We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
DUBBING SOUND PICTURES
By K. F. Morgan *
THE entire realm of trick photographing and duping as a necessary adjunct to editing of the silent motion picture now has its counterpart in sound production in the dubbing or re-recording process. Dubbing may be subdivided and classified as follows:
(1) "Scoring," or adding music to a picture that already has dialogue or sound effects.
(2) "Synchronizing," or adding new sound effects or dialogue in synchronism with a picture which has previously been photographed with sound.
(3) "Re-recording," or transferring one or more film or diic records to a new film or disc record by the electrical process originally used.
Thus the art of dubbing may be simply making a sound record with the microphone to match a picture, it may be the combination of new sound picked up by the microphone with one or more sound records already made, it may be the combining of sound records only, or it may be simply re-recording one sound record. The last mentioned has four principal purposes: First, to make a new master record; second, to transfer a record from film to disc or vice versa; third, to correct volume variations and other defects; and fourth, to provide one continuous uncut negative uniformly developed.
The dubbing process has been instrumental in supplying a unity and finesse as well as rhythm and continuity to the sound picture. There are some who believe that as the technique of sound recording is developed to a high degree, the need for dubbing will be diminished or even eliminated. However, dubbing has contributed largely to the success of recent sound pictures and the indications are that, in all probability, its application will expand with the development of the art.
Probably ninety per cent of all the world's present day machinery and electrical apparatus for adding sound to the silent drama has been installed and placed in operation in the last two years. While this tremendous demand for the manufacture and installation of equipment, together with certain contemporary modifications and developments found necessary in the field, was being met, it was natural that no great amount of thought was given to what might be considered a secondary adjunct, namely, re-recording or combining sounds for the final editing of a picture; consequently, this demand, almost as urgent as the first, presented itself when the first few pro
*Supervising Engineer of Recording Department of Electrical Research Products, Inc. Lecturer in Academy School in Fundamentals of Sound Recording and Reproduction for Motion Pictures.
[425]