American cinematographer (Jan-Dec 1963)

THE WORLD S FINEST SYNC TAPE RECORDER The lightest (5 lb. 10 oz.), smallest (2i/2"x5"xl0") truly professional (broadcastquality) portable instrument of its kind in existence, it is Swiss-precision engineered, still plenty rugged on loca¬ tion where it has to be. And it carries its own power with it (new Dryfit rechargeable storage cells). Other Features include: • MANUAL AND FULLY AUTOMATIC VOLUME CONTROL • SYNCHRONIZATION with 16 and 35 mm cameras • ACCESSORIES Remote control by Wire or Wireless, Eveready Case, Automatic charger, Panel light AVAILABLE FOR IMMEDIATE DELIVERY $610.00 Plus Accessories Stop in, call or write for a FREE DEMONSTRATION and complete technical informa¬ tion. (NY, Hollywood or Hia¬ leah) CAMERA EQUIPMENT co., INC. Subsidiary of CECO Industries NEW YORK, N. T. 315 West 43rd St. JU 6 1420 HIALEAH, FLORIDA 51 East 10th Ave. • TU 8-4604 HOLLYWOOD, CALIFORNIA 6510 Santa Monica Blvd. • HO 9-8321 Technical Questions and Answers Q, / am in the final stages of edit¬ ing a comprehensive 16mm sound film for our company, for which all sound has been recorded magnetically on 16mm magnetic film. We estimate our print requirements at this time will be approximately ten prints and the lab¬ oratory has suggested “ electro-print¬ ing ” of the sound track. As the lab is in another city , 1 am unable to discuss with them personally what this in¬ volves. Please explain what, “electroprinting’' is and thereby add to my enlightenment. — R. B. McD., Sioux Falls, S. D. A. -One of the most lucid explana¬ tions of electro-printing appeared in an issue of General Film Laboratories monthly publication Rewind. It is re¬ produced herewith and should answer your questions: Electro-printing — the rerecording of a motion picture sound track direct to the sound track area of the print — pro¬ vides the producer considerable flexi¬ bility of choice in sound printing. The resulting print track is a photo¬ graphic track which becomes an inte¬ gral and permanent part of the print. It’s the same as a “printed” track, ex¬ cept that it’s rerecorded from the mag¬ netic mixed sound roll direct to the print — in place of the standard proce¬ dure of 1 ) rerecording the magnetic sound to an optical sound image track, which is then processed, and used to print the track on the release print, in a film printer operation. Electro-printing is normally utilized for 16mm reversal prints — either color or black-and-white — in small orders. When a 16mm film goes to positive color or B&W printing it usually means a large release print order, in which the use of a photographic (or optical) printing track is most economical. More time is required for electro¬ printing sound, than using a printing track. On small orders this is not a major factor, but on larger release print orders it can be significant. Then, even though the electro-printed sound quality is good there are limita¬ tions. The electro-printing process lacks the consistency of results that is cha¬ racteristic of the normal printed sound track. Since each exposed — but — un¬ processed print requires a separate re¬ cording run. there may be some quality variation within a group of finished prints. Also, the threading of print and magnetic track in optical recorder and magnetic playback machine is critical with the result that lip-sync match is assured, as in normal sound printing. And, there’s the economic factor we’ve already touched upon. General Eilm’s rate for eletctro-printing is one cent a foot, additional to the normal composite print price. When this is compared to the rerecording rate for a printing track of .1069 (for film stock rerecording, and processing), it becomes apparent the cost of electro¬ printing crosses over at eleven prints, and is an added cost for release print¬ ing from that point on — since there is no surcharge for printing sound from a printing track. But electro-printing at one cent per foot has definite advantages: 1. For the 16mm Ektachrome film headed towards a color itnernegative and positive release printing, the First Trial color reversal print track can be electro-printed, elim¬ inating the need for a B-wind negative printing track. On appro¬ val, only one printing track need be recorded — the A-wind track used in positive color printing. 2. For the very small print order — a single print, or a few prints — electro-printing provides standard, high quality photographic track on the print, at, low cost. 3. For the very important interlock, or presentation for approval, the low-cost electro-printed track pro¬ vides professional sound on a trial print, so that, changes do not in¬ volve the economic loss of a scrapped printing track. 4. Alternative track versions. Many English language releases also call for but one or two prints with the same pictures but another lan¬ guage track. Electro-printing is then an obvious choice. For normal motion picture sound printing, the use of a photographic Continued on Page 246 208 AMERICAN CINEMATOGRAPHER, APRIL, 1963