Motion Picture News (Jul - Sep 1930)

32 Motion Picture News July 5, 1930 J^gr// ?32 same film, are developed to form a photographic negative, and how tins combined picture and sound record may subsequently be transferred, by photoprinting in the usual manner, upon any desired number ot positive films. It will further be clear how the voice • a other sound record, by merely passing either the negative or a positive film through the reproducing machine in the usual manner, is again automatically • mil instantaneously converted into light waves, the light waves into electric current waves and the electrical waves either into electromagnetic waves that operate the diaphragms of one or more telephone receivers by which tney are directly again converted into sound waves, or into electro-chemical or other equivalent waves or impulses by which they are amplified, and the amplified waves finally converted into reinforced sound waves that are a reproduction of the original sound waves, free from all superimposed or extraneous disturbing influences. Notwithstanding the slight difference in displacement between the picture-section 19, and the soundrecord section 21, of the film 1, it is possible to project both the picture and the sound corresponding therewith so that they will reach the observer simultaneou'sly ami in synchronism. I will now describe one or two methods by which I accomplish this in operating my picture taking and projecting apparatus. .Let us assume that the distance between the screen and the average center of the total number of auditors, as generally distributed throughout the floor and galleries of a large play-house, to be say, 115 feet. The light from the picture reaches the eyes of the auditor at that distance instantaneously, while owing to its lesser speed, the sound would lag behind approximately onetenth of a second. Of coursev it will be realized that this has always been the case in auditoriums, in which the voice of a speaker or singer lags more or less as heard by the auditor, (according to the latter's distance from the stage,) behind the lip motion accompanying the utterance. Consequently, if this can be rectified by talking pictures a decided gain will have been accomplished over the actual performance. Now, it has been mentioned that, both in my camera and in my reproducing machine, speech is impressed and reproduced, respectively, at some distance "ii the film below that of the corresponding picture, this overlapping of the two records amounting as was stated, to a time interval, if measured along the length of the film, of approximately onefifth of a second. But inasmuch as the picture and voice sections, 19 and 21, of the film, are simultaneously exposed at their respective optical centers, both in taking and reproducing the combined record, this apparent displacement is automatically neutralized, and the voice and its picture are normally in as perfect synchronism as if they were both impressed alongside of each other on the film section 19. It still remains, however, to compensate for the slight difference between the speed of the light and sound waves. It will now become apparent that, in the taking of my picture, it is not essential that the receiving horn, 41, (Fig. 6) be removed to the distance of the average auditor, but it may be placed much nearer the stage than the camera and the voice transmitted to the latter electrically at the same speed as light. The photographic record of this voice will thus be impressed upon the traveling film so as to overtake the photographic record of its corresponding motionpicture, especially since the former is susceptible of being impressed on the negative film at a point several pictures in advance of the latter, as will presently appear. In reproducing from the positive film, the voice record is likewise electrically transmitted from the projecting machine to the stage (as well as to any other desired points in the auditorium), at which it is telephonically reconverted into sound, in advance of the projection of its picture. By thus thansmitting sound waves electrically in both directions, at the speed of light, in the manner described, both the sound and the picture may reach the middle of audience simultaneously. Any desired amount of such phase-displacement along the film, or inter-compensation between the light and sound record, may be given to suit different conditions that may arise, and the same film record may be adjusted to suit such different con-' ditions so as to produce synchronism whether the sound waves are transmitted electrically or by the intervening atmosphere. For example, in taking talking-pictures I may and preferably do normally lengthen the lower loop, 20, to the extent of two, three, or more additional pictures, in which case the sound record ean he made to overtake the corresponding scene I to a still greater extent. In exhibiting reproductions of this film in auditoriums of different sizes, all the operator need then do is, in threading up his projecting machine, to adjust the length of this loop to the size of the exhibition hall, or to the average distance that the reproduced sound will have to travel, in order to secure registration between the picture and its sound in the auditorium. By the use of this simple and effective expedient, it becomes immaterial whether the voice record is taken at a point closer to the scene than the picture record or at the same distance. It will thus be seen that my system is sufficiently flexible to lend itself to the proper taking and reproduction of every conceivable kind of subjects ■Hid under the most diverse conditions, with the assurance that either natural or absolute rcgisthe sound and its picture, whichever may be preferred, be secured and maintained. Referring now to Fig. 7, this represents a plan theatei or opera house, in which performances for my talking-pictures