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Sound on Film Recording for Television Broadcasting*
BY CLYDE R. KEITH
WESTERN ELECTRIC COMPANY, NEW YORK 5, NEW YORK
REMARKS ARE CONFINED for the most part to problems of J_ sound on 16-mm film, since such films are of greatest economic importance to the television broadcaster.
There are three principal bottlenecks tending to degrade the quality of sound obtained from 16-mm films in television broadcasting.
1 . 1 6-mm film processing is generally inferior to 35-mm processing, resulting in more noise and distortion than would be present if equally good processing were available for 16-mm films. This is shown by the tendency of Hollywood studios to record sound on 32 to 35-mm film so that it can be processed in 35-mm developing machines.
2. 16-mm printers frequently introduce distortion and flutter. Good 16-mm printing requires a higher degree of precision in the printer than is required for 35-mm printing.
3. Most 16-mm sound-and-picture projectors do not have the electrical, mechanical, and optical accuracy required to give the best results, or the mechanical sturdiness to maintain optimum adjustments over a long period of steady use.
Most of the above deficiencies arise from cut-price competition in the amateur and educational fields. Considerable improvement should result if methods and equipment used in the 35-mm field are adopted.
EFFECT OF LACK OF ADJUSTMENT OF REPRODUCER ON SOUND QUALITY
1 . Frequency Response
Some commercial 16-mm reproducers are built with excessive loss at frequencies over 3 to 4 kilocycles. The output at 5 kilocycles may be as much as 10 to 15 decibels below that at 1 kilocycle. This droop may be introduced intentionally on the assumption that the reproduction
* Presented April 4, 1949, at the SMPE Convention in New York. 114 AUGUST, 1949 JOURNAL OF THE SMPE VOLUME 53