International projectionist (Jan 1963-June 1965)

the availability of all stereophonic releases — what few there are. Question 3 : Although not the usual procedure, a 6-track stereophonic recording can be converted to a 4-track CinemaScope recording by omitting tracks 2 and 4 (left center and right center channels ) and transferring the remaining four tracks to the four CinemaScope tracks. By taking special pains to insure accurate phasing, however, tracks 1 and 2 and tracks 4 and 5 of the 6-track recording can be electrically combined for tracks 1 and 3 (left and right channels ) of the CinemaScope recording, none of the six tracks then being omitted. A 4-track CinemaScope recording can be converted to a single monaural track by electrical combination of all signals, the fourth "surround" soundeffects track usually being omitted. A more common method is to utilize track 2 (center channel) alone for the monaural transcription. This is made possible by the admixture of some sound from the left and right channels ( tracks 1 and 3 ) in the center-channel track. (The introduction of side-channel signals into the center-channel track has been criticized because it decreases the sound-separation, or directional, effect.) Question 4: Most movie stereophonic sound is recorded monaurally in a single channel and afterward "pan-potted" by a sound-following technique to obtain the effect of directional sound in the four CinemaScope channels. In this case, the monaural optical-track version is transferred directly from the magnetic single-track original recording. About the only actual stereophonic recording made with a multiplemicrophone setup in CinemaScope pictures involves musical sequences in which an entire orchestra is photographed. Because a multiple-mike setup is acoustically "tricky" and rather time-consuming for the studio sound technicians, the pan-pot method of faking stereosound from a singletrack original recording is nearly always used for action-and-dialogue scenes. The pan-pot method saves time and money and simplifies the "sound-mixing" operation wherein the original records are combined with effects and background music. In general, the pan-pot method gives a stereophonic effect which is as good, and sometimes better, than is obtainable by multiple-channel original recording. Trouble in encountered in scenes where players located at opposite sides of the screen speak simultaneously, but even these difficult situations can often be faked reasonably 14 well by use of the center channel. When perfection is mandatory, however, complex scenes of this nature must be set up for multiple-channel recording on the set. Question 5: The general rules governing material to be put on the "surround," or "effects," track reside mainly in the artistic intuition of the director and sound recordist. Naturally, all sounds which should emanate off screen are placed on this track — the sound of an unseen orchestra, of a roiling sea, of a distant locomotive whistle, or the voices of off-screen actors. A novel use for the fourth track involves what may be termed "psychological audio," that is to say, voices and other sounds heard only in the mind of a character in the story. The use of the fourth track is therefore largely a matter of artistic creativity which strives to produce dramatic effects in the photoplay and an emotional response in the audience through the medium of sound which comes from speakers located at a distance from the screen. —Robert Allen Mitchell iP Trans-Lux To Open New Theatre in April A new theatre, "The Trans-Lux East," located at 58th St. and Third Ave., will open during the first part of April, it is announced by Thomas Rodgers, vice president of Trans-Lux Corp. Said to be the finest theatre ever to be constructed in Manhattan. The architect, planned a "theatre with a personality," and the results are both striking and dramatic. Total investment for the 600-seat house, will be in excess of $500,000. An unusual feature of the theatre will be a viewing window in which the heart of the theatre, the sound and projection equipment, may be seen by the public. The Trans-Lux East is the first theatre ever to be constructed as part of an office and apartment building. iP Eastman Kodak Sales Top Billion Mark ROCHESTER, N. Y.— William S. Vaughan, president of Eastman Kodak Co., has announced that company sales and earnings topped the billiondollar figure for the first time in its history last year. In a report also signed by Albeit K. Chapman, board chairman, Kodak disclosed that sales of $1,056,072,473 were 7% higher than the $989,171.969 reported for the previous year. Net earnings were $140,342,438, or almost 8% above the 1961 total of $130,203,447 for 1961. The total was figured at $3.64 per share as compared to $3.38 per share in 1961. The report also disclosed a favorable cash position with working capital available totaling $412,000,000. up $25,000,000 in the last year. Inventories were $18,700,000 higher than at the close of 1961. iP POLY GROOVE PULLEY PROJECTOR MAIN DRIVE SHAFT POLY V MOTOR DRIVE BELT STABILIZER SHAFT (FLYWHEEL OMITTED) MOTOR MOTOR MOUNTING BRACKET LOWER MAGAZINE PROJECTOR DRIVEN GEAR (VERTICAL SHAFT) RECT DRIVE FLEXIBLE COUPLING DIRECT DRIVE SHAFT, BALL BEARINGS AND BRACKETS SOUND SPROCKET SHAFT TAKE UP BELT ADJUSTING ARM TAKE UP BELT PROJECTOR MECHANISM ' SOUND REPRODUCER DIRECT-DRIVE DIRECT DRIVE projector mechanisms and sound reproducers have been made available by Century Projector Corp. Detailed in this illustration, the mechanisms were described fully in the February issue of IP. The new Century drive is said to be easily adapted for interlock or synchronous operation. A timing belt drive between motor and reproducer is no longer necessary, it is said. INTERNATIONAL PROJECTIONIST MARCH 1963