may be staged and in which such pictures may likewise be reproduced. In this figure, 100 represents the stage; 101, the proscenium boxes in front of the wings; 102, the space reserved for the orchestra; 103, the space occupied, below the stage level, by the orchestra seats; 104, the first or second balcony circle; 106, the space behind or over the balcony circle for the picture taking and projecting apparatus; 105 and 107, reserved spaces in the respective corners of the balcony; 108, the side walls of the auditorium; and 109, the rear or stage wall of the same. Fixed to the front wall of the balcony, at the center thereof and in a position where it will not interfere with the view of the stage, I provide a concave sound-collecting board, 111, secured to said wall by a bracket arm, 110, which extends forward and supports near its outer extremity and in such a position as to be directly in the focus of said sound-collecting board, a wide-mouthed microphone-transmitter, 112. Wires 113 and 114 run from the transmitter terminals, back along the arm 110 to insulated binding posts 115 and 116, which connect by means of the transmitter circuit wires shown, with the sound-recording appliances of the picture-taking camera, 117. Included in this circuit is shown the transmitter battery 118, and a switch, 119, for opening the battery circuit when the camera is not in use, or when a sound record is not to be made. The mechanism of this camera and its associated soundrecording appliances, are substantially the same as already described with reference to Fig. 6, etc. Alongside of the camera, 117, is located the talkingpicture projecting machine, 120, which is similar to that described with reference to Figs. 1 and 2. Both these machines are mounted together upon a pair of guide rails, 121, upon which they can alternately be moved into and out of their respective operative positions. From the terminal posts of the selenium grating of the projecting machine 120, are brought out the circuit wires, 122, 123, which run back to the stage as shown. A switch, 124, together with a battery 125, is also included in this circuit to enable the operator to open the battery circuit and then cut out the talking or sound reproducing instruments when these are not required. In some cases, I may also include a suitable induction coil, (not shown) in the sound reproducing circuit. Behind the screen 91, which is dropped across the stage, 100, when reproduction is going on, I arrange a series of loudspeaking telephone receivers 93, and also supplement these with additional receivers 94, which are located at the sides of the stage near the wings. These receivers, as shown, are all connected up in series by means of the wire 92, although in some cases I may, and generally prefer, to connect them in parallel circuit. In lieu of these receivers, which I have here represented as an enlarged form of the usual magneto type, I may substitute receivers of a relay or other amplifying type, such, for example, as I have illustrated in and described with respect to Fig. 1. The receivers, 93, may for convenience be mounted on a drop frame that can be lowered into position from the flies when the screen 91 is in use, while the wing receivers, 94, may be permanently attached to the proscenium arch, the framework of the boxes, 101, or other suitable point at the sides of the stage. The operation of these devices, shown in Fig. 7, is as follows: — Let it be assumed that a grand opera, with full orchestra, and staged with all necessary scenic effects, is to be given, and is to be taken by the camera, 117, for the purpose of making a photophonoscope film record of the same. The position of the singers in the cast, as distributed over the stage, 100, are indicated by the cross marks, (+) while the instruments of_ the orchestra, 102, are represented by the small circles (o). As will be seen, the sound-collecting board, 111, with the transmitter, 112. at its focus, is directly in front of both, and at a distance from the stage that will bring the soundreflecting surface of the collecting board at a fairly approximate average distance of the entire audience from the performers. Three important features connected with this part of my invention will now at once become apparent. First, the sound collecting area of the surface presented to the stage by the board 111, is many hundreds of times greater than that of a pair of human ears, and that practically the whole of this magnified sound-volume is reflected and concentrated upon a single and exceedingly sensitive mechanical ear, comprising the microphone-transmitter, 112. Second, the form and location of the concave board or "sound mirror," 111, is such as will cause it to collect and to reflect into the transmitter, 112, in segregated form, vocal and instrumental sounds, overtones, consonant sounds, etc., emanating from every part of the stage and orchestra, however widely separated the singers and instruments may be, as indicated by the dotted lines and arrows showing the direction of the direct and reflected sound waves. Third, that this arrangement entirely avoids the necessity of compactly grouping the singers and musicians, as has heretofore been the practice in the production of phonograph and gramophone records in order that as much sound as possible might enter the phonograph lie mi. and also that it removes the necessity for placing the horn so close to the singers as to be in the way of photographing them. Furthermore, it eliminates the limitations hitherto placed ujon such singers in the matter of having to face the phonograph while singing into it as well as restricting their freedom of movement, both of which, or either alone, might prove fatal to the reproduction in the form of talking pictures of an operatic or dramatic performance. With my apparatus the singers or actors are not restricted in their actions