British Kinematography (1950)

184 British kinematography Vol. 17, No. 6 on it. Other machines are on the market which can be coupled to sub-standard projectors6, enabling a commentary with music and effects to be played in near synchronism with a silent film. If such a machine can run a tape a very similar machine can run a perforated coated film, and so perfect synchronisation can be obtained. Let us turn for a moment from the amateur to the semi-professional. Most big organisations have their own film production units nowadays. Prior to the advent of magnetic recording most of them were restricted to silent films. Some, however, spent money on optical recording. They are now using magnetic recording to an ever-increasing degree. When they are able to obtain film stock with a magnetic coating on its edge, the growth of amateur and semi-professional sub-standard film recording is bound to be very rapid. That situation will certainly arise, and I have already seen some fair efforts of such film coating which have been achieved by amateur film clubs in different parts of the country. The 16-mm. film has grown during the war and post-war years from an amateur to near professional status. On the Continent, at least in France and Italy, there are more 16 mm. kinemas than 35 mm., and a 16 mm. magnetic sound film projected on a properly designed machine with arc lighting may in future compete with the professional 35 mm. industry. Another consideration is the extended use of 16 mm. " blown up " to 35 mm., particularly if one considers the possibility of recording sound on a magnetic track within the camera itself, and this also opens up a possible answer to the editing problems, for if the sound is recorded on the edge of the film, in the camera, there is no necessity to see the sound track, which remains an integral part of the picture. Considerations for the Recordist. You must excuse me for that brief peep into the possible future. In considering the application of magnetic recording to the motion picture industry, I would suggest that the practical approach is best summed up in the following suggestions : First, we must rid our minds of the idea that difficulties associated with the use of this system cannot be surmounted. Secondly, it behoves every technician to acquire as much knowledge of this system as possible. Thirdly, the professional should always be at least one step ahead of the amateur; at the moment the reverse is sometimes the case. Finally we must rid our minds of the idea that professional magnetic recording means an equipment which can be stowed in a suitcase and operated by unskilled labour. It is a system which calls for the same care and skill in operation as optical recording if the same quality is to be maintained. Superlative quality must always remain the yardstick by which the feature film production field is judged. It would indeed be a grave mistake for anyone to imagine that the use of magnetic recording can bring economies in the shape of fewer operatives or less skilled technicians. The microphones, the mixing panels, the recorder itself will still require the expert manipulative touch. The maintenance must still go on. Its use can, however, bring about very considerable economy in film production in the shape of great saving of raw stock and time, and greater flexibility through its facility of immediate play-back. REFERENCES 1. Jul. I.E.E. of Japan, 1933. 5. Brit. Kine., 17, No. 1, July 1950, p. 8. 2. J. Brit. Kine.Soc.,9, No. 3, July 1946, Also /. Soc. Mot. Pic. and Tel. Eng., p. 97. March 1950, p. 328. 3. Brit. Kine., 15, No. 2, Aug. 1949, p. 51. 6. Brit. Kine., 16, No. 2, Feb. 1950, p. 55. 4. Brit. Kine., 15, No. 2, Aug. 1949, p. 37. 7. Brit. Kine., 17, No. 1, July 1950, p. 7.