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CINEMATOGRAPHIC ANNUAL
Fig. 1-B
Scoring and
Synchronizing
ductions were ready for editing, and while the recording installation work was at its height.
Plans were under consideration, it is true, providing facilities for these processes at an early date, but it is doubtful whether or not anyone anticipated the variety of problems that would present themselves in adapting sound production to all the "tricks" of the motion picture art.
The first synchronized talking pictures were short Vitaphone subjects and Movietone news reels. In either case, the cutting and editing was fairly simple, each take being one scene complete in itself. About the same time, due to the demand for "sound" pictures, there were those with electrical sound effects manually operated at each performance, not being mechanically synchronized with the picture. Then came the practice of making records of sound effects or dialogue to match the silent sequences. Schematic drawings indicating the general methods used in recording, scoring and synchronizing, are shown on Figure 1, A and B. A close similarity between these processes will be noted from an inspection of the figures. In synchronizing and scoring, a projector and screen replace the camera and stage.
The introduction of synchronized sound and dialogue into pictures of feature length presented the problem cf sound cutting. When the sound was recorded on film the problem was fairly simple since the sound track could be cut in the same manner as the picture. With the original recording on disc, the cutting became a rather involved mechanical as well as electrical process since the scenes as recorded had no definite chronological relation to the final product. This introduced the first necessity for re-recording sound. The re-recording methed required the use of a number of disc reproducing machines so connected as to operate in synchronism with a recorder. The sequence and duration of the various takes on several original records having been determined, a cue sheet was prepared.
The application of the cue sheet involved a revolution count, which insured the cutting in and out portions of these sound records in the sequence of the cut picture. This process required operators