7 Soviet wide-screen system ‘The wide-screen system used in the US.S.R. isthe result ofa thorough analysis ofthe advantages and disadvantages of other widescreen systems. Ite based on the use of 35 mm film, an anamorphic lens witha squeeze factor of two, and a three-channel stereophonic. or monophonic sound sjsem, all compatbie with Cinemascope which sso widely used abroad. ‘Many wide-screen cinemas in the USSR. sre equipped for steeophonic reprodzion. Moreover, single ype of ese print wae with an aspect ratio of 238, At the beginning thee were two types of release print: one with an aspect ratio (of 1:255 with four magnetic sound tracks, the other with an aspect ratio of 12-35 ‘ith a photographie sound trac. ‘These release print formats were adopted as an international International Standards Organization ([8.0). Experience has shown this to be an unsuitable arangement. When filming and composing the pictur, it was always necessary to make allowance forthe reduced ‘width which is produced when printing a copy with an sspect ratio of 1:2°35 and a [Photographic sound track with an unfied space onthe lelt-hand sie of the frame. ‘factors or any other feature in the film are placed to the extreme eft ofthe picture, ‘they are cutoff when the copy with the photographic sound track is printed. In this way, te let part of the picture remains to all intents and purposes un- used. Moreover, the existence oftwo standards has resulted in continual errors in film making” ‘This factor has been overlooked by experienced as wel as inexperienced camera mea. in spite of the hair lines indicating frame limits on the camera viewfinder, * Inthe West the postion iin fact simpler than te author impli, since patel all feature films photographed for mamorphe presentation ae now compote for an aspext, ‘ato of 23541: Moreover, iat the Eifercce in asp alo onl about 8 per ee, Sand that inthe les critical with dimension of the peur, the eles on piture Comper: tandard by the ton ae not usually felt to beak Severe athe author implies, Tea) 152 the whole width ofthe frame has sometimes been usod with ‘be result of con- Sequent errors i feiming. Two variants ae posible: one with an aspect rato of 35 and a four-chanel sound track, and the soon with an aspect ral ot 1:235 and a singechannel photographic sound tack, although ths is unlkely to be suitable, Moreover, and this pechaps Is mos importa’ of all, when the spect ratio of 1:25 s used, the picture overextended in Wilt, aa when the Seroen i smal, especialy in tho smaller cinemas, te pete takes On leter-box appearance, Ai-the same time, when an optical print is made of wide-screen ‘erson fom a wide format negative with an aspect ratio of 1:22 the widescreen 12235 frame scems more suitable. “The loss of picture area in 35 mm widescreen copies prodsoed from 70 mm egies i only 7-4 pe cent, and ths has no mao ect onthe plture con pion, 92 percent ofthe ares of «35mm i wed, andthe otal retin from a larger toa smaller frame, when a print is made Irom a 70 mm negative onto. 35 nm film, results in a somervha higher qualty posite print. {All ofthis ony confirms tht the adoption of ane typeof wide-sersea release int with an aspect ratio of 1:25, respective of whether a sigl of four-chanel Sound track is used, sa sensible measure. The proposal put fwd by he USA reprsnaies at te.0 conten in 1958 that a singe flm-opy, the so-alied Magoptel with four magnete an ane photographic sound trac, should bs adopted, has the substantial dsad- vantage thatthe width of the photographic sound tack i only half the normal Sie. This means thatthe sound quality of single-channel versin of lm wl be Poorer, because the dynamic range of sound levels is smaller. Tn the USSR. we have produced orginal optical systems for making and showing widescreen fis, filming devies, equipment for recorcing,rerocording, for electrical printing of streophonic magnet sound wacks andor adding snd ‘tacks to composite print. “Advances have besn made inthe technology offing and streophonic sound recording. Many wideseron fms, both black and white and cour, have already boon released and new fms ae inthe process of production Ax original method Ins been invented and applied ia race for anamorphi expansion (nsquoezng) in widesereea film prodction, whereby films ean be shown om ‘normal serosa widh an aspect alo of 1:18, and ia a 16:m version aso, “The Sovct system has been