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HIKE SYNC
HITCH
^vailability of fair-quality, low-cost, ^4-inch tape stereo recording equipment has brought many sync-sound techniques within the range of lowbudget film producers. With a simple sync gener¬ ator, a synchronous motor-driven camera, and a two-track ^4-inch tape recorder, synchronous dou¬ ble-system sound can be shot quite inexpensively. And with two stereo recorders your horizons can be widened to include dialogue looping with guide sound, picture looping, lip-syncing and even nar¬ ration with an amount of scoring, all before transfer.
Fig. 1Sync generator
First, as the sync generator is basically used only during the original shooting, let’s look at its con¬ struction. Two standard 6.3 volt radio filament transformers are connected, as shown in Fig. 1. The standard household plug is connected to the primary of one transformer. The secondary is con¬ nected to the primary of the other transformer, which has its secondary terminated in whatever type plug matches the tape recorder to which it is to be connected. The two transformers lower the standard 110-volt household voltage to approximately — 7 DBM level for safe input. The transformers may be mounted in a suitable case obtainable from any radio supply house. Though not actually necessary, a pilot light connected across the secondary of the first transformer is a convenient and reassuring way to confirm power to the transformers.
When the initial studio or location shooting is
A simple but effective method for record¬ ing sound on quarter-inch tape, accurately synchronized with picture.
By PHIL J. FLADD, JR.
All Illustrations By Author
being done, the sync-generator records a 60-cycle tone or ‘‘sync signal’* on track No. 2 of the stereo recorder. The dialogue is recorded simultaneously on track No. 1. The 60-cycle sync signal will even¬ tually assure absolute sync with the picture shot in the camera if the latter is equipped with a synchron¬ ous motor operating from the same power source. As the tape movement slows or speeds up, the sine waves of the sync signal will be spread or com¬ pressed along the length of the tape. Consequently, instead of 1 second = 7 % inches, the ratio will be 1 second = 60 cycles. The sync signal, recorded in the latter ratio, will parallel the dialogue recording on the same dual-track tape.
At the end of the shooting day, normally, the tape is shipped to the lab for transfer to a more compat¬ ible and editable material, e.g., 16mm magnetic film. In the lab the sound is transferred from the tape to perforated 16mm magnetic film, and here another ratio conversion takes place: 60 cycles (one second) of ^-inch tape now equals 24 frames of 16mm magnetic film; sync is once again resolved between sound and picture and editing can take place in a normal manner to complete the film.
Of course, all this presupposes the acoustical qualities of the original recording are acceptable.
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AMERICAN CINEMATOGRAPHER. JUNE, 1963