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THE HUMAN EQUATION IN SOUND PICTURE PRODUCTION
TERRY RAMSAYE*
A great deal of the equipment now used in the recording of sound pictures is highly unreliable and full of trouble.
The equipment and the machines are, in the main, a great deal more reliable and cause less trouble than the men who run them.
Manpower is frequently the major problem in industry, and it is now acutely the most difficult problem in our industry of the talking motion picture.
This problem is going to be solved, of course. One of the answers is education of personnel through the endeavors of such organizations as the Society of Motion Picture Engineers. Another answer is the selective action on personnel which always operates most conspicuously through the early periods of any industry involving a new technic. The turnover in studio and sound truck employment is likely to be rather rapid in the next year for this reason.
It is time to "debunk" the sound recording business and take the mystery out of its processes. This Society of Motion Picture Engineers can help importantly in that direction.
In its present status of development, sound recording devices appear to need rather frequent attention and a considerable array of routine tests, but it is not unfair to say that its operation requires hardly more attention from the recordist than is necessary for the intelligent tuning of a fairly sensitive radio set. Yet, there is observable, a continual effort to camouflage the work with a great atmosphere of complexity and strange obscurities.
Recently one of the companies with whose activities I am sometimes concerned had a simple task in re-recording a dramatic sound strip for the elimination of some minor faults of the negative.
It is hardly necessary for me to interpose the statement that the best sound re-recording is now done by direct connection of the recorder with the amplifier serving the sound head, making the operation entirely an electrical operation without audible sound.
Pathe Exchange, Inc., New York City.
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