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Forty-four
AMERICAN CINEMATOGRAPHER
July, 1931
«(7°
1 HE
i MOTION PICTURE INDUSTRY IS NOW ENTERINC INTO THE STAGE OF DEVELOPMENT WHERE FUNDAMENTAL KNOWLEDGE IN ALLIED ENGINEERING SCIENCES, IN PATENT LAWS AND IN PRODUCTION AND SALES ENGINEERING MUST BE CONSULTED IN ORDER TO SAVE TIME AND EXPENSE IN PRODUCTION AND EQUIPMENT."
DR. L. M. DIETERICH,
Consulting Engineer
Office and Laboratory
1001 No. Orange Drive
Hollywood, Calif.
Telephone: GRanite 2155
Scientific and Practical
Analysis of Motion
Picture Problems
\ ISO 6 Cahuen^a Avenue
JhOLLYWOOD, CALIFORNIA
New Splicing System for Sound Track
AN improved system of treating the sound track at splices — ,a system eliminating messy methods of painting and at the same time successfully silencing splice noise — has come out of the Eastman Kodak Research Laboratories and onto the market. The new method was described to the industry more than a year ago, but production of the necessary "blooper patches" and the simple block for applying them has only recently made it applicable in processing laboratories and projection rooms.
The introduction of this equipment came as a result of many requests that followed the announcement of the new patching process. The wide interest shown indicated to the Kodak Company that expenditures involved in acquiring tools to make the patchers and the patches would be justified.
The patching system obviates a condition in which imperfect painting of the sound track at splices frequently caused noises as objectionable as the extraneous sounds made by the reproducing system when an untreated patch went through. The older method caused more dissatisfaction in projection rooms than in laboratories, where skilled workers painting the sound track at hundreds of splices a day attained proficiency in the process. Even in the laboratories, however, it is believed that greater speed, together with assured accuracy, can be gained by use of the new patching process.
In seeking a solution to the problem, the Eastman Kodak Research Laboratories first tried gummed paper, then decalcomania transfers, and then an opaque film material; but none of these materials for patches proved entirely satisfactory.
An Example of the New Patch
The material finally adopted was a very thin clear film base, coated with an emulsion and exposed and developed to produce opacity. The patches are five perforations long and they are cut in a shape designed to cover the sound track completely for a distance equal to the width of a standard splice but tapering away toward each extremity until the sound track is entirely exposed. When a properly mounted patch passes through the reproducer the light reaching the photo-electric cell from the sound record is reduced gradually to an insignificant intensity and so continues until the splice has passed, after which the light passing through the sound record gradually attains its original intensity. The resulting diminution of sound lasts not long enough to be perceptible.