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RE-RECORDING 323
35-mm equipment as the losses of commercially available 35-mm equipment under comparable conditions are greater than 16-mm equipment; further advantage is also obtained from the higher quality of specialized 16-mm film processing. In general, all steps prior to the release negative itself should be processed at the higher film speed if losses are to be kept to a minimum. Possibly high-speed (18 in. per sec.) magnetic tape recording may be the answer of the future for all stages prior to the release sound negative.
Since each particular recording method and transfer process has distortion characteristics that are peculiar to it, the evaluation of distortion comparisons among the various methods in other than a qualitative manner is still difficult. Despite this difficulty, a generalization can be made that holds true in a sufficiently large number of cases: if an original record is made by one recording method (e.g., variable-density), the over-all distortion of a copy will be smaller if the re-recording method is of a different kind (variable-area). (This generalization presumes complementary recording of negative and positive for both variable area and variable density where such recording is applicable.) It has been found empirically that under "average" conditions, distortion produced by using the same recording method several times in succession is more disagreeable aurally than if different methods are used. Apparently there is a "piling up" of similar distortion products that does not occur when different methods are used ; the ear is seemingly more tolerant when distortion products are "spread out" over the spectrum than when distortion products occur at the same "spots" in the spectrum. If a highquality original recording were made on an up-to-date Western Electric variable-density 35-mm channel on DuPont 225 negative, and a good 35-mm print made on DuPont 226 (to be used to provide a re-recorded 16-mm variable-area release negative on EK 5372), less distortion will ordinarily appear on the release print than if the high-quality original recording were made on a modern RCA variable-area 35-mm channel. If the re-recorded release negative were to be of the variable-density type, the reverse might be expected to be true.
At the present time, the losses in 16-mm films and processing are so large that re-recording from 16-mm to 16-mm must be very accurately controlled if "elbow room" for convenient operation is to be provided. Unfortunately, very accurate control cannot usually be accomplished for numerous reasons, and other means must be used to provide the muchneeded "elbow room." For the present, such means will imply a better