the basi for development and the adoption of wide sereen stereoscopic cinematography, using « Poarid system with streophonic sound Special aspects of wide-screen filming ‘Whereas several eamera set-ups are required for each scene when a normal-sized screen is used, only one setup is required for a wide-screen, Furthermore, rapid cutting of brief shots on a wide-screen has an unpleasant effect on the cinema ‘There was a belie that close-ups would not be suitable forthe wide-screen. The frst wide-screen films to appear, however, soon refuted this notion, Its possible * The never il techniques developed in Western counties do in act often make use of extremely short shots and rapid eating, Now that aienes have a 16 year exe pesonce of widesezeen fms, they ave grown completly sclimatized (0 thet, and do fot see fo boa all disturbed by these anges. of cient to deny that tory Tong takes of master scones are usually made, and somatines incorporated ena, i ‘wide screa fms, eg. the famous rotating panning shot and long doll shot in Godard's Week-End 4} 153© Fi, 122. Examples showing the composition of (3) close-up, (b) medium, and (c) Tong shots in wide seren Hing. 134 ‘0 compose close-up which takes inthe surrounding are, andes the middle and background, Morcover, ns closeup on a widescren the emotional eet increased, because the screen fame i less obtranve and the produce has more ffeodom to change the positions of the actors appearing inthe pcture. ‘na normal lm te produ often obliged 0 avoid attempt show closeup stl fos nod sent Io ern cnnatogaphy Poa vot an be shown a wel as close-up shot, including, moreover, not one but soreal ofthe actors aking pat in tho action. The proder must araage the movement ina picture in sch away that the tention of te public eencntated on te mals action. In a widescreen fim, extras and crowds ave f play thet part Because ona wide-suren everyons fs leary visible, Ian exta des not show the appropiate reaction fo the scone in whic es aking par the eet vill be mot ‘obvious asa similar omission would be onthe part of oe of te principal actors. ‘in order to produce a high-quality widesereon picture a nunber of Sonditions must be sted, Tn partic, essen hat the prestibed techniques and ‘ost combination of the processes that eflet the fl result should be most, strily followed. The ca-camera, che optical sytem, the negave and postive fms mst be most careuly sce tested and comes proesed. The coke of st, the comet construction of scenery. proper lighting anc use of exposure tet als ply & most important role in the production ofa high sere film, ‘When the outine sketches and the nal drawings of a st are produced, i is essential fo take account ofthe now aspect ratio ofthe ame, Te senery must so be planned witha view tothe elleive ulation ofthe whole are ofthe new frame and of strcophonic sound recording. Normally ther approximate only half he number of setups ina widescros fm compared with the numlor Contained in @ normal fim, and this Tacior must not be overlooked when the Shooting serps being prodecod, Figure 122 shows how cose-up, medion and long shots are composed for wideseronf. Equipment for making wide-screen films Conventional cine-camerss, both studio and hand-beld, may be used for taking synchronous shots, (SK-1, Mir, Druziba, Konvas), in whieh the 16 x 22 mm spertrepate i replaced yan aperture designe fo produce ave pcre aspect ratio of 1:2°35 (Fig. 123). To ensure uniform film transport, the intermittent mech- ‘anism must be made with particular eare. ‘To make observation easier during filming, the normal viewfinder is replaced by a special magnifying lens, which enables the picture being filmed to’ be sen without anamorphic distortion, asin fact it willbe seen on the screen. Adjustment devices are also necessary when insaling an anamorphic optical systom on @ cine-camera. Figure 124 shows a cine-camera GKSS~Mis) with an anamorphic lens for making wide-screen fms. Optical systems Inthe U.SS.R., anamorphic lenses with focal lengths of 30, 35, 4, 50, 75, 80, 100, 150, 200, 300, 00,'780 and 1,000 mm and also varifocal lenses of 37-140, 50-300, 75-280 and 30-500 mm are produced, ‘The Coeficient of compression ofthe horizontal dimensions ofthe objec to be ‘med is known asthe anamorphic factor. An anamorphic factor of two, whereby {he horizontal dimensions of an object are made half the size of the vertical dimensions, is an international standard for flming and projecting wide-sereen 155seas sent Guided Edge View of Film wih Emulsion Side Opperman Fig, 123. Dimensions of wide-sereen camere aperture for use with anamorphic ens Fig, 124. Cine-comera (9KSS-Mir) with an anamorphic lens for wide-sereen shooting. 