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162 C. N. BATSEL AND J. O. BAKER [j. s. M. P. E.
versions of news items. In 1928 the Eastman Kodak Company announced the Kodacolor process for 16-mm. film.
With these new developments, the public and the professions quickly adopted the 16-mm. film, and its use became general in the medical, educational, amusement, and business promotional fields. Its popularity has continued to the present time, with only little slackening due to the depression.
In 1928, it became apparent that the addition of sound to 16-mm. movies would be the next great step; consequently, work was begun by the Radio Corporation of America for the purpose of accomplishing this. The efforts were restricted to sound-on-film apparatus. At the same time a number of companies were announcing synchronized sound-on-disk for 16-mm. film. These equipments consisted of 33l/s rpm. turntables geared to the 16-mm. projector, and employed the 33l/z rpm. theater disks. The film was reduced from the 35-mm. film. Some of the more elaborate ones were mounted in cabinets. The equipment never became popular, as both the films and records were expensive and hard to obtain.
It is appropriate to mention here some of the problems that had to be overcome to produce successful 16-mm. sound-on-film equipment, inasmuch as after the adaptation of sound to 35-mm. film it would seem that, by applying the same principles to 16-mm. film, good results could likewise be achieved. Such is far from the case In the first place, the linear speed of the narrow film had to be less than that of the 35-mm. film if the usual 24 pictures per second were to be projected. This was desirable in order not to use more film than necessary and at the same time to maintain the same proportions in the 16-mm. pictures as in the original 35-mm. pictures. At this greatly reduced speed the fact that 16-mm. film has only forty sprocket holes per foot, instead of 64, presented the very difficult problem of providing a mechanical filter that would successfully eliminate "wows," and at the same time eliminate the 24cycle sprocket tooth flutter. This problem was finally solved, and 16-mm. sound reproduction that is practically free from "wows" and flutter is now attainable.
Not only did the low speed offer new filter problems, but it placed a serious handicap on the frequency response. When one considers that with a ratio of 2l/z to 1 in speed the 4000-cycle wavelength on the 16-mm. film is equal to the 10,000-cycle wavelength on the 35-mm. film, it can readily be seen with what the engineers had to