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Provided you take these simple precautions, you will be able to produce a sound negative in which the clapper board provides perfect synchronisation at the beginning of each shot and the error at the end of a shot is less than one frame. You will then be able to edit this negative as for any negative-positive sound film. Use the clapper marks to place sound and picture in level synchronisation. Then cut both films at the same number of frames from the clap. You can thus remove the clapper marks and leave the two films cut to the same length and in synchronisation.
Working in this way eliminates the cumulative errors which are usually the bane of sound-on-tape. This is possible, however, only at the expense of transferring the sound to the negative-positive optical system. Since no method of simultaneous filming and recording is both convenient and economical, amateurs have concentrated on alternative techniques.
PreRecording
Even before recording equipment became generally available, amateurs were producing short "talkies" by using pre-recorded sound. Usually a commercial record was chosen as a basis for a film. The camera speed was controlled by that of the disc and the actors spoke or sang in time with the record. If you have seen similar comedy acts on television, you will have been impressed with the accuracy with which the actors mouth their parts. In professional cinema, the same technique is often employed to endow an actress with a voice better than her own.
Using this procedure, the actors will find it quite simple to act and speak in step with the sound. The difficulties are mainly mechanical. Tape presents its usual synchronisation problems. Sound on stripe must be transferred later to a stripe on the picture film. Only with sound on disc does the system work really well. Even here you are hampered by being compelled to edit the picture to suit the sound rather than the story.
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