Home Movies (1954)

■■■■■■■■■■■■■■■■■■■■■■■■a PROFESSIONAL Cine-Photographers! STUDIO SYNCHRONIZERS All Combinations 16mm and 35mm from $127.50 up HOLLYWOOD JR. PRINTERS 8mm, 16mm, 35mm Models from $167.50 STUDIO SOUND READERS 16mm 35mm Optical Track 8 16 17.5 Magnetic Track from $1 59.50 up SCHOEN PRODUCTS COMPANY 1 5029 S. Figueroa Blvd. Gardena, California ■■■■■■■■■■■■■■■■■■■■■■■■■ MUSIC • Continued from Pogc 13 fully pushed inward. Backing up the record 1 second provides sufficient time (as a rule) for the record to attain playing speed by the time the elected cue is reached. Of course, the volume should be held at '0' during the one second "speed pickup" interval. Since your results in preparing musical scores will be determined to a great extent by the equipment with which you have to work, let us discuss that aspect now and ascertain the latitudes and limitations of the equipment currently available to, and within the budget requirements of the average amateur. A most important point that must be realized by the amateur is that no equipment in the low or moderate price range will embody all of the features of professional studio equipment that has cost many thousands of dollars. So don't expect amateur equipment to perform all of the functions of professional equipment. However, even with their limitations, the equipment available to the amateur will produce remarkable results that need no apology. But, realizing the limitations of amateur equipment, it is important that you analyze your requirements carefully in order that you may make an intelligent choice of equipment best suited to your needs. There are two basic recording methods, single sound systems and double sound systems. In single sound systems the sound is recorded simultaneously on the film with the picture. These single sound systems, such as the Auricon Cine Voice, provide the best means of recording dialogue and many effects in perfect synchronization. They also have the advantage of convenience in playback on a single unit — a sound projector. Certain limitations are imposed on the editing of pictorial material since the sound track 'leads' the picture by 26 frames. This factor necessitates that each scene begin with approximately one second of 'silent' action. (This applies only to dialogue or any sound recorded simultaneously with the picture.) Also, i many times microphone placement and movement is a considerable problem in scenes with action or at any distance greater than medium shots. If the picture is edited in the camera in a manner that will not require further editing after the film is processed, an 'over all' musical background ( and/or commentary) may be recorded on the film by the following method. The success of this method is dependent upon the establishing of accurate start marks on the film and the accurate timing of all pictorial scenes or sequences either by timing or frame count. After the picture has been filmed, rewind the film (in the darkroomj on to an empty camera spool. Load the film in the camera as determined by your start mark and run off your carefully predetermined leader length. (If the film is threaded in the normal manner, in front of the gate, make sure the lens is capped and light tight. Or the film may be threaded in the back of the gate, shortening the loop so that it will not be scratched as it passes back of the gate) . \^ ith the camera set for recording, start the camera and the sound will then be recorded on th film without re-exposures of the picture. If the timing of your scenes or sequences have been accurate you can take your music from turntables or a previously edited sound track on a tape recorder and achieve a very satisfactory degree of accuracy in cueing your pictures 'blind'. The tape recorder provides the most satisfactory method of providing a truly 'edited' sound track. It is not practical to try to achieve extremely close effect cueing by this method, since any discrepancies cannot be edited out or corrected on the sound track and, coming with inappropriate action, might seem funny or absurd and thus spoil the effectiveness of both the effect and the pictorial material it was to accompany. Recording music onto a film with a magnetic sound stripe, such as the Bell & Howell No. 202, must be done in somewhat the same overall treatment that is followed in the 'optical' single sound systems. However, since you can see the picture during recording, it is possible to achieve much closer synchronized effects without the hazard of being out of sync. With the use of a synchronizing device, (described later I, to maintain accurate synchronous relationship between the recorder and projector, a completely edited sound track can first be made on a magnetic tape recorder and then dubbed onto the film in perfect synchronization. Fully synchronous magnetic recorders can perform a similar function of dubbing an edited sound track onto a magnetic stripe on film. However, synchronous magnetic recorders are not exactly in the 'budget' classification, and many times projector speed can vary sufficiently to create a synchronizing problem. This dubbing of a separately recorded and edited sound track onto magnetic striped film falls into the Double Sound System category. Such a procedure gives the user the advantage of double sound system recording with the convenience of single sound system playback. On magnetic sound-on-film projectors, such as the Bell & Howell No. 202. where the erase head can be ro 30