International photographer (Feb-Dec 1929)

June, 1929 T h INTERNATIONAL PHOTOGRAPHER Thr J-fandling ^ound Jnlm LHE practice of handling sound film in the laboratories, studios and exchanges has been the same as that used in the handling of silent film. Some laboratories have realized the responsibility which rests upon them in handling sound film, and it has been pointed out to laboratory executives that sound filrii must receive unusual care and attention. When speech, music or sound is synchronized on film great care must be exercised in developing this film. Sound prints must not be over-developed or under-developed. The microscopic lines which represent the sound are developed along with the photograph and if these lines are over-developed it reduces the efficiency of the photo-electric cell to collect these rays and deliver the sound to the amplifier with the same volume as that of film which has been developed properly. Many productions, lately, have been run with sound synchronized on the film and many difficulties have been encountered because the BY R. H. McCULLOGH of the Fox West Coast Theatres volume increased and decreased throughout the production so rapidly that it was almost impossible for the observer to control the volume properly. It is realized that a male voice is much stronger than a female voice, but when the scenes change rapidly from one to another and the female voice is so increased in volume that it is very loud and harsh, a lot of comedy is produced along with the continuity of the story. Steps should be taken between the laboratories and cameramen to try and eliminate this difficulty. We realize that the theatres are entirely responsible for the amount of volume in the auditorium, and that they are also responsible for the condition and the operation of the sound equipment. The recording in most productions has been very good on the film, but the laboratories are held responsible for the density of the film. Considerable credit is due the Fox Film Studio for the manner in v hich they have handled the laboratory situation. We have noticed that both sound and photography are very good on Fox features and that their laboratories take particular pains in handling sound film. We have visited several laboratories, have watched them cutting prints and have found that they handle sound film in the same manner in which silent film is handled. It was the practice of many laboratories, when cutting scenes out of silent prints, to allow film to be thrown on the floor until the cutter should come to the next scene where he would make the cut. Dirt and dust thus collected on the emulsion and many scratches would appear because of the way this film was handled. Many laboratories have handled sound film in the same manner. It is very apparent that when dirt and dust collect on the sound track and, also, when scratches appear all of these things register as the sound track passes over the sound aperture. Every means of precaution should be taken in the handling of sound film in order to avoid the difficulties (Continued on Page 21) Efficient Silent . . ¥ ¥ &* ¥¥ *I* • •Adequate Economical INCANDESCENTS You will find in this assortment a lamp to meet every problem and a means for obtaining any desired light value. . . . MR 1 1 Utility Lamp MR 14 Bell Flood MR 19 Single Side MR 20 Double Side MR 30 Overhead Strip MR 31 Floor Strip MR 35 1000 Watt Spot MR 25 2000 Watt Spot MR-200 18-inch Sun Spot MR-224 24-inch Sun Spot MR-205 Soft Spot MR-211 Rifle Spot Domes, Clusters, Special Units MR-10 Cine-Lite for the Amateur MOLE'RICHARDSON, Inc. Studio Lighting Equipment 941 N. SYCAMORE AVENUE HOLLYWOOD, CALIFORNIA