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M. W.
[J. S. M. P. K.
can use a small symbol ahead of the numbers which will also identify the film coming from a particular camera.
It is also possible with this device to put the production number on the edge of each piece of film by providing another small lens and
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FIG. 4. Example of numbering on picture and sound track.
a changeable "slate" in the mechanism itself. This would serve to completely identify each foot of film as to production, camera, and corresponding sound track, thus relieving the film editor of unnecessary detail, and allowing him to concentrate on the more important
features of his work.
DISCUSSION
MR. COFFMAN: I would like to emphasize as strongly as I can the merits of this little device of Mr. Palmer's. It is small as far as complication and size go, but nevertheless it can save a tremendous amount of money for the industry if adopted. I have done enough editing of sound film to know the difficulty of handling separate pieces of film from the triple or double rewinders and going to a great deal of pains to maintain synchronism. The general use of this device would make it unnecessary to provide starting marks; it would mean that in addition to footage numbering the camera slate or code representing it could be recorded so it would be unnecessary to take up film footage by photographing the slate. Sound track and picture film could be cut into pieces a foot long without difficulty in identifying them.
MR. OFFENHAUSER: There is only one little remark I should like to make and that is that a recorder takes longer to start up than the camera. How does Mr. Palmer arrange for the proper starting? Where does he locate the mark?
Here is another point: The camera magazines are not loaded when the sound magazines are loaded. How about the mark in case film is left in one and not in the other? Can they stop the feed counter at the end of a shot?
MR. PALMER: As far as the two machines coming up to speed at the same time, I had that in my paper but skipped it. I have an arrangement whereby the counter which is on the picture camera and that on the sound camera are held out of engagement by a magnetic clutch and, when both are up to speed,