nor are they confined to a narrow area. Tn fact, the largest stage or arena may be covered, not only as to the sound record, but also as to the picture record. This «ill be manifest from an inspection of Fig. 7, in which the camera, 117 is shown at about the average distance of the audience from the stare so that, without the necessity of employing a Wide-angle lens with its unavoidable distortion .Heels, a natural effect will be given to the view, not only of the stage settings, but of Zfyj? ^=p3Q the singers and orchestral artists, the sound of whose voices and instruments, respectively, are likewise recorded, along with their accompanying motions, upon the film It will be evident, moreover, from an inspection of Fig. 7, that the concentrated intensity of the sound waves acting upon the diaphragm of the transmitter, 112, will cause correspondingly powerful variations in the intensity of the beam of light falling upon the sound-recording portion of the film as it passes through the camera, and that this record will act more strongly upon the sound-reproducing appliances and thus be heard with greater clearness by the audience. To still further increase the accuracy and sensitiveness of my transmitters and to reduce to a minimum the distortion of original characteristics of sound waves in making voicerecords, I may in certain cases employ my "liquid" or "capillary" type of microphone transmitters, described in U. S. Letters Patent Nos. 777,808 and 871,737, granted me on December 20, _ 1904, and November 19, 1907, respectively. The intensity of a sound of normal strength, varies inversely as the square of its distance from the ear, or in this case, from the sound-collecting board 111. In other words, a voice at the front center of the stage would affect the transmitter, 112, more strongly than the same voice would if removed to the side or rear of the stage. Now, just as the trained human ear is capable of distinguishing between and of individualizing the sounds of the separate instruments of a large orchestra, and as a less carefully trained ear is capable of detecting and separating the combined individual voices of a quartet or sextette, and of following a single voice moving forward or across the stage, so these various composite sounds will impress themselves in the direct ratio of their varying individual qualities and intensities, upon my microphone-transmitter, and by it be faithfully recorded upon the film in the manner already described. When my film record is reproduced, as by shifting the projecting machine, 120, shown in Fig. 7, into its central or operative position, and closing the switch, 124, the machine being set in operation, the animated picture portraying the scene and the cast are thrown upon the screen 91. Concurrently therewith the photographic sound record on the film is reproduced in the circuit wires 122, 123, and 92, in which latter are included the loudspeaking telephone receivers, 93, extending across the stage behind the screen, 91, and the telephone receivers, 94, in front of the screen at the extreme sides of the stage and which are pointed diagonally forward in a manner that will project the sounds therefrom onto the stage and into the auditorium without interception by the screen, 91. All of these receivers, being simultaneously influenced by the same electric current, operate in perfect unison, and distribute the reproduced sounds directly upon the stage, along the length of the screen, and into the auditorium, where it is heard by the audience and by it automatically referred to the proper character represented upon the screen. By this arrangement of my telephone-receivers, I am enabled still further to localize upon the screen the voice of any individual singer. This arrangement will enable me to heighten the effect of a solo number, as a spot -light is now used to bring an actor or singer into greater prominence, by wiring up the telephone through a commutating switch, by which the entire seven receivers shown are normally included in the circuit but are arranged so that a brush or switch-arm may be manipulated to cut in any particular one or more of these receivers alone, which are selected according to the position of the soloist upon the screen, and, which also permits any movement of such character across the screen to be followed up telephonically in the same manner by a corresponding movement of the brush or arm, along the commutator sections or switch points. Similarly, a duet may be directly emphasized, if or while the two characters are widely separated, by the inclusion of a second receiver at the proper point on the screen. By the methods and apparatus iust described, I am enabled to reproduce and present the voices and actions of a complete opera or drama with practically the same lifelike realism and thoroughness as the original performance. The two reserved spaces 105 and 107, befoie mentioned, which are preferably located in opposite corners of an upper balcony where sufficient unobstructed space is available may be utilized, u required, for the placing against the walls forming said corners, of substitute or additional sound boards, 12h and 127, similar to the board 111, when either still greater sound gathering power, or special effects in recording or in reproducing the sounds, may be desired. The space available at these points, gencralh quite large, thereby permits of the installation of sound-reflecting boards of much larger area at the proper angle to face the stage. Where these additional boards, 126, 127, are to he employed for recording purposes, however, it would not always be desirable to so utilize them without first cutting out of circuit the board 111. unless all three were located at substantially equidistant points from the center of tin s-tage. Nor would it be desirable, except in smaller si/e theatres, where this would prove useful, to