British Kinematography (1948)

79 divided into two categories : (a) positive or factual music, being that which forms part of the story ; and (b) incidental music. After the selection of the " story " music, the first decision to be made is that of the best method of shooting and recording, and it is to be deplored that too little consideration is devoted to this important factor. Methods of Recording There are three methods of recording music : pre-recording and playback ; direct floor recording ; and guide-track and post-synchronisation. Playback allows the greatest latitude to everyone except the artist. Direct recording, although allowing artistic spontaneity, restricts the operation of almost every department. Guide-track and post-synchronisation comprise a combination of conditions embodying both the virtues and disadvantages inherent in the first two systems. Generally it is safe to assume that all music and songs in which a strict tempo is maintained are suitable for playback work. The sense of reality produced by direct recording becomes more evident as the music becomes more involved ; the objections are the difficulty of maintaining efficient microphone and acoustic conditions and the limited mobility of the camera due to congestion on the set. It is generally considered that direct recording of musical sequences should be undertaken only as a last resource. Subject to the foregoing limitations, pre-recording, under ideal acoustic conditions, should be the first choice. Floor Playback Work Since post-synchronisation of accompaniments and music is carried out with the aid of guide tracks or playbacks, the same limitations obtain as with floor playback work. One qualification is that the conductor has to convey to the orchestra that which the artist is able to do spontaneously. In vocal song sequences, the voice can be recorded with a lost ghost accompaniment, and the most effective accompaniment can later b3 postsynchronised. Synchronising Music Dance taps or rhythmic sounds should not be post-synchronised, as the sync necessary between sound and sound is far more critical than that between sound and picture. Great care should be taken when lining up a dance tap track with an accompaniment track ; an error of even three perforations is sometimes noticeable. In the preparation of playbacks or guide tracks for floor work lead-in plops, spaced in time with the music that follows, should precede every musical start which follows an indeterminate pause. If the director interrupts the musical continuity to introduce an additional dialogue shot, it should be positioned so that it occurs at the end of a complete musical phrase. To build up incomplete playback tracks, guide track sections may be measured and plopped in time with the additional music and suitably intercut. In order to facilitate identification, synchronisation points should be marked on the tracks in consecutive numbers. Direct sound cuts should be made at points immediately preceding an accented beat or change of musical character. I have evolved a synchronising device, in which an exact duration of music is written on each stave, and a line of light visible through the paper is caused to traverse the stave in the same period. The use of this machine enables perfect synchronism without film projection. Another device will cause the plops on the guide tracks to light Up neon lamps visible to each member of the orchestra.