The Film Daily (1929)

THE 12 Thursday, February 21, 1929 Studio Executives Cite Sound Views MOST, SAVE WARNER F.N. f AVOR SOUND-ON-riLM (Continued from Farje 1) rival producers using the different systems, is forecast for the new production season. Tonal quality, longer life, easier handling, simplification of production, ease of making repairs are among reasons cited in today's syml>osium for a preference for the sound-on-film system. While the preference of Coast executives who so far express their opinions is for sound-on-film, the vote is by no means conclusive, as the same arguments are being advanced in favor of the disc system, by its adherents. Recognizing the varied phases of the subject, and that both systems have their merits and forthcomings, THE FILM DAILY will continue this symposium, to give advocates of both systems opportunity to express their views through these columns. Better Registry Claim for Sound-on-Film Recording \'oices register better and more distinctly by sound-on-film recording, which he says is the more practical, according to J. Boyce Smith. "If the disc machine should fail to function properly during the showing of the dialogue or sound picture, the plot would be greatly damaged," he declares. Disc Method Better, More Practical, Del Ruth Holds Belief that the disc method eventually will be adopted universally is expressed by Roy Del Ruth, director, who favors this system. He says the disc is less expensive and a more Ijractical method for the exhibitor "as it is much easier to replace records than film." Cummings Calls Sound-onFilm Outstanding Advance Sound-on-film is one of the "outstanding achievements of the age,' in the belief of Irving Cummings, I^^ox director, who says it has been proved by the Shuberts, Belasco "and several of the largest theatrical producers in the country, who are e(|uipping their theaters for this manner of reproduction." Longevity Cited While "all film wears out in time," phonographs or discs wear out more rapidly than sound track on film, declares Robert E. Welsh of Universal, who favors the sound-on-film. system. Zanuck Cites Disc Advantages Disc method of recording is "the only system which permits music to be synchronized beneath dialogue, thereby allowing the symphony orchestra to play a score throughout a picture," states Darryl Zanuck, associate producer of Warners, and pioneer in the sound picture field. "A more natural quality of reproduction insofar as the human voice is concerned, and a more accurate reproduction of sound effects is secured by discs," he says. "The loud surface noises so apparent in other systems, are eliminated with discs. I favor the disc system because it is the only real commercial system for the cxhibitori as well as the producers and I sincerely believe that all companies will ultimately release their talking pictures on discs." Sound Track System More Convenient Says Laemmle, Jr. From the angle of distribution and convenience, the exhibitor having sound-on-film pictures has a better arrangement than he would have under a system of having the sound separate on a disc, Carl Laemmle, Jr., believes. With the sound track systems, he says, it is im])ossible for an exchange to ship the wrong sound for a picture. Sarecky Says Feasibility Recommends Sound-on-Film The sound-on-film method is better, "because it eliminates the needle rasp and provides truer reproduction and better synchronization,'' states Louis A. Sarecky of RKO. "Conmiercially, it is more feasible, because the cost of shipping film is much less than that of shiijping records," he says. "In meeting censorship problems, sound-on-film is more practical. In "Gang \^'ar,' it was easy for a Maine exhibitor to eliminate the word, 'damn' in his Sunday showings, because the sound was on the film. In Maine, you can use 'danm' in your week dav showings, but not on Sunday." Sound-on-Film Declared More Practical, by Marty Cohen Sound-on-film is all in one compact unit, making it easier to handle and less complicated, states Marty Cohen, film editor of Tiffany-Stahl. "The exhibitor," he says, "is the first to be pleased, the tone then sells the audience, with nothing to break or go wrong. There is no jumping or screechy tones. A properlylighted picture, properly photographed, is all that is necessary to make a perfect reproduction." Smoother Tone, Easier Repair, Is Claimed for Sound Track Smoother tone is assured by soundon-film recording, declares James Ryan of Fox. "Should the film break," he says, "it is easily repaired at very little expense or loss of time." Audience Appeal Decided T-S on Sound Track, Stahl Says There is as nuich difference between the disc and sound-on-film methods as there is between the old phonograph and radio, states John M. Stahl of Tiffany-Stahl, who says "you cannot stop progress." "We did not decide on our process, but judged from the audience appeal," he says. Filming with Sound Track More Convenient, Says Fejos Filming of a picture with the sound-on-film method is more convenient than with other systems, declares Paul Fejos, Universal director. Use of sound changes the proportion of the screen slightly, he says, adding that this change, however, is an improvement over the old style and gives greater flexibility. Best Results with Sound-onFilm, Charles Klein Says Charles Klein, Fox director, and one of Lee De Forest's assistants in Germany in 1921, when talking pictures were gaining headway, favors sound-on-film recording. "In the making of a good sound picture, the finest impulses must be brought out," he says. "The lisping, and the correct diction must both be met with. The audience is always critical, and quality of tone is the one and only reason for dialogue or sound films. Sound on the film has more room for improvement than any of the other methods, yet now some of the best results -have been obtained from this svstem." Sound Track System Called Self-Contained by Reed Sound track system of recording is superior to the disc method because the former is self-contained, states Luther Reed, director. "Synchronization in the soundtrack system is fixed beyond the human element," he says. "Indifferent projection, film breaks and the variable factor of film and disc wear are entirely eliminated when both picture and sound are placed on the single strip of film. Aside from these purely physical advantages the pes REASON FOR PREFERENCE CITED BY EXECUTIVES sibilities of the sound track appear less limited in tonal quality and adaptability. Disc recording, perfected by years of experience in the phonograph field, has approached its perfection. In its experimental stage the other system already gives indications of an infinitely greater field." Needle Scraping Is Hit by Ray in Favoring Film Track "Nothing can be more annoying than the scraping of a needle on a record," declares Al Ray, TiffanyStahl director, in citing his preference for sound-on-film recording. "This is always heard when using the disc method of recording. With sound on the film, there is no need for adjustments, for as the film is run, so is the sound expelled," he says. "In my opinion, the voice is more natural, and has also truer tones." Production Easier with Sound on-Film, Furthman Believes Pictures are easier to make and can be assembled more quickly when the sound-on-film method is employed, in the belief of Charles Furthman, Paramount, who says he prefers this system for its "distinctiveness." Cutting also can be done in shorter time, he says. While the machines in general are expensive, they are more practical in the long run, he says. Sound-on-Film Method Held More Pleasing to Ear Sound-on-film has a better range, which is much more pleasant to the ear, declares Sidney Algiers, production manager. "The rasping of the needle, is avoided, and in the film method, the dialogue or sound can start without preparing the audience, by the closing down of an orchestra," he says. Disc System Complicated, Is Raoul Walsh Contention Disc or record style is "much more complicated to the exhibitor," says Raoul Walsh, Fox director, in declaring that sound-on-film affords perfect synchronization. Le Baron's View Elimination of surface noises, makes the tonal qualities of sound-on-film the most popular and most practical, states William Le Baron, vice president of RKO Prod., in charge of production.