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344 <MXi:.MATOGRAPHIC ANNUAL
THEATRE CONTACTS NEEDED
Projection, although a dual function, with picture elements of as much importance as the sound, is in most studios under the control of the sound department. The reason is simply one of expediency. When sound invaded the industry, picture projection had reached a stage where no serious difficulties were encountered, whereas sound projection presented numerous problems of personnel training and addition of equipment. Projection as an uncertain factor in the judging of sound recording may entail a serious division of responsibility if it is assigned to another department, although here, as in many other instances, much depends on the individuals. Where the problem is not solved by handing over studio projection in toto to the sound department, at least the maintenance of the sound reproducing machinery is delegated to it. Some sound departments also employ one or more technicians as theatre contact men to check up on conditions of sound reproduction in the field. This is obviously a prudent measure, since too often infinite pains are taken by the producing staff (and an almost infinite amount of money spent) with everything that goes into the negative, after which all hands trust to luck in the presentation of the picture to the public. As far as quality of release prints is concerned, it is gratifying to note that the Academy of Motion Picture Arts and Sciences is taking appropriate action to remedy the present deficiencies.
Development and research are obviously topics of importance in an industry as wholly dependent as motion pictures on technological factors, which are still far from a state of perfection. In general, fundamental problems of sound recording and reproduction are best handled in the laboratories of the equipment manufacturing concerns, but many problems, such as camera-silencing, set construction, correction of acoustic defects by re-recording, etc., require work in the field.
Sensitometry, and the control of photographic elements in the developing and printing of sound tracks on film, are of obvious concern to the sound engineer, since the most carefully exposed sound negative may be ruined by poor processing in the laboratory, and, conversely, lack of correlation between the photochemical elements and exposure conditions may result in degradation of quality or even loss of takes. One or more photo