Motion Picture News (Oct-Dec 1930)

44 .1/ o t i o n P i c t it r e X e w s October IS, 1930 S. M. P. E. to Hear of Von Madaler's New Process of Recording and Reproducing (Continued from page 43) cated laboratory study, but now even the simplest of amateur cameras may be used to advantage. A brief description of the method followed in making an analysis of an operation will aid in visualizing the technique. The operation to be studied is photographed, including in the field a fast-moving clock. This clock, known as a micro-chrono-meter, records simultaneously with the various motions on the film, time to the 1/120,000 hour. Use of the fast lenses now available with 16 mm. equipment permits photographing an operation by natural daylight or requires only a few simple incandescent lamps. After the film has been developed, it is analyzed by projection on a small screen, one frame at a time. Study of the film — a slow and laborious process — enables the analyst to drawup a "simo-chart" — (simultaneous motion cycle chart). This is a long sheet of crosssection paper, on which the motion of each part of the hands, wrists, and arms is plotted against time. The micro-motion analyst breaks all motions down into seventeen fundamental motions— called therbligs (Gilbreth spelled backwards). These are represented on the simo-chart by colors and symbols. Study of this chart reveals violation of the laws of motion, and a new and better method of doing the job can be synthetically constructed. When taught to the operator, this method — the one best way — makes possible greatly increased production with the same or less effort. Lately an attempt has been made to simplify the method of eliminating the micro-chronometer. Running the camera at a constant speed results in a definite time record being impressed on the film. That is, if the camera speed is 1,000 frames per minute, then each picture will be one-thousandth of a minute later than the preceding one — and a ruler becomes the time-measuring device. Micro-motion studies have been in some industrial plants for many years, but with the impetus given this technique lately, it is rapidly being adopted by even the mass production industries. One large department store has been making motion studies for some time. For training new workers the film method is of inestimable value. The effects of motion study are going to be tremendously far-reaching; and within the next years few industrial plants will exist that do not use it in one form or another. THE MADALER PROCESS OF SOUND RECORDING AND REPRODUCING By H. VON MADALER Hampton Bays, L. I. After 10 years of experimenting the writer has succeeded in producing an entirely new talking film of a quality equal to the systems now in use. and also having several advantages over these systems. First, the recording can be immediately reproduced as soon as it is recorded and can be plaved over 250 times without losing any of its quality ; second, it is not necessary to reduce the size of the picture frame as is the case of the present sound photofilm systems ; third, any colored film can be recorded successfully and oil, dirt and scratches on the film do not affect sound reproduction. The record groove on this new talking film is exactly like the Victor record. The depth and width is about two thousandths of an inch and this record is impressed with a diamond point which is half round on the point. The film is also reproduced with a similar point. Recording has been successfully achieved on a standard film 35 mm. with a speed of 90 feet per minute and also on a 16 mm. film at a speed of 24 pictures per second or 36 feet per minute. A thorough test in recording was made in the experimental laboratories of the Eastman Kodak Company at Rochester and it was found, with the help of an oscillator, that there was no difficulty in recording frequencies from 50 to 5,000 cycles on a 16 mm. film which has a two and a half times slower speed than the standard 35 mm. film. This film has now sufficient quality to be put on the market. For recording the sound waves there has been constructed a very simple machine which consists of a sprocket of about Wa, inch diameter which is mounted on a shaft on one end and a suitable flywheel on the other end. This flywheel is driven from a synchronized motor in the usual way. For reproducing a similar device is used and an electrical pickup is employed for reproducing the sound. There has been constructed a specially made electrical recording unit which is more powerful than any other recording unit as much more power is needed to engrave in a celluloid film than in a wax record. The film is recorded in its ordinary cold state and no preparation is necessary for recording on the film. For recording on the standard film a 4 stage double push-pull 250 tube amplifier is used and for reproducing this same amplifier can be used also. For reproducing and recording a 16 mm. film a 4 stage 245 push-pull amplifier is used with very good results. It is hoped that this new system will be used universally in all theatres and homes on account of its simplicity, manufacture and operation ; and also because the cost to produce this film will be much less than that of the present systems now in use. A 16 MM PORTABLE SOUND ON FILM PROJECTION EQUIPMENT By C. R. HANNA, P. L. IRWIN and E. W. REYNOLDS Westinghouse Electric, East Pittsburgh A portable sound on film projection equipment using 16 mm. film is described. The film is standard with the exception that one row of sprocket holes is omitted to provide space for the sound track. The projector is only slightly larger than the average silent picture projector. Detailed description of its mechanical, electrical, and optical features is given. The complete equipment is mounted in three carrying cases, one for the projector, one for the amplifier, and one for the loud speaker and screen. The projector case serves also as a sound proof housing when the equipment is in operation. The rewind, splicer, cables, spare tubes and lamps, and the films are located in the case for the loud speaker and screen. Each of the carrying cases weighs approximately 4n pounds, making the total weight of the equipment 120 pounds. * * * CINEMATOGRAPHIC ANALYSIS OF MECHANICAL ENERGY EXPENDITURE IN THE SPRINTER C. A. MORRISON and W. O. FENN The average college sprinter in the 100-yard dash utilizes oxygen at a rate which is equivalent to the production of 13 H.P., according to the results of physiologists who have been studying the problem. With the aid of the high speed motion picture camera, an analysis has recently been made of the actual mechanical work done by these runners, who were picked at random from the gymnasium classes of the university. From this investigation it was found that only about 3 H.P. are returned as mechanical work which could be accounted for by the movements of the various parts of the body. This makes the human machine only 23% efficient. By measuring the displacements of the body structures as they appeared wrhen projected on a screen from over 2,000 separate film pictures, it has been possible to compute the velocities of the arms and legs during their swings. The results showed that more than half of the mechanical work was required to swing them and that 0.7 H.P. was expended to stop them at the end of the swing, making a total of 2.4 H.P. utilized in the arms and -legs. The overcoming of the resistance of the feet making contact with ground required 0.4 H.P., while wind pressure and gravity accounted for 0.2 H.P. * * * DUBBING AND ITS RELATION TO SOUND PICTURE PRODUCTION By GEORGE LEW IN Paramount Publix I Meaning of Dubbing (a) Originally applied to straight re-recording. (b) Now usually applied also to synchronizing and scoring in which sound tracks are used. (c) Also used to describe faking of dialogue for foreign versions of domestic pictures. II Reasons for Dubbing (a) To transfer from film to disc or vice versa for release purposes. (b) To re-record for purpose of equalizing level variations, or changes in quality. (c) To add sound effects which can best be recorded artificially. (d) To add sound effects or music which would hamper the original recording or stage action, if made while original recording was taking place, or which would be spoiled when film is edited. (e) For scoring and synchronizing, using sound tracks instead of direct pick-up on music, to avoid use of an expensive orchestra for a long period. (f) For adding sound effects from sound tracks, where it would be difficult or impossible to use direct pick-up of the sounds — such as real street noises, train noises, applause, etc. III Kinds of Dubbing (a) Straight dubbing 1. Film to disc 2. Disc to film 3. Film to film 4. Disc to disc (b) Combined dubbing and synchronizing 1. From film, non-synch, outfits and direct pick-up — to film or disc. IV Technical Problems in Dubbing (a) Reproduction of sound for dubbing must be better than for reproduction in theatres. 1. Defects of ordinary projecture. 2. The problem of "green" film. (b) Special machines for high quality reproduction. (Continued on next page)