156 ‘lms. Figure 125 shows a 35 mm anamorphic frume and its subsequent projection fon the sereen, ‘Thus, if spherical lens with a focal length of f = SO mm -ogether with an anamorphic atichment is used in making a film, a vertical angle of view willbe Fig. 125: (2) image projected on the screen: (2) 26mm snamorphic ame. rode on the in comespondig to thi fa 50m ns, wh the horizontal Enule corresponds ota of 25m le. Stlly, a4 mn les has a og ic honzonal ang to at of «normal 2mm lets and soon “Tho anamorphit inageobaled on nx preted on aScrem,ardevlop- ingen printing. y means of poet lee ited wan stant Somme ing system of clindal lens which capand th nage wt the same ana rrp factor of two, a wat td forsaking the Tae rodae oo he Strela a wide fags with an spectro of 1-295, The anamorphe factor of fhe Ine and iv alachment i variable which coanges tt ceran hs depending onthe feel dance Moreen the Asanophic factor no union forthe entre andthe sie ofa ele age fis Th amount tat ie facor deviates from the standard vars for Giferent Szamorphic stam. Cooquenty, pascal ese ne oe made wih carers ito, dpart om those whi areca ou inthe inbortoy. ‘Such fst enabie fm companies to determine nage tare and contest, disorton and abration, a wel sto magntade and imi of vation of he Snamorphi factor. At tho ste inet provides an opportunity to hte aos tf actor to make sre there no notioabe distortion, Spel foi target ar sed fo carry ou the tet oth with lack and white and colour im, comisting of gradually diminishing type characte (he ruction tod 5 pc con nore to exclade extraneous dle hm egaie Siesy exams unter amictocape perttonalexpersneshas sown ht aloe stor eingetal he ust of thowidesoreen pure epend toa largesenton the easlving Powe of eles 131“The sharpness of image definition produced by an anamorphic lens should make it posible fo enlarge ths mage on wide sree withowt oe of quay. Hower, Fig. 126, Soviet lnses for wide-sereen fim. Above: 1 GOmm: 2. 35mm: 9 $7= V40mm. Below: 1 35mm: 2 0mm: 3 75mm: 4 ansmorphie. with nearly all anamorphic systems wed at the present time, image sharpnes is ies than that of good sphere lnses me Te mus be stat variation of the anamorphic factor within the limits of 19 1022 prodvoes practi no tisemible distortion onthe sree Tn the ain, anaztorphic opis off = 35,40, 80,75 and 100 mm ar wed for sing wes i ts of ep ae Srp and tescoping of perspec tis desirable to lm witha ng of {fis5-Sorunas When smingabecs wh havesiapl dened eral god ‘ertcal architectural Hoe inthe foreground or background, even the slightest ack ‘of preision netting up te camera cen results in darted images on te sce. ‘Rapid movenents of an actor in the foreground, or spd Faaog past an immobile obj, generally produces defeat image basis of waplesant Phenomena known as stroboscopic ets. Since an anamorphic lens sorts Urisings, when foresortened shore taken it seen fo make sure hat tose distorts do not exceed acsptbl nis Al th lane surfaces of an aamorphic syst in contact with the st mist be spectly coated. Most Wastun fi makers woul one tha hear ly excise on these aspects of widesereea tlming. Nor are they likely to encounter the probleme ‘meationed inthe following paragraphs TE.) 158 Films used in wide-screen cinematography In order to produce the sharpest posible image definition and tke minimum dis tortion itis een sel lm which has high resolution and a good con. teat Experiments shuld be cared out o sls the best posible combination of ‘ogaive and positives and to establish optimum condtions for exposure for ‘rie-seeon iling. Exposure conitons ave an infence on the sharpaess of Image definion. Overexposure, in particular, causes aloes of sharpness of definition because of haloformation isthe enisio layer. The aso of fms with increased contrast (gamma = 08-05) gies improved results when fing out $d the stgio in cloudy weather. Experimental work in printing posives has shown that on te whole a clear, aadated postive produes the best vival sharpnes of deinen on te sesen, Experience in prodacing test prints and release prints shows tht best negatives should be of graduated