The Film Daily (1929)

10 DAILV I Friday, March 8, 1929 SoundonFilm Advantages Claimed STRONG SENTIMENT fOR FILM TRACK IS SHOWN (Continued from Page 1) points, on preference of Coast workers, which supplements the previous list of Coast opinions: Sound-on-Filmed Called Advantage on Location Clarence Brown, director is an enthusiastic believer in sound on the film "It's ease in editmg says Brown, "is one of the outstandmg features of this method of recording On location, filming scenes, which would be almost impossible to take in many instances, is a cinch compared to earlier methods. We have found it more practical, on account of there being only one unit and not several bulky packages to contend with. Where the camera is, so is the souiu apparatus, as the two are combined with sound on the film." Editing Advantage is Claimed for Sound-on-Film "There is no question in my opinion as to the desirability of sound-onfilm as the better method of recording," states Jack White. ' So far he says "we have found it possible to conform and edit films and still retain the speed of tempo, so essential to our type of pictures. 1 his in itse It is an achievement regarding which there was a great question in the minds of all comedy producers. With this bogey eliminated, by actual demonstration, short pictures are on their way to greater strides than ever before attained." Sound-on-Film Declared Opening Big Possibilities "The novelty of talking and sound pictures has now passed," states Rupert Julian, director. "It has ceased to be something to be seen la the fault-finders mind. The pictures of sound are now accepted for their merit of the title, actors ail directorial ability of the company producing. In sound on the film, the audience abandon the idea of looking for flaws and follow the trend of the story. They listen for every little sound including the swish of skirts, or any sound that would lend atmosphere to the scene. With disc recording, the audience has to prepare for the dialogue sequences, but are forwarned by the lowering of the score and scratching of a needle on the record. Sound on the film will open new fields and prove greater possibilities to produc Greater Mobility is Claimed for Sound-on-Film William J. Cowen, RKO director favors the souiid-on-film method of talking jjictures. "The system," Cowen states, "of putting the sound on the Lining up Policies Opinions received to date in THE FILM DAILY Sound symposium, indicate a swing toward sound-on-film in production next year. Paramount, RKO, M-G-M and Fox will concentrate on soundon-film recording, it is indicated. Some of the pictures, of course, will be available with discs, but these it appears, will be kept to a minimum. A number of other companies prefer the sound-on-film system and will specialize on pictures made by that process. On the other hand, Warners, pioneers of the talker field, insist that the disc system is the better, and will continue to use that process of recording. First National, it is indicated, also will use discs exclusively, as will a number of the independents. film only lends itself to greater mobility of the art." ".Since the sound is recorded on the film, the entire rendition is concentrated in one medium," he says. "The sound track on the film siini)lifies the work of the cutters. Soinul and story alike are represented right before their eyes. They are not confronted with the awkward task of incessantly changing between two different media — one of which is cinematography and the other of which, in the case of the disc method, is nothing more than a phonograph. "It is quite possible that the time will come when the cutters will know just what each of the little marks in the sound tract means in the way of sound and words. All of this tends toward the greater simplicity and hence, the greater force _ of the art that is motion pictures." Sound-on-Film Better for Director, Gillstrom Says Arvid Gillstrom, Christie director says, "film recording is so much better adapted for the director's needs, there is apparently no comparison. By shooting our pictures on one film and our sound records on another film we are able to get the best individual development in the laboratories for the particular qualities needed in each," he declares. "The value of the disc should not be overlooked in furnishing an immediate playback of the scenes recorded, the chief value of this being that when we hear a disc playback we know that the sound is going through the system and being recorded on the film recorders lor permanent use in the picture aside from the playback discs, however, all the other advantages from the director's standpoint seem to us to be in favor of the film. With film you can do the same things you used to do with silent pictures, everything from a lap-dissolve to