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are used in the film system which does not permit the separation of words or music from the projection ? Will not all this create the problem of a different protection than that which the law extends to literary, musical and photographic works ? And, in the specific case, which of the two legislative provisions might be applied ? And will the artistic and musical rights already granted for theatrical and phonographic reproductions be also extended to sound, musical or talking films ? And vice versa how will the obligations assumed by great singers be regulated ? Will the whole of the pictures be considered as a performance or remain only pictures ? What will become of the relations between Authors' Societies and cinematographs and producers ?
These are only some of the fundamental aspects of the problems which interest our Institute fully, directly or as a suitable technical instrument to present a basis of study for the International Institutes.
Therefore we must follow up this phenomenon with interest since we believe that Cinematography is one of the greatest means that human genius has placed at the service of knowledge for the education of peoples.
If we consider the silent cinematograph such a powerful means for education what will it be when sound, word and colour have made it complete and perfect ? We think that some technical information on this subject might be appreciated.
For many years scientists and inventors have been at work on the interesting problem of synchronisation of sound with the image ; it can be said that this problem was faced immediately after the invention of the cinematograph and it would be very difficult to give its exact history. Perhaps the talking film, rather than an invention, could be defined as a series of improvements of scientific principles.
Today, the systems that are aiming at the practical realisation of the reproduction of sound and its synchronisation with pictures, are numerous and varied. For the present we shall limit ourselves to dealing with those only, that have had an industrial application. There are two principal methods of making these films industrially : the first is the disc system, that is, the sound is registered on gramophone records and mechanically synchronised with the pictures ; in the second, sound is photographically registered on the film.
In the first system the disc is mechanically coupled with the projecting machine and is driven by the same motor, on the disc, on which there is a starting point corresponding to a similar point marked on the film ; both must be started simultaneously, and must maintain a perfect synchronisation every moment, since a very slight difference (even the eighth of a second) is sufficient to produce disastrous results. This system has the advantage of rendering possible an easier registration of sound in
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