and reduced density but wih god contrast. Too much and too lite ligting must be arf avoide. The esoltion of negatives sed in taking widescreen films must not be less than 50-0 lines per am, Moreover, itis eset to perforate the ngstive thoroughly and cal, reducing he toleanes for vertealy and theskewnesof the perortion pert The aly ofthe siting mus also be of high standard in onde omprove stably and reduce horizontal usteadines ofthe fm inthe camera, "Thebes results aro achieved when the resolution of the poste fins is slost ‘igo that of the negative. Only then canal the detain the negative be sacs fully reproduced. The contrast ofthe positives must be raked to @ gamma of 2S-2'5At the same time its eset o rece the fog density. Lighting In order to obtain the essential depth of fl lighting mus allows lens opening of /is356 or slr Ancrposre meet mst welt expec oud {for example, the shade side of an actors fee), It must be remembered that sunlight te sharps of deinton ofa widescreen image's muchlower, specially ofthe face. When liming outside the stad the best rss fe of sharps ‘ot deintion may be obiainod if the foreground is covered by tls avningy and Subsequently ‘iiminated by booster lane. I is possible and desirable owe Colour ighting fo which case the rightness range permited for «partic Kind OF fm must'be observed. If thie fe ignored the widescreen tage wil lack Sinspo of dnton, expel i tee ary oe ihn in important parts of te ptr Set construction: Staging for wide-screen films In constructing the set and scenery for wide-screen films, the chamcteristcs of the snamorphic optical stem mast be taken nto account, In rd to produce the Fequired depth of perspective when filming, the st must be constructed so that 50‘and 75 mm lenses may be used. ‘In contrast to normal 35 mm firs, the majority of scenes require greater depth of construction in order that the actual perspective relationships should not be Tost and all the images appear fat. When soenery is constructed ir depth adequate {to mect this requirement, stops lager than f/5* cannot be sed, Thi, in Its tir, makes synchronous filming in the studio a complicated process because of the ‘need for a considerably increased amount of light. 159Dit hts te ons i el Win het pin un acg of sety a ph oo eps Kn ene ete eta a pn SS a readonly aparece eae a aad Perk Teo no my eal tte tae of he, de uh of rps of ER a aR SEE eT atcha trmentoe itt ig guy ingen ate it SSNS RUST Aa NOS ee a Sono 0 upd et WaeTeaocn b Sop etn ‘stingers Fig. 127, Diagonal movement of actors in wide-screen cinematography. Lowelevel shots in perspective should be avoided when architectural detail of horizontal aspect, such as a wide staircase, i being filmed, otherwise the picture will be distorted, “Experience has shown that when complicated architectural scenes have to be filmed itis advisable to make a preliminary rebearsal film in black-and-white of the wide-sereen picture, and then study the negative on the sereen. In this way the camera team wil avoid possible errors and unecessary retakes. Travelling shots ‘The various kinds of traveling shots—dollying-in, dollying-out, panning with alterations of seale and perspectiveproduce a sharp image and an interesting threedimensional effort On a wide-screen, Shots taken from tallies, vehicles of ‘motor-boats help to make a film more dynamic, even though practical difficulties usually have to be overcome, Individual panning-shots in wide-screen fms may each 130-200 m (900-690 Tt) n him lengtn and more, ‘The bos resus are obtained when there are no architectural objects in the back- ground nor scenes with sharply defined vertical or horizontal lines. When the 160 camera is panning or traveling, particular atention must be jaid to objects in thenetr and mile ares, expecially hore moving i he oppose section to te ‘auver. In this ate a wide tren image of moving actors ll aost ala ack Sharpness of dfiniton and ts outlines wil be blurred. We have noticed that when 4 panning camera ts folowing the various rapid movements of an actor, the Sharpness seldom sues "When traveling shots ar being made i is exsential to take account of distor- tions that ooo a areal of variation in the anamorphic fair, which in his case plays a signfcant roe, In practice thas been extablshed, for instance, that ‘whens fm istnage with a25 mm tens and-an angular velocity of 10" per seond, the degree of displacement