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FILM LOSS 253
the reproduction level during projection. This objective does not anticipate the losses found in the reproducing of the film by the sound projector; at present, such losses are presumed to be anticipated by the designer of the sound projector when he designs that machine.
Film loss in a projector may be measured by comparing the response of the projector when constant modulated light from a galvanometer strikes the reproducer photocell with its response when a constantamplitude film is scanned by the projector scanning beam. The difference between the two characteristics is usually called film loss. Film loss is usually difficult to evaluate for comparison purposes because differences in processing that are dictated by different recording methods and by the variety of processing methods actually used, result in different performance in terms of the character and amount of the distortion produced and in terms of the amount of noise produced.
Designers of sound projectors have had this situation in mind when designing their machines despite the fact that there never has been specific agreement among designers of sound-recording equipment and of sound projectors as to just where one stops and where the other begins. The practice as it now exists is followed because of the not-too-applicable precedent set in the design of 35-mm recording and reproducing equipment. Fortunately for the 35-mm industry a " standard' ' slit width of 0.0013 in. was selected by the Research Council of the Academy of Motion Picture Arts and Sciences for 35-mm reproducing equipment, and commercial equipment manufactured meets this ' ' standard. ' l This width represented the best compromise between cost and response characteristics. Designers of 16-mm projectors have not been fortunate enough to have a " standard" slit width for their machines; in addition, 16-mm film losses are much greater in magnitude than for 35-mm film. 16-mm film losses are much more variable in practice because a relatively much higher degree of control is required for 16-mm than for 35-mm if the same order of variation in the over-all result is to be expected. This is primarily a result of the fact that the film speed of 16-mm film is only 40% that of 35-mm; the recording is crowded linearly into only 40% of the space along the film. For such reasons, accuracy and extreme attention to detail must be the guide to successful 16-mm sound quality.
To accomplish the objective of designing a sound projector to be "flat to the print," most early 16-mm sound projectors, being deficient in high-frequency response because of a coarse slit in the projector sound-scanning beam, used a "peaked" (equalized) amplifier to