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A Nonintermittent Photomagnetic Sound Film Editor
By W. R. HICKS
The editing of magnetic sound tracks by visual and aural methods has become increasingly important because of the rapid adoption of the magnetic system by the industry, both for primary recordings and theater release. Threedimensional theatrical and multicamera television films have also stressed the need for editors which show more than one picture. A solution is suggested for these problems and a system of electronic editing is proposed, leading to an enlargement of editing processes to include sound recording, re-recording and dubbing, formerly limited to the sound studio.
JL HE DEVELOPMENT of magnetic sound recording has greatly influenced the technical handling and treatment of sound tracks following the general acceptance of the magnetic system by motion-picture producers. Initially, the magnetic track was approved for primary recordings because of its high signal-tonoise ratio, low distortion and ease of playback. But invisible magnetic tracks were impossible to edit by conventional sight methods, and magnetic recording required transfer to photographic tracks for subsequent editing, mixing and release on photographic equipment. Various systems for visualizing the recorded magnetic track were tested to facilitate direct track editing. Some early methods featured the use of magnetic inks and wet solutions containing carbonyl iron, but these were in general awkward and sometimes messy and were superseded by auxiliary
Presented on April 29, 1953, at the Society's Convention at Los Angeles by W. R. Hicks, Centaur Products Corp., Manhasset, N.Y. (This paper was first received May 5, 1953, and in revised form July 2, 1953.)
visual track systems, including a combination of parallel magnetic and photographic sound tracks or companion inked tracks traced directly on the magnetic film, this system being known as modulation writing.
With these aids the motion-picture editor now cuts and assembles magnetic tracks in much the same manner as photographic tracks, on familiar equipment adapted for magnetic-track scanning. Editing by sight methods, he depends upon his magnifying glass or optical loop, but he must still check finished cuts audibly on machines with low-quality sound-reproducing elements and high flutter and mechanical noise. The word endings of a photographic track or visualized magnetic sound track are not easily seen when the frequency is high and modulation low. Cutting errors often result which are difficult to detect audibly on small loudspeakers and amplifiers of limited frequency range and when mechanical noise reduces intelligibility. Later listening under the high-quality conditions of a mixing room or theater often discloses missing
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September 1953 Journal of the SMPTE Vol. 61