on the film of close objects (an ator 43 m (131) ‘vay ste) wil is within admissible limits and there wil be ne sgn of stobo- seopl ffact All panning shots, dolyingin and dallying-out, and other camera tovernents, mst be made rahtr more lowly in widescreen fling. Tn order to determine the admisble spends at which the cares can move in vigeserea ming = sce of tests was arid out with camera mounted on 8 ‘hice The folowing facts emerged from an analy of the fin 1. If the opti! ass of the object being med is paral tothe direction of iovernent, the sped of eamnrs movement may reach FO kr (44m ph), when ‘Shots ae being taken ofa street, where the nearest houses are situaied not ess than 25m (@21) away. When tia distance is redvoed to 18-20 m (60-46) or the camera tres at speed up to 8D kmjbr (3) mpi), a sroboscope eft is apparent atthe edges of the ine Ts, inctdentall ijt unpleasant asin the ventional cine, Fr objet a nity the stroomapi eat eno apparent "2 When the dietion of the optical ais ofthe object being ned fat an angle of as" to the cirecion of movement, sroboscopic sfx apaarent even at 8 Speed of 4D anfbr G5 mph). The duplication of contours ithe part of the Piste farthest removed from the direction of movements particulary noveeabe ‘en the object i some 20-30 m (66-100) aay. 3. When the dietion of the optical ais of the object beng fimed is at an angi of 90" 1 the direction of movement, objet tiny ate not duplicated ata speed of SD km/hr GO mph), but are duplicated at diaances of 100m G30 A). At a speed of 2 kay (2b mpin) objects 25m (821) aay aeady show signs of stroboscopic eet, ora a since of 151m (30), ifthe speod 10 km 6k mph), Tes an interesting fact that when the scenery in a wide-screen fm is stationary so thatthe audience bas an opportunity to view the image fora long period, Sharpness of image definition i especially noteed, in particu: for long shows. ‘Tht ea factor which must not be Cverlocked when seas ofthis Kind ae being sto. Ath sae tne eel oar nd tt ashi stay Sharpness of definition in long shots ia compleated problem, even when maki dona fms, : coe : Editing wide-screen films Short shots and rapid cutting are not suited to wide-screen sinematography, ‘specially ia stercophonicsound-system is used. Shots on average must be about fice the length, or rather more, than required for normal fins with a frame ‘aspect ratio of 1:18. It is advisable to use close-up shots comparatively rarely. ‘At the same time in such eases a picture of a composite subject must be led ia 161‘width by adaional objects. 1s useful to have two actors ina frame, and apart {tom the visual probioms involved, sich an aurangement makes it possible 10 rae uo of stetophoni eet As thie parilny noieabe when te ds: {ance betwoon the soundemiting objets i increased, the actors in such cases ‘howl be a far spat as posible “Al ho shots in alm shouldbe taken mor in close-up than s customary, since tong shots tend to lack sharpness of definition because of inufient rexclution ofthe widescreen film. The new all-purpose 35 UZMS sounding machine tie ai wesc pe. Thr che equ ih ge sn or ‘ide and norma frames, and wih instruments for listening both to magnetic and photographic sound tracks, stereophonie and single-channel Peculiarities of stereo recording for wide-screen Widescreen films are steeophonically recorded on 35 mm perforated magnetic Im in accordance withthe standard set out in Fig. 128. The speed ofthe tape in the recording apparatus is 456 mm per see (90 fitin}. ‘In the majority of eases three sound tracks are added at the first recording (os. 1,2 and 3), and after re-recording a fourth (No.4). However, when muse Ne wea Nog Now B01 38:04 3Br01 Direction of Film Travel fl el a ZZ Magnetic Coating Uppermest Fig, 128. Arangoment of magnetic sound vacks on a 35mm magnetic fi. (Tracks conform to Wester standard width of 160 mils (0.18 in) Ed) and sound eects are being recorded, the fourth track can also be added during the first recording. (Certain technological recommendations may be quoted on the subject of synchronous stereophonie recording, which are the results of our experience of ‘making wide-screen films inthe U.S.S. ‘The mixing console must be instliod in such a way thatthe sound engineer has «8 good view ofthe actor, the ine-camera and the microphones. He must continu ‘uly observe the action ofthe film (se Fig. 120). A mixing console placed inthe 1a best possible position enables sound localization to be properlycontrold during the recording process, Incorrect control results in errors. 