The American cinematographer (Jan-Dec 1932)

November 1932 • American Cinematographer 35 obtain a negative metal record. This master in turn has been plated to provide a duplicate stamper. A convenient and quick alternative method has been provided by sputtering and plating a suitable pressing made directly from the original master. All of these improvements tend to decrease surface noise, the reduction being of the order of 25 to 35 db. The volume or dynamic range of recorded sound is usually considered to be the difference in decibels between the loudness of the surface noise and the loudness of the maximum recorded sound which the record can accommodate with faithful reproduction. With lateral records of the past this volume range has been stated as about 25 to 30 db. With vertical recording the reductions in surface noise described above increase the volume range to from 50 to 65 db. "By a combination of the various steps mentioned above, it has been found possible to record fifteen minutes on a 12-in. record and ten minutes on a 10-in. record. This involves the use of about 200 grooves per inch and a recording level about equal to the recording level employed in lateral recording when 100 grooves per inch are used. Under these conditions the new technique, because of this greatly increased signal to noise ratio, gives records which for many recorded subjects are actually noiseless. The tonal quality obtainable is well comparable with the best film recording, while the volume-range possible considerably exceeds anything at present obtainable on film. A number of technical and commercial advantages in comparison with existing disc processes are likewise evident. Over-cutting and breakage of grooves are virtually impossible with vertical-cut records, while the celluloseacetate base is practially impervious to breakage, heat, or water. "While it is too early to predict just what uses will be made of this method of recording in the motion picture industry, it is felt that the method holds great promise and as further experience is gained several uses will be found for this method. At present it is being used to a large extent in recording electrical transcriptions for the broadcasting stations. Some consideration has been given to using this method as a library of sound effects and music which can be used in re-recording. Experiments to date indicate that re-recording from the vertical cut record to the film can be accomplished very successfully and without the usual losses which occur when re-recording is done from film to film. It is expected the ingenuity of the personnel in the motion picture industry will devise profitable uses for this interesting recording method." Why I Choose Cinematographers as Directors Continued from Page 1 1 While he, as a cinematographer, is attending to his camera, the director is dealing with the dramatic. If the cinematographer does not know what the director is doing, if he is unable to comprehend the dramatic highlights of a motion picture, he will never become a director. This statement has been proved amply in the industry again and again. Cinematographers elevated to the rank of directors have turned in, time and time again, photographically perfect pictures which slide and gloss over the dramatic moments and leave the audience absolutely cold. I know of one case recently where a cinematographer-director in a major studio was given an excellent cast and a fine story and proceeded to turn out an absolutely flat motion picture. It was necessary to assign another director and retike every dramatic scene in the picture. My interest, of course, in promoting cinematographers to be directors is a more or less selfish one. I know that when a skilled camera man is given a directorship, so to speak, he will cooperate with the man at the camera and will understand his problems far better than a director who has risen to a directorship through other channels. I know that I will get a picture which will be pictorially perfect. I know, too, that every player in the cast will be given a photographic "break" and that every favorable feature of that player will register on the screen at the preview. I know, too, that every background will be given a full play and that none of the production value will be lost through faulty camera work. The only thing which worries me is whether the cinematographer— better, the ex-cinematographer — will exercise the creative ability which he must have to become successful and to make the company, in turn, successful. This rests entirely with the individual. In closing I wish to call the attention of every cinematographer to the fact that he is "on the spot." He is in a position to advance himself. He has the shortest distance to go of any man in the industry. If he will give his attention to turning out good work as a cinematographer and at the same time look ahead of him and study the work of the director and of everyone else on the set, he will be fitted for the new job which, in time, is bound to come to him. "New TRUEBALL Tripod Heads OF SPECIAL ALLOY LICHTER WEICHT The same efficient head. For follow shots, known for their smoothness of operation and equal tension on all movements. Unaffected by temperature. Model B Professional For Bell & Howell and Mitchell Cameras and their respective tripods. With the ORIGINAL instant release telescopic handle. Model A for Amateur motion picture cameras. Attaches to any standard STILL tripod. Trueball tripod heads are unexcelled for simplicity, accuracy and speed of operation. The Hoefner four-inch Iris and Sunshade combination is also a superior product. FRED HOEFNER 5319 SANTA MONICA BOULEVARD CLadstone 0243 LOS ANCELES, CALIF.