Home Movies (1954)

MUSIC • Continued from Page 31 jector speed, keeping it in sync with the recorder. This method is admirably suited to continuous 'over all' recording. Since the picture can be viewed while recording, close cutting of effects and cueing of commentary is possible. 'Spot' re-recording may be done to correct errors providing clicks' on the track when the recorder is switched to record position. Critically edited music tracks are rather dificfult to achieve but they can be done by an experienced operator. The advantages of the Movievox are that only two units of equipment ( recorder and projector) are required for playback, the ease of maintaining sync between projector and recorder, and the facility for close cueing on 'over all' recording. The disadvantages are that equipment must be sent to factory for installation, sound tracks may be used with owner's equipment only, difficulty in devising edited (cut) music tracks and, if there is any linear variation of tape (shrinkage or stretch), no correction can be made during operation. (The problem presented by this latter situation is usually negligible.) WILSON SYNCHRO-METER This is a separate unit to which the projector and recorder are connected by means of flexible shafts. The Syncro-Meter contains a balancing synchronizing mechanism and frame counter. The frame counter is a very valuable adjunct for the timing and editing of critically cued scenes and sequences. Many sound sequences can be recorded and edited to frame count without the necessity of running the picture. The recorder imparts a control speed to the Syncro-Meter with which the projector speed is synchronously balanced. Any loss of synchronization is registered in frames on the Synchrony Dial as the loss occurs and can be (or is) corrected immediately by either manual or automatic controls. The Synchro-Meter can be used with most magnetic tape recorders or turn table equipment and is designed for interchangeable projector speeds of 16, 20 and 24 frames per second. Connections for projector speed control can be installed by the owner in many cases or locally by any qualified electricians. Attachments are available that will control the projector at synchronous speed independently of the recorder. This feature is particularly suited to owners of magnetic soundon-film projectors who wish to make a critically cued and edited sound track on a tape recorder for subsequent dubbing onto magnetic striped film. Thus they have the flexibility of a double sound system for recording and the convenience of a single sound system for playback (projection). The disadvantages of the Syncro-Meter are its limitation to use with the owner's equipment, its being an additional piece of equipment, and the fact that linear dimensional variations in the tape can sometimes introduce errors in critical synchronization. In the last regard, correction of these slight variations are possible at all times and can be made accurately so that critical synchronization can be maintained in spite of them. The first fundamental in the development of a properly devised musical score is: musical sequences must have musical continuity in the same manner that your pictorial sequences have pictorial continuity. Remember, the music is (or should be) telling the same story musically that the film is telling pictorially. So, just as pictorial sequences have beginnings and endings, your musical sequences should have musical beginnings and endings. The common amateur practice of beginning or ending a musical sequence just anywhere is not only wrong from a musical standpoint but, in many case, it actually lessens the effectiveness of the pictorial sequence. With the sound equipment available to the amateur in the past it was usually difficult, if not impossible, to establish or maintain musical continuity in musical accompaniment. However, with the sound equipment now available, the amateur can devise musical scores with the same degree of musical continuity and form as those devised by the professional. Therefore, the following discussions will be based upon the premise that your desire is to learn what to do and what not to do in the development of a properly devised musical score. First, dont fade in the beginning of a musical sequence. If the pictorial situation does not dictate a different treatment, make the musical entrance at a low level but definitely heard. In closing a musical sequence with a fade out, fade out on the end of a musical strain. (The technique of accomplishing this phase of musical continuity will be discussed in detail next month). A fade out at the end of a musical sequence is only employed when there is a period of musical silence after the fade out. This device is seldom used where two musical sequences are to be connected. Here are some examples of making musical connections between two scenes. If the scenes are of similar character but a different musical treatmen is desired for each scene ... If there is a direct cut between scenes, end the music of the first scene with the ending of a musical phrase so that Purely routine Miss Gunther . . . It's just that I feel we should know each other better before we begin. 32