'Whea the picture has been composed and rehearsals have begun, the sound ‘engineer must watch them in the camora viewfinder (if there is no television view- finder), together with the camerammaa, is also important that he should remember the position of the actors, their movements and the distribution of the dialogue throughout the scene. Next, the assistant sound engineer must be given instructions about the positioning of micro- [phones and any necessary panning. The sound engineer monitors the sound by {neans of binaural headphones at the mixing console, and keeps a continuous ‘observation on the actors. From theit movements he can quite easily determine ‘what their approximate positions in the picture will bo. At the same tine the sound engineer and his assistant follow the camera, especially if itis panning. The first ‘movement of the cine-camera isthe signal for the mieropheses to be panned comespondingly. ‘Figure 129 illustrates the postion of microphones for medium shots of 10 actors in conversation at a distance of 08 m (2 fl) from each other taken with a ff 6 a / \S 87 \ ER / \ 7 \/ Fig, 128, Postions of microphones for medlum-shot liming wth 2 80 mm lene, 50 mm lens. The accuracy of sound-locatzation depends on the studio acousties ‘en when the mieropones sre pace in the vary best posible postions. ‘Sound waves rellesed from the surfaces of the set and striking various mico- phones cam et th scurecy of sound fcliztion, ‘Although for singleshannel sound recording of conventional lms the postion ofthe microphone boom tally may not be particularly sigiSeant—provived that the microphone can follow the actor eorrecly--with sereophone ound secord= ing, its important thatthe operating poston from which the sound engineer Cofiros the mleophones shook be very casfully chosen. The microphone Boom 163Figure 132 shows the positioning of microphone for fling an actor who is semninfalf-proeon th sce If he mexephones ae place cording to the Gloted line inthe diagram, there wil bea lack of conoraltytetween the visual impression and the localization of the sound sours, sinc the sound presure on oneet Inceret Fig. 190. Positioning of mitvophone boome during synchronous stereophonie ‘recording. _must bein the immediate vicinity ofthe cine-camera, either behind it or slightly to ‘one side, since ths enables the microphones to be more accurately orientated (Fig. 120), The position of the microphones whea filming a medium-sbot of one actor is shown in Fig. 131, In order to improve sound-localization, amplification in the ‘uiside channels is reduced during recording by 3 dB relative to the amplification in the mille channels. When the actor isin the middle of the scree all the time, itwould seem that one channel (the middle) may be used for recording. However, in this case the three-dimensiona effect would be lost. Tis can easily be proved by sisconnecting the outside channels when the film is being reproduced. ig, 182. Positioning of microphones when filming one actor in ho pofil the righc-hand microphone during recording wil be greater than onthe middle ‘microphone Leta see how two actors, standing alongside each other, will be recorded. (Fig. 153). The estance between the outside microphones fs rather less than Yori 3a), ‘To make sre that the sound is exited as if ¢ were coming from the parts of the Seen where the actor” images re een, the ouside microphones must be Plcod approximately equidistant rom each ofthe actors, ‘Sometimes adalional shot ae made with lentes of varying fecal length to aid transitions during editing or selection of the most suitable venom, The sound incor mnt Keep a careful eye on this Beause any changes inthe optics will ailect the posions of actor i the picture, even if they in fact emai In hie former ples. Figure 134 shows how the frame in Fig 133 wil appear when & lens of greater fsa! length is used. Tn such cases it f eset fo earrange the mierophone postions. The eetal microphone is moved some 40-50 car (13~ 20; farthet away so that the sound is beter separated inthe right- and lef-hand ‘channel, nthe region of which the ators are moving Timus be emphasized that when a synchronous steteophonic recording i being sade, a8 distin from a single-channel recording, the sound engineer must 1ook 1 inv the viewanacr cach ume he camera isso ups that he may Obtain an Bcc sto impression ofthe actual composition of psture and ofthe limits ofthe frame Fa. 181. Postionng f microphones for lining medium shots of one actor in order to position his microphone corecty. 