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Talking Pictures at his lighting through a "blue glass," which resolves all colors into their eventual black and white photographic values. Using it, a trained cameraman can know ap- proximately the appearance of the scene when the film is developed, printed, and projected. The boom man stands ready to swing the microphone down, up, to the right, to the left, or straight ahead, following the action of the scene as the players have already rehearsed it. The director calls, "Ready! Everybody quiet!" The sound engineer presses one button. Some distance away, in the central recording building, ten cams, or small metal wheels, turn over in a small box. These wheels have breaks in their surface so that as they turn in con- secutive order they will make electrical contacts which will set various different pieces of machinery into ac- tion. Automatically the electrical contact broken by cam number one cuts off the stage telephone and in- sures absence of unexpected, extraneous sounds from that source. Cam number two starts a combination system of a red light and an intermittent buzzer on the outside of the stage. Under pain of instant discharge, no studio employee may open the doors of a stage while this warning signal is in operation. Cam number three closes still another electrical circuit and starts the motors of the recording machines. Cam number four does a sim- ilar function for the motors of the camera. A fifth cam operates a tiny light within the camera. This flickers for a fraction of a second, and sensitizes the film with a foggy mark which, when developed, indicates the si-