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GENERAL PRINCIPLES 37
came into contact and, of course, the sound recorder registered the noise of this contact, This was only one method used to obtain synchronising marks on both the picture and sound negatives. Modern studio equipment contains automatic apparatus for ensuring synchronism and the 'clapper boy' now only displays a scene numbering title board. However, even under modern conditions, certain situations may arise particularly if complicated 'process shots' are being made with several cameras in action at one time when it will still be necessary to employ 'clappers' to record synchronising marks on all the films simultaneously.
The rolls of picture negative are 1,000-ft. (304.8-metres) in length and, when such a roll is exhausted, or a section of a partly used roll is to be processed immediately, the film magazine is removed from the camera. These magazines are the modern equivalent of the early spool chambers and are fitted with lighttight 'traps' designed to close automatically as the magazine is removed from the camera head. A magazine can be removed from a camera without disturbing its general arrangement and whilst in brilliantly illuminated surroundings.
The magazine is then unloaded in a dark-room, the film is placed in a light-tight can and may then be transferred to the processing laboratory. Here it is passed through a continuously operating processing machine, capable of handling any amount of film without interruption. After processing and drying the picture negative is transferred to a picture printing machine where, by printing through the negative onto a positive type film emulsion, such as Eastman No. 5302 a positive image similar to those used in the cinema will be produced. This positive copy is then immediately developed. The picture negative is then placed in the film store, to be held in readiness for future use in making up the final complete film if the 'test print' just made should be acceptable to the Director.
Before proceeding any further with the picture aspect of the production we must return to the 'set' to trace the course of the sound record up to this point. From the 'flow sheet' we see that more than one microphone may be used at any one time. This may be necessary in order to obtain the best recording quality from all areas of the set.
Since the output from a microphone is very small it must be fed into a 'pre-amplifier' and then, via a 'mixing panel' into the main amplifier; the output at this stage being sufficient to operate the sound recording head. The mixing panel is used to adjust the volume and quality of sound from each microphone until a