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restoring synchronism at will. Finally he prints sound and picture on to a single film so that their accurate timing can never be disturbed.
For the amateur, such methods are impracticable. Although a few 16-mm. sound-on-film cameras are available, their price places them in the professional class. Moreover, these cameras use a single film for recording picture and sound. The film cannot be edited, therefore, unless you make copies. Only in this way can you cut the film with the necessary 26-frame displacement of picture and sound (p. 59). If you do this, however, your film costs increase and sound quality suffers.
Which system should you use ? Disc recording is scarcely suitable for use during filming because discs are difficult to edit. At the moment, cameras do not handle magnetic stripe. By elimination we are left with magnetic tape. This is easy to edit, but hard to synchronise accurately. Either you must adopt one of the professional synchronising systems or transfer the sound to film for projection.
Clapper Boards
If you attempt to record sound while you shoot the picture, you must provide some means of synchronising the two later on. The simplest way is for someone in front of the camera to clap his hands just before the action begins. The film shows his hands coming together, the sound is recorded on the tape. When the sound is transferred to film, you can see the sound of the clap quite clearly on the track. So by putting the sound and picture of the clap side by side, you can put any shot in level synchronisation (p. 60).
Instead of your bare hands, you can use a clapper board. This is a small blackboard on which exposure data and Shot and Take numbers are chalked so that you can readily identify each shot in the script. To the top of the board is hinged a strip of wood which is brought smartly against the board to provide the clap.
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