The talkies (1930)

Record Details:

Title:
The talkies
Date:
1930
Publisher:
London: Crosby Lockwood and Son
Volume:
The talkies
Leaf #:
000153
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

THE TALKIES 95 decided to change its mind, and started to revolve the other way round. As Mr. Pomeroy said: "The camera was not designed to reverse, and what was left of the internal mechanism when the motor had finished with it was not much further use for motionpicture work !" An up-to-date Talkie camera can cost anything up to £2,000. Readers who are interested in photography will realize that the introduction of the photographic sound-track on to the same film as the picture has meant the development of an entirely new dark-room technique, the whole process of film printing and development being further complicated by the fact that experience tends to show that the contrast unit or "Gamma" of the sound-track should be considerably lower than that which is considered desirable for the picture portion of the film. In other words the soundtrack, especially when it is of the variable density type (such as the De Forest system used by British Talking Pictures and the American Movietone), should be softer in tone gradation than the contrasting black and white of the picture portion. In the old days the exposed negative film was wound on wooden racks, very much like the