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22 TECHNIQUE OF THE PHOTOPLAY director is satisfied. The players are given no parts but simply do what the director tells them to. When the scene is rehearsed to the satisfaction of the director, he gives orders to turn the camera. In a light studio the illumina- tion comes from mercury vapor tubes, arc lights or a combination of the two. In the daylight studio arc lights supplement the sun on cloudy days only. In the South and West the scenes are set on platforms in the open air, light cloth screens cutting off the sun when the light is too brilliant. The camera is provided with two boxes or magazines with vel- vet lined slots 'through which the film passes in or out. The film is much the same as that used in hand cameras save that it comes in strips two hundred feet long and only i^ inches wide. The actual picture, or frame, is only one inch wide and three-fourths of an inch high. The film passes from the top box, down through the camera into the lower box, each section being halted for an instant in front of the lense while the exposure is made. Six- teen pictures are made each second. In American production it is the aim of the director to keep his leading players as close to the front line as possible, and for prac- tical playing purposes the stage consists of a space six feet wide and about four feet deep. There all of the important action must occur so that the figures may be large and the expressions distinct This small stage makes it necessary to cut off the legs of the play- ers and sometimes the top of their heads. It is inartistic, but it is what is demanded, so the photographic stage holds all the action though, in exteriors scenes, especially, the actual stage may be vastly larger. The scene is played through before the camera and the next rehearsed and taken until all the scenes in that set are made. Then the players may rest while a new set is made or they may go out and take some of the outside scenes, appropriate loca- tions having been selected by the director's assistant. The exposed film is sent to the developing room where it is developed and one print made of each scene. In the meantime the leader room has had a list of all leaders and inserts. These are written, printed or painted as may be required and these are printed along with the other negative. From this first print the director or someone else joins up the print. Starting with the title the first scene is cemented on and the scenes added in their proper order, all inserts and cut-in leaders being put in their place. The first print, properly joined goes to the cutting room where the film is edited. Here the print is repeatedly run through the projector and the small details are made right. Scenes that are at fault are condemned and retakes are ordered. Loose ends are cut