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I
PREPARATION OF THE FINAL SOUND TRACK
Summary of papers read to a joint meeting of the British Kinematograph Society with the Association of Cine-Technicians on March 19, 1947. The papers are more fuliy reported in the " Cine-Technician/'
I. THE DUBBING EDITOR
C. Tomrley*
N a well organised studio, with good continuity of production, the dubbing specialist can so organise the department and procedure as to effect very real economies in time and money. Unfortunately, often the first time the dubbing editor sees the picture is during its first screening.
One of the first tasks after viewing the production is to order from the library the most obviously needed effects tracks : cars pulling up, doors closing, revolver shots. Each reel of the cutting copy is run on the Moviola and marked to indicate where effects are to be added or removed. At the same time, dubbing sheets are prepared to show dialogue or action cues and the distribution of the effects tracks.
The use of music and effects is discussed. Probably the dubbing editor will receive the reels out of sequence just as they are completed : " Picture missing " inserts may be cut in to indicate inserts, and montage sequences or library shots not yet selected ; the track will be in a similar condition, with background recordings cut into by backgroundless dialogue tracks, or just unmodulated track to cover inserts.
Assembling Tracks
Assuming six dubbing heads are available, six columns on the dubbing chart would be headed, " Dialogue," " Music," and " Effects A, B, C, D." Dialogue refers usually to the original studio recorded track ; post-synced tracks are put on one of the other tracks for better control. It may be necessary to make volume or filter adjustments to any one of these tracks, and such sounds should be separated by blank spacing. A list of new recordings required must be prepared.
A wall progress chart is essential, giving such data as to what reels have been received and when, dates when sent in for negative cutting, and when prints have been received.
Meanwhile, the music department will be demanding sections for timing ; it is sometimes necessary to dupe whole reels in order to make the cutting copy available for negative cutting. There are library tracks to be run, theatre bookings to be made, the casting department to be instructed to call artistes for post-syncing.
The dubbing editor's job is harassing and nerve-wracking. He must be an imaginative and creative technician and rarely gets any screen credit. His work is the last process in a long chain of processes, many of which have gone well over their scheduled time.
The manufacture of special sounds may tax one's ingenuity. In " King Solomon's Mines," the sound of boiling lava was produced by placing a microphone close to a large bowl of boiling porridge. The noise of a Chinese crowd was produced by running an English track backwards, speeded up.
II. THE MUSICAL ASPECT
Bretton Byrd t
THE most successful films are usually those which produce the greatest reactions on the human emotions. Perhaps the most important and effective aural medium in this respect is music. Usually, film music can be Technicolor, Ltd. fBurnham Productions