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frequency input. This writing usually involves a separate operation, at a reduced speed, to obtain a legible trace.
The method described in this paper retains all the advantages of the standard photographic sound-track studio procedure and combines with it the improved quality and ease of operation associated with magnetic sound recording. This method also achieves from the very start the ultimate objective of using magnetic sound track for rerecording purposes. In this method the original magnetic sound track is transferred by re-recording to a special film consisting of a standard sound-recording photographic emulsion on which is coated a magnetic stripe, and which will be referred to in this paper as photomagnetic film. The location of the magnetic stripe is shown in Fig. 1, which also shows a 200-mil push-pull variable-area track. The latter is in the standard position for a sound-track print even though it is recorded as a direct-positive variable-area track. The magnetic track is in the No. 3 position on the Proposed American Standard PH22.86. The standard position for the direct-positive photographic track is obtained by reversing the film travel in a standard Westrex RA-1231 Recorder. The magnetic track may be reproduced by reversing the film travel in a standard single-track magnetic sound reproducer or in the normal forward direction in a triple-track reproducer.1
Having obtained such a film, the photographic track may be used for running dailies and for the regular editing and cutting procedures. The magnetic track may, if desired, be used for dailies, although its primary function is as a re-recording medium. In cutting the sound film standard editing practices are followed on the photographic track, and, since the photographic and magnetic modulations are in exact juxtaposition across the track, a cut across the film insures correct synchronization
Fig. 1. Photomagnetic film sample:
(A) magnetic stripe, showing bloop;
(B) photo track.
for both tracks. This method of recording does not involve any drastic change of daily habits for the film editor occasioned by the reading of the magnetic sound track or in the proper interpretation of derived modulation-scribed tracks. Rather, it affords the editor the opportunity of gaining proficiency in the aural editing of magnetic tracks, guided by the parallel photographic track which is always available for reference.
With this technique, no capital investment is required to convert review rooms.
Frayne and Livadary: Photomagnetic Recording
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