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390 HILLIARD October
three walls, some have low ceilings, and very often one camera shot on the same scene will be made with a portion or all of the ceiling or wall removed in order to obtain the desired camera angle and/or lighting effect. In cases of exterior shots, the reverberation is extremely low and this is accompanied by a lack of both low and extremely high frequencies. These direct cuts from indoors to outdoors and back again are made at a pace which is faster than that encountered in real life. As a result, the individual scenes must be equalized so as to be more uniform in frequency characteristic.
(3) The various studios use different types of microphones depending upon the degree of directivity required to overcome set noise such as arc-light interference, wind machines, stage ventilators, and mechanical noise generated by props. These microphones have a considerable difference in response both in the low and high-frequency ranges, and beam effects caused by changes in directivity require equalization in order to maintain uniform quality.
(4) The studio endeavors to do the best possible work on the original recording with a minimum of delays to the production, trusting that all these variations can be taken into consideration at the time of re-recording for release.
(5) Loye and Morgan1 have pointed out the necessity of providing effort equalization to compensate for the fact that the speech is reproduced at a higher intensity in the theater than that which occurred at the time of recording. The typical studio re-recording console is equipped with variable low and high-pass filters and a very effective set of midrange equalizers, capable of producing a proper subjective effect to the theater audience. It is not unusual to encounter variations in equalizer settings which approach a 25-decibel range on the low end in the neighborhood of 100 cycles and up to a 10-decibel change in the so-called "presence" region around 3000 cycles.
When all of these factors are taken into consideration, it is understandable that it is not practical to assign a recording characteristic in detail because of the many variables which occur during the process of recording and re-recording for release.
The following steps are recommended as a procedure for standardization in both studios and theaters:
(1) Derive the reproducing characteristic required to reduce the fundamental deficiencies of the medium such as noise and distortion.