We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
PREPARING FOR SOUND RECORDING 353
When recording is under way, it is well to remember that it is usually far easier to get the film timing correct during the recording session than it is to attempt to correct it by " juggling* ' the sound track later on. 16-mm sound cutting is unsatisfactory at best ; not only is good blooping a serious problem if the editor must rely upon paint-outs (as he usually does), but also the relatively long spacing between sprocket holes makes it next to impossible to alter syllables as can be done occasionally with 35-mm film.
Synchronizing Sound and Picture
To avoid confusion, a standard system of marking the picture film and the sound film for synchronism has been established.* The editor is responsible for the synchronization of the picture film and of the sound film, and when synchronization has been established, the standard marks should appear on the work print of the picture and the work print of the sound track. Once these marks have been transferred to the cut originals no difficulty with synchronization should be experienced, since errors in printing and other laboratory operations (should they occur) can be traced readily.
No pre-view head arrangement for checking the ''syncing" of separate picture and track is as yet available on the open market. Several arrangements are workable ; a good suggestion is to check with the commercial film laboratory that will do your release printing. They may not have the equipment that you need, but they can make a number of useful suggestions.
In the foregoing, the subject of titles for the film and effects for the film (should they be needed) has not been discussed. Titles can be quite "arty" and expensive, and they can also be simple and inexpensive. A good title requires good art work and good title camera work. There are numerous specialists in most every locality.
In conclusion, a remark made earlier in this chapter bears repetition : the editor is the forgotten man of motion pictures. There are no standard methods or apparatus for editing a motion picture. Many of the things that the editor needs, he will have to build himself or have someone else build for him ; if he doesn't, he'll do without. Manufacturers would do well to hearken to the needs of this no-man's land of motion pictures; the equipment of the cutting room needs scrutinizing — and improvement.
* American War Standard Z52. 53-1945.