British Kinematography (1950)

188 BRITISH KINEMATOGRAPHY Vol. 17, No. 6 to any great extent. Some stock gives a little trouble by 4t ghosting," caused by a strong image setting up a magnetic shadow of itself on adjacent layers of film, but the majority of stock is free from this. " Wow " appears to be nonexistent, although it can happen with poorly maintained gear, and re-setting up can usually cure imperfect wiping. Editing Difficulties. Joining and the varying sensitivity of stock have been major difficulties. Both of these are capable of remedy, but at present it is advisable to try to keep the rolls of magnetic film intact. Tests have shown that the hiatus caused by the passage of a join past the recording head is sometimes unnoticeable, but generally can be detected where it coincides with modulation. An occasional join could be tolerated, but at this stage it is difficult to say whether it would be practicable to use a roll with many joins. Future recordings on the same roll have to be borne in mind. The problems associated with joining will be explored more thoroughly when some enterprising studio adopts magnetic recording for all stages, except the final transfer of the track to photographic film. Editing of tracks and their laying for dubbing will bring to light the best way of handling the problem of joins, in the same way as blooping was developed in photographic sound. There is much to be said both for and against using magnetic recording for all stages. I foresee many complications. When it does happen the consumption of magnetic stock will increase enormously. In my own case, my stock of magnetic film is not consumed to any extent. Extensive editing can be left to a later stage of development, or, at any rate, until the need is more pressing than at the present time. The most difficult task at the moment is to convince producers that it is impossible to give them quality equal to magnetic recording on photographic film. Surface noise is negligible on the former and gives the impression of cleaner sound. A demonstration reel, consisting of piano, speech and orchestral recordings, transferred on to photographic film, was reproduced. DISCUSSION Mr. Bretton Byrd : In view of the wide Mr. W. S. Bland: An American studio volume range of magnetic recording, is it uses nothing but the magnetic medium until still necessary to use compression ? the final dubbing for release. They took all Mr. Birch : Although the amplifier has their tracks, re-recorded them on to photoa compressor incorporated, I have not found graphic direct positives, which were used for t necessary. The line of demarcation of cutting. All tracks, both photographic and over-shooting is not so clearly defined as in magnetic, were edge-numbered to correspond the photographic equivalent. with the picture. Having cut the photoMr. Dalby : I find compression is an ^h[? record' ^ linf. u? th°st tr.acks invaluable aid to overcoming the poor wlth j*? ongina! magnetic tracks, and rediction of some artistes. rerc?,rd those sections of magnetic on to rolls A ,7 .. ., , , . of films for the dubbing track. They finish A Visitor: Is it possible to go on location with a lot of ro)ls Qf magnetic film, with with a small camera and synchronise it with the original records put into their appropriate your magnetic drive ? places %r cud g seems a ver/faboPrious Mr. Dalby : I understand that the synchro process, nising method will work with any camera at Mr. K. Gordon: How do they transfer any speed, provided it is fitted with a pulse the edge numbering from the photographic wheel— a serrated wheel passing over a fiim to the magnetic tape ? pole-piece giving a pulse which is recorded Mr. Bland: It is printed on. I do not on the tape. The camera can even be know what they do when they want to use driven by clockwork. the same tape for another film. Mr. Gibson: What is the objection to Mr. K. Gordon : Surely in transferring using two recording heads ? Instead of to film, the original superior characteristics cutting, we transferred from the original tape of magnetic recording are lost ? to a second tape. The film was run through Mr. Birch: That is perfectly correct, until we got to the point we wanted, and But if the original recording is on film, you then recorded that part on the final reel. have two lots of loss.