intricate double and triple exposures, and all the time your sound track is right with you." Christie Views Film Process Far Superior to Disc Al Christie, head of the producing organization making a large number of short plays for Paramount, is in favor of using film recording for all releases. "From our experience so far," he states, "the quality of tone is better on the film, it is a much quicker process in getting pictures as sembled for release and for getting out release prints. "In producing we can look at our finisiied results of picture and sound track together much (juicker just as it will be when released, and there is the further advantage of being able to use the (lortablc recording outfits which are designed for film recording for exterior work and all .-ilioniing awav from the main sound studios. This last feature is what is the chief aid in getting real motion picture treatment in our pictures. And perhai)s most important of all the sound on the film has the human 'lote " Film Editor Says Sound-onFilm Method Is Timesaver Arthur Huffsmith, chief film editor at the Christie studios, declares that the film method of recording saves the cutter's an enormous amount of time which would have to be used with the dies methods. "When editing a picture the film sound track is right in front of you while cutting so you can see with your eye where people start and stop talking. You do not need to go to the projection room constantly to find out. New developments have been made in cutting devices so that continuously you can unwind in front of you, always in synchronization, at least four different sijools of film, one containing the sound track film which always remains the same sequence by sequence, and additional reels containing the main long shot of the picture, the additional camera shots and close ups. You can cut back and forth from one camera take to another, always keeping the sound track perfectly abreast. This makes for free action in the pictures and a variety of angles and camera takes, where more than one camera has been used on the set. An enormous amount of time is also saved, once your sample cutting print is properly assembled, in getting out the negative cut and the final master prints." Sound-on-Film Developed Further, Levee Contends Both disc and sound track systems have their respective values, but he believes that sound film recording is better, because it has been developed further and ofTers better reiiroduction, states M. C. Levee, i)usines> manager and in charge of sound stages at llnited .\rtists. Sound Track "One Way" M to Assure Synchronization Sound track system furnishes "the one and only method to date for perfect synchronization," states (Jeorge Vohalein, asociate Paramount producer. " Possibdities of dialogue or sound not following the scenes of the picture, is absolutely eliminated," he says. "With disc recording, I have Seen t!ie needle race ahead of the picture and the sound has dropped back and in either instance throw the picture out of balance. Long shots or close-ups have the same even tone and modulate to the highest degree with sound film." More Natural Tones Secured by Sound Track, Says Milton Scratching, buzzing and jumpiiif,' of sounds are all eliminated in tiic sound-oii-filni s>steni, declares Robert Milton, Paramount writer, wlm says sound-on-film has more appeal. and reproduces more natural tones. Lefholtz Representing Powers Harr> Lefholtz has been appointed special representative for PowerCinephone in the Nebraska and Iowa territory. Lefholtz was connected for a number of years with L'niversal as manager of the Omaha office and for the past two years has been manager of the Titifany-Stahl branch in Omaha. He will open an office for Powers Cinephone at the Uptown, Omaha. Miner Wiring House Rice Lake, Wis. — Vitaphone is being installed at the Majestic here at a cost of $17,000, according to George Miner. The equipment wil be ready in three weeks. So. St. Paul House Redecorated So. St. Paul— The Ideal here babeen redecorated and remodeled. K H. Eckberg is manager. Fire Destroys S D. House Toronto, S. D. — l'"ire coiiipletti.\ destroyed the building which liousci M. \\'. Thompson's Grand here. Sunday Shows For Naperville Naperville, 111. — Since tiie towi council held that the present ordi nance against Sunday shows, is in definite and iionenforcible the Graiu; iiere is playing Sunday show. Othe ; surrounding towns showing Sundajj pictures are Downers, Grove, Hins dale and Berwyn. ; Southport Co. Leases House 1 Chicago — Blaine Building Corn' has leased the 800-seat theater unde! construction in the Blaine buildiiiff for 15 years to the Southport Ainuse, ment Co. Jacob Lasker is president and Maurice Lasker secretary of th Southport Co. Completion of tli building is scheduled for Mav 1. j