Exhibitors Herald World (Oct-Dec 1930)

October 11, 1930 EXHIBITORS HERALD-WORLD 47 ■B^'-fcf Hf \ FIGURE 2 T/zg microphone boom is a prominent part of the equipment being set up for this scene in a recent comedy. in the cavities of incandescent lights. Some of these lamps are large enough so that the resonant frequency lies in a very undesirable part of the sound spectrum. In cases of this sort screen wire is placed in front of the lamp to break up reflections. In certain instances several reverberations are encountered, due usually to the construction of the set which has been built of some hard material for a desired photographic effect. In these cases, particularly when dialogue alone is being recorded, it is not at all uncommon to use an electrical filter which removes the very low frequencies corresponding to the rumble or reverberation. Removal of these, which are principally below the frequencies encountered in speech, does not harm the speech if used with consideration and very often is the means of enabling sound to be recorded in places which could not be used otherwise. Still another type of acoustic device is one which is used principally on location. A slight breeze when blowing directly into a mike, has a tendency to push the diaphragm, which is very thin and sensitive, up against the back plate of the mike, producing a roaring or popping effect. By enclosing the transmitter in a sort of large cage, which is then covered with one or two layers of silk, the direct pressure of the wind is kept away from the diaphragm, while the pressure variations caused by speech or music go through unhindered. This device, known as a wind-gag, makes it possible to record sound quite satisfactorily, even in a severe wind. MICROPHONE BOOMS The general necessity for placing microphones overhead when recording, was first solved by suspending them by rope and tackle from framework above the stage. This practice, however, had the disadvantage that the mike, once placed thus, was difficult to move, and thus limited the action, affected the quality of the recorded sound, and slowed up production greatly. Consequently, there were developed various types of microphone booms to swing the transmitter almost instantly to any desired position. Such a device consists of a pedestal, on castors, supporting a rotatable boom of adjustable length. The whole mechanism may be rolled to any convenient point, after which the mike, suspended from the end of the boom, may be hung at any height between five and twenty feet, above the floor, may be swung laterally, or extended ten feet beyond the initial position. Since the boom is counter-weighted, all these operations can be performed with ease and speed, and the microphone can follow the action around the stage. It should be noted that the mike suspensions and amplifiers had to be re-designed for use with the boom, lest the rapid motion of the mechanism during a take cause microphonic noises. PORTABLE MIXING BOOTHS The original recording equipment as it came from the laboratories of the east was designed for permanent installation and accordingly the first few outfits which were set up were installed that way. It was soon decided, however, that with shots of any complication whatsoever it would be highly advantageous to have the sound man close at hand with at least a portion of his equipment so that he could watch the action and take cues from the director. To achieve this portable mixing booths were constructed, containing controls for six microphones in the usual installation, an indicator to show how much sound energy was being sent back to the recording room, and a loud speaker with which the operator could judge the quality of the sound. The scope of these booths has now been extended until, in a recent production at one of the studios, the booth was placed on a large overhead crane so that it followed the camera along in all the complicated travel shots which were made. In this manner the sound man commanded a clear view of the entire action and operated his equipment much more intelligently than would have been the case had he been forced to remain at a given point. SIGNALING The addition of sound equipment to the other technical equipment in use on the motion picture stage, necessitated an intricate, but at the same time thorough, method of intercommunication. The actual recording equipment to which the wires from the microphone lead is quite generally in another building. The mixing booth even if it is on the stage is sound proof and there may be a number of cameras in different positions on the set. The first assistant director is generally charged with coordinating technical activity on the set, leaving the director free to concentrate on the dramatic action of the particular scene. The assistant director must be kept in constant touch with both sound and camera. As soon as either one of these is ready to make a take, the news is flashed to him. In certain instances this flashing is done by means of an intercommunicating telephone. In other instances an automatic block signal system has been developed so that the interlocking of the recording equipment automatically lights a light at the side of the assistant director. In addition to the above, the signal that the director and cast are ready must be FIGURE 3 While the lights were being adjusted in front of the cameras (right) Director Tay Garrett took the sound mixer's place in the portable mixing booth to hear the voices of the cast as they will be recorded. When the door is closed the mixer communicates by telephone, lines for which lead out from the front of the booth. sent along the lines to the recording room. This also is done either by telephone or by a system of lights, and finally when the equipment is up to speed and operating, that information in turn must be flashed out to the set so that action may then begin. Another type of signal is required to enable the director to communicate with the actors. Entrances which are made from points hidden from the director are usually cued by means of a light operated from the director's chair. Offstage sound effects are usually cued in the same way, as are camera fade-ins and fade-outs. In short, whereas in the silent picture directions could be given during takes by either director or cameraman, these verbal directions must now be supplanted by silent cues. On long and complicated scenes a very elaborate set of signals is often necessary and considerable time is consumed in getting them to operate satisfactorily. SYNCROFILM Utterly free from foreign sounds, the actor's voice comes to the audience exactly as it is spoken or sung on the stage. This triumph of sound reproduction engineering is already boosting box office gross in 1,500 theatres and can do the same for yours. Testimonials will be shown you on request, proving the miraculous superio r i t y of Syncrofilm Sound Equipment. Illustrated here is the Syncrofilm sound head for the Simplex Projec WEBER MACHINE FIFTY-NINE RUTTER STREET Export Dept.: 15 Laight St., New York City tors. It is a finer piece of workmanship than the watch in your pocket, no matter what that cost. All steel parts are hardened and rustproofed with chrome or cadmium plate. All bearings are special bronze or hardened steel balls. The optical system delivers four times the usual quantity of light, concentrated in a beam less than .001" wide, which perfects results from both density and area recording. Yet, with all this, prices are rigidly in line. Write. CORPORATION ROCHESTER, NEW YORK Cable Address: Arlab New York