Talking pictures : how they are made and how to appreciate them (1937)

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"Lights! Camera!" voices as they come to him through the microphone. He may say, "Miss Colbert will have to be just a little louder on that last sentence, Mr. Lloyd. She moves away from the microphone faster than we can follow, and her voice dies." During these proceedings, the cameraman is scurrying here and there. He has completed his lighting preparation with stand-ins so that no more heavy moving of lights is necessary. But now, with the stars on the set, he perfects the job. Bv voiceless pantomime, in order not to interrupt the rehearsal, he signals electricians "up high" to give more "backlight" on the red hair of Jeanette MacDonald or to outline the broad shoulders of Nelson Eddv with a spotlight's beam. The director is satisfied. He calls, "We'll take it!" All required lights are switched on. Because lights create heat, rehearsal is usuallv done with about one quarter illumination. The propertv man takes a last look at a still picture which was taken on the same set at the conclusion of work the night before. He assures himself that all the furniture and "hand props" are in their proper places; that Mother has her sewing basket and Father his cigar, which has been burned to the right length for the time element involved. The assistant director glances about to see that all the actors required are properlv made up, in their places, and ready for action. The operative cameraman adjusts his lenses finally and swings shut the soundproof covers of his "blimp." His chief, the head cinematographer, takes one last look [177]