talking and dialogue pictures, both shots are made simultaneously, with the use of two cameras. One is focussed at twenty feet and the other at ten. The additional ten feet required for the closeup is accomplished through the employment of a telescopic lens. Thus is brought about a problem of lighting that must be considered, because of the limitations caused by the camera's being enclosed in the booth and the prohibition against "shooting" from many angles, as in the taking of silent pictures. Just now, however, much progress is being made in the removal of these limitations, and a large amount of freedom is being restored in the camera work, through more silent operation and the use of a soundproof hood over the camera, which accomplishes the same result for which a booth has hitherto been necessary.
Particular attention must be given to the costuming of the casts. The rustle of a skirt or of some metallic substance may be caught by the microphone. Again, new methods are being found every day in the building of scenery that help to give sound full resonance. The studio property department must furthermore face its own problem of delivering any kind of atmospheric sound that a director wants, with as little delay as possible. These sounds or noises cover a wide range: whistles of every possible description, woodland noises, wind machines, chimes, bells, automobile horns, are but few of the sounds that have become the "vocabulary" of the studio. Some of these