The motion picture projectionist (Nov 1931-Jan 1933)

October, 1932 Motion Picture Projectionist 21 Union of Sound with Color By L. M. DIETERICH The efforts of creating motion pictures, to faithfully reproduce natural vision within the limits of present methods of screen projection, are in the direction of combining sound with color. Sound reproduction, restricted by the even ultimate possibilities of at present known methods, so far renders in its best results fairly satisfactory results. Assuming, however, that both sound and color reproductions would develop each by itself, to a condition of faithful imitation of nature, then the synaesthetic properties of human sense reaction should be well considered. Synaesthesia in its broad sense means the automatic exciting of a sense organ by the functioning of another sense organ. This automatic reaction is a combination of physiological and psychological phenomena. To the knowledge of the author, synaesthesia has, as far as sound and color are concerned, in the arts, and certainly in the motion picture art, never been the basis of profound study or systematic application or use. And yet, wherever outstanding impressive harmonies of sound and color were produced, either accidentally or by the unconscious "genius" of the human creator, then synaesthesia was active. Before this constant repetition of that mysterious word synaesthesia, however, produces any anaesthesia in the reader, it might be well to try to clarify its practical characteristics, at least as far as sound and color are concerned and then suggest a method of application to motion pictures. It is well known that musical arts, the sound qualities of human speech, as well as the color arts, have a decided emotional effect. Interest, pleasure or displeasure, fascination, delight, love in its platonic or sexual beauty, or perversity — the whole gamut of emotional reactions are influenced by both sound and color. The same effects of sense pleasure or displeasure have been and are continuously felt by all of us even under the simple conditions of looking into a store show window or listening to the radio, and in a more sophisticated endeavor, by visiting a museum of the fine arts or attending a philharmonic orchestra concert. One of the most convincing demonstrations of the synaesthetic relationship between sound and color is the combination of a color organ display with accompanying music,. It produces an uncanny, mysterious sequence of sense emotions and can sway the mind of the audience to practically any height or depth of emotion, desired by performers of skill and thorough knowledge of psychological reactions. * Reprinted from The American Cinematographer. It may at this point be mentioned that the comparative study of the sensitivity curves of both the human eye and ear are of great assistance in the valuation of sound and color synaesthesia, keeping in mind the influence of intensity upon the acoustic sensitivity curve under the usual rapid fluctuations of intensity in music. Let us assume that we realize these existing and active sense reactions, then we should analyze both such sound and color reactions in order to be able to harmoniously combine them or choose the then known characteristics of one sense impression to properly co-act with certain characteristics of the impression upon the other sense in order to enhance and not to diminish or destroy the desired effect. It is well known, for example, that the "brilliant" hues of the warm color scale, like yellow and red, are entirely in harmony with "brilliant" martial music of strident tones and that the soothing effect of deep greens and blue-greens of the cold color scale blend well with a languid serenade. A funeral march and a gay beach scene, however, would certainly not be a pleasant combination of sense reactions, whatever the inherent beauty of either one may be. Let us consider, as a supposition, a motion picture scene with sound and color, wherein a wharf scene is shown and wherein the dramatics call, as a pictorial detail, for an outstanding effect for a red roof and as a sound detail for the voice of a female street singer, a supposedly so far undiscovered marvelous soprano. The art director, well versed in color effects, will, of course, make the selection of the red hue of the roof in accordance with its structure, a tile roof rather than a shingle roof for brilliance effect and select the contrast reaction of the values of surrounding objects as near as possible of complementary colors to produce the final effect of outstanding attraction concentrated upon this roof detail. This art, in short, produces in the spectator the desired dramatic effect the author strives for. This is, however, the total effect of the silnt picture only. If at the start of this crowded wharf scene an accumulation of discordant noises, with the synaesthetic impression of foul smells and dirt, impress themselves upon the spectator, the brilliance of the red roof has materially declined. An organ grinder appears on the scene and the listener hears and is attracted by a pleasing, lively tune. The red roof immediately appears to be of a brighter hue. The street singer, clad in lively colors, starts to sing. She sings a passionate love song supported by a marvelous voice. The red roof now appears with the same dramatic brilliance which the author and supporting art director are striving for and this brilliant effect reacts vice versa synaesthetically upon the dramatic effect of this love song and enhances the beauty effect and dramatic value of the singers' voice. If the composer or music director, however, would be convinced that the specific star singer's voice would, in itself, be most effective in a character song of ribald drunkenness, including contrast disharmonies — the singer might be most impressive in herself — but the red of the roof would lose its brilliance, its dramatic effect would decline and, vice versa, take the snap out of the singer's voice. If such a song, however, is a necessity, as well as the brilliance of the roof, then both effects must beforehand be stepped up in order to maintain the final cooperative dramatic effect of these two sense impressions of both sound and color. These considerations are well in line with the dramatic art employed in properly harmonizing music and song with the libretto, scenery, and acting ability of the performers of, as an example, grand opera, but have so far been woefully neglected in the composition of colored sound motion pictures. It must be repeated, however, that the imperfections of sound and especially color renditions in this new art have been and are so far a serious handicap to properly employ sound and color synaesthesia to motion pictures. At the same time, the author feels that scenario writers, directors, art directors and composers or music directors should not neglect to include into their cooperative efforts a study of this little known physio-psychological human property of synaesthesia. The present decline of public interest in motion pictures is spurring all producing agencies throughout this industry into well nigh desperate efforts to increase so-called box office values, which are nothing else but the automatic reaction of the public to satisfactory and rising entertainment values and sense pleasures. Every element contributing to such favorable public reaction must be, therefore, studied, and if possible employed and it is for this reason that this short analysis of synaesthesia is offered to the motion picture industry at large for consideration and study and don't forget, "You can and do see a tone and hear a color." Use of Color The use of color in all films as sound is now used in all films has intrigued the imagination of film craftsmen and public alike. It is inevitably the next step in motion picture development. Its use thus far has been spasmodic and commercialized as a novelty rather than as a necessity of motion pictures. Further advancement of the technique of applying color is also necessary. This will follow as a natural result of the development of natural colors that are as unobstrusive and easy on the eyes as colors in real life.