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232 SOUND MOTION PICTURES
perience in motion picture technique has proved more than equal to the task. Practically every successful venture has been directed by old hands at the game. They have made themselves familiar with the possibilities of the new art, have entered upon their tasks with enthusiasm, and have evinced great talent in making the sound motion picture a finer entertainment. It is but a step, for example, from the photographic fade-out to the sound fade-out, or dissolve. It is but a question of experiment to determine the proper "timing" for the photographing of dialogue. Although the director has had to put aside his megaphone, by careful planning and rehearsing he has been able to control his cast as heretofore. Moreover, he realizes that dialogue should be used only when it is relevant to the story, that there are situations not at all suitable for dialogue. In such instances, he has proved pantomime to be effective to the accompaniment of music or sound effects or both. Finally, he has learned that proper casting for sound motion pictures requires selection of voices of decided contrast, as an advantage in making the characters stand out distinctly because of individual vocal traits.
The routine in the making of sound pictures is similar to that of the filming of silent motion pictures. The director generally rehearses the cast until it is perfect in lines, gestures, cues, and timing. Sometimes the first record made is a trial, known as a "play-back." This is a device which was originally developed by the Victor Talking Machine Company in testing artist recordings. It is nothing more or less than a phonograph record, which the director and players may hear repeated to them through loudspeakers located in the monitor room, or on the stage. In this manner they can give ear to the reproduction just as it would sound in a theatre of moderate size. This expedient not only offers a check on the scene, but reveals to the technician in charge of the mixing panel in the monitor room the re