Movietone Bulletin (August 1928)

“Now these lines on the sound band are heavy or light and wide or narrow in exact proportion to the loudness and pitch of the sound which caused their creation. Get that, dont’ you? All right! As the light passes through each of them a proportion of it is absorbed—a proportion exactly in proportion to the width and density of each line —so that beyond the film we have a light beam varying in intensity precisely in accordance with the original sound effect as impressed upon the film, but in reverse. This beam passes through the photo-electric cell and in so doing (here is the heart of it all) sets up electric currents varying in strength precisely in proportion to the variations in the light density of the beam from the sound band of the film. This current is passed along to the amplifying tubes and from there to the loud speakers. That, gentlemen, is how the thing is done, though of course there is vastly more to it than appears in this short article designed merely to show you why you must not monkey with the slit cell. And now for the dirty work: You who have followed me thus far will understand that the slit image must be precisely parallel with the sound lines. You will clearly see that “precisely” in this case means exactly that. You will understand that if you take the slit tube out and in replacing it get it rotated by even so little as one-hundredth of an inch, then the slit image would not be exactly parallel to the sound lines, hence it would only illuminate properly at its center. At either end it would be out of register, with result that the sound would be blurred in proportion to the amount of the fault. You all know the effect of a slight movement of the projector objective lens backward or forward. Well, absolute sharpness of definition in the slit image is very essential to the best results and if you remove the tube in replacing it even the least bit too far backward or forward, the slit image will be out of focus and the sound correspondingly blurred. You begin to see reasons why you should not break that slit cell seal, do you not? The cell must be set with microscopic precision and the projectionist is not equipped to work with certainty in such a matter. It is extremely unlikely that you would or could succeed in correctly re-locating it, hence both the Western Electric and Fox Case ask that you do not make the attempt. It is a factory or a service man’s job exclusively, wholly and entirely. Get your service man on the job if you suspect anything is wrong with the slit cell. Don’t attempt the impossible. Win Praise It is a fact that some projectionists complain that the “boss” seldom or never speaks in commendation of their work. In some cases this may not be readily excused because the projectionist is a careful, painstaking man who tries hard to give the best possible service. I know that to be a fact. However, my brother, before you complain too vigorously about neglect by the “boss” in this respect, take counsel with yourself. Ask yourself if you really have done anything worthy of comment by the boss. Remember that you are only justly entitled to notice and praise if and when you have gotten as nearly as possible one hundred per cent. results with what is provided, and have done it efficiently—without undue cost either in electric power or machinery deterioration. Think that matter over carefully. Ask yourself this question: Have I done everything possible to equip myself with accurate knowledge to the best possible advantage, or am I one of those men who believe in giving the least possible value in return for the highest possible wage? Do you regard projection as consisting merely in the operation of a machine, or do you regard it as a matter of placing the very best possible picture before the audiences at all times, which same involves hard work, study and painstaking care? Praise is a thing to be won and won by real, sustained effort to excel. ; A sound gate is different from a baby. A baby will howl if you clean its face. A sound gate will howl if you don’t. | FLICKERS | ’ The other day a father of recent twins was talking to us. He was deeply interested in the perfect synchronizing marvel of movietone. He asked a lot of technical questions about it. He wanted to know this and that about the mechanical part of it. We couldn’t imagine why he was so inquisitive. Finally we asked him. We learned he was trying to apply the principle of synchronization to the nightly yowlings of his young two-some. Your personal importance is something that should not give you much worry. If all you want is for people to look up to you go and sit on a flagpole. Of course the producers of movietone want it noised around. But they don’t want it noised around too loudly. That is why they put the fader on it. If you don’t know how to keep oil and dirt off the celluloid strip consult a reformer or a censor. What he doesn’t know about clean films hasn’t been thought of. Be square with yourself. Ordinary politeness is to be desired. But it is not bad etiquette to stare a fact right in the face. Don’t be discouraged. All signs fail in dry weather, they say. But the high-sign generally works in a dry country. No matter how much you think you know, there’s more to learn. Experience is the best teacher, but she never lets anybody graduate. Synthesis means building—hence, anything synthetic is built from the ground up. A lot of blondes are synthetic. It is wise always to give a big share of interest to your work, unless, of course, you are a savings bank. Stick to one thing. A jack-of-alltrades never makes much jack at any of them.