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408 CINEMATOGRAPHIC ANNUAL
proportion by cutting ten percent from the height of the picture. To meet this condition nearly all cameramen are now composing their pictures with extra head room. As theatres using the smaller aperture also use a shorter focal length lens to make the picture as large as it was with a standard aperture the film grain, dirt, scratches and photographic defects become slightly more apparent with the greater magnification. Pictures produced to be accompanied by sound on disc only are generally photographed and projected the same size as silent pictures.
A reproducing system which is not properly adjusted will, of course, spoil any record. It is essential that all the vacuum tubes operate at their proper voltages. The adjustment of the light beam which falls on the photoelectric cell is important. Should this beam be wider than .001 inches, a loss of high frequencies results. In case the beam falls to one side of the track it will pass through the sprocket holes and give a 96 cycle hum, or, if the other way, it will reproduce a click for each picture frame line passing it. On variable area sound track a light beam off position will cause distortion because it will only be covering part of the sound modulation. In variable density no similar distortion occurs from this source but the volume falls off. The pressure pad which holds the film taut as it passes the reproducing light beam must apply just the right amount of pressure. Too much is likely to produce flutter, which reveals itself by making voices gurgle. Too little pressure will allow the film to move in and out of focus causing loss of high frequency response and articulation.
Anything that causes the film to pass the light beam jerkily produces flutter. Prominent among the causes are projectors driven through unevenly cut gears or having poorly adjusted intermittent movements. The degree of film shrinkage and condition of sprockets and sprocket holes also affects flutter.
The industry's problem is to get natural and intelligible sound in theatres. Each craft must do its best for the record as it evolves from sound to input to sound output and only as each craft realizes the problems of the others can perfect reproduction be hoped for.