168 16s‘ig. 134. Change of positions of two actors on the sereen placed as in Fig. 133 when the lene i changed. 166 In isolate distances, in order to make the sound localization more precise itis advisable to reduce the amplification i the middle an lef-hand channels by about 3-448, when, for example, an actor is speaking inthe right-hane part of a frame: conversely a similar reduction is made in the middle and right-hand channels, if the actor crosses tothe let side of the frame. Even hen asynchronous close-up sot bing made of evo ator standing almost sie by side at a distance of not more than 05m (I ft 8 i), itis necessary to take account of tho effect of sound-expansion, because on @ wide sereen the scales are considerably increased and the distance between the images of the to Actors, filed i closeup, may reach ax much as 10m (33 A) and more, a8 the ‘cxample in Fig. 135 shows Fig, 196. Effect of sound expansion from studio set to einem sereen (se Fig. 108). Se ee OT et pre epee ceo 7 Rahman gga ser cet tee ssn wn 7 Th el mien re secre a rans ca ee use te a Meron by mina ot realy tow seine le trom unas er ‘Hues gan ey std rnd er ena fa re is emp emi bm for 161Fia, 196. Unusual srangement of microphones reuting fom the postion ofthe Fig, 198. Unymmetie! pstioning of microphone. ‘tla in he ame, Nota decion fa whieh misophonee se pontng. cxcasions when camera positions ate Sed. Let us now lok at the conitions applying to steeophoniesynhronocs fing with panning camer "ven panning shot are being ade forinance when a scr crignaly on thot ofthe cor, his relative potion ay alter ste men move Thus He may appear ia oer postions in the mig, onthe right, et When te fs projected, his voice must always match the poston of fis imag, Fi. 139s shows 5 ge \ — eo Fig. 197. Typeal microphone arrangement for recording dislogue between three ‘Fig, 139, (2) Picture compositions caresponting to the thee panning phases and (b) ‘actos pattem of movements of camera and three microphones. 168 16three picture compositions, coresponding to three pases of pang initial mediaty and fial~whlst Fig 139 shows the pattern of camera movenenk and tree™mirophone installation. Figure 10 shows other peture compositions ‘i pansing shots an the coresponding arrangements and movement of camera and nirophones. a ARR Fig. 140. Microphone movements during penning shots. Stereophonic recording outside the studio Sa ee, SEGr Samii ein te Sao oa seer map hae to ri cere fat So eae eee eet ae ieee ea es ee ee iey Epcot eed aeeeniea naar cas rocket so i ei cud Otero sete ek ed us eu, tas eg ao Peri aren arte eben porate icaattateaes 110 1 must also be remembered that ifthe edited flm contains markedly varied types of shot, then the basic distance betweon the outside microphones must be brought to within limits of 60-100 cm (24-40 in), since abrupt transitions from recording with dispersed miccophones to recording with microphones close to- gether is unpleasant tothe ea, ‘When it is already known that a particular soene will be put together without inserts of other shots, the full emotional foree of stereophonie soune, produced 154 result of recording through several channels, may be used. This is especially ‘tue for long shots. Figure 14] illustrates the recording ofa scene where an actor ges out ofa ear ~ / Fig. 141. Synetronous stereophonic recording outside the studio and approaches a small gute. The sene is synchronously filmed and atthe same time several spoken remarks are recorded. igure 142 gives a further example, this time with the eamera mounted on a boom, To ensure the required conditions for stereophonie recording, a mobile electric power-plant was slaced some di ‘ance from the filming site The quality of wide-screen film sound is improved if stersophonic fects tracks are used of sounds recorded outside, ince the audience will not only be able to hear sound from separate sources but will also be aware of volume and ‘depth in the space where the action is occurring. This is only possible with raul channel recording, Stereophonic recording of background sounds, which enables the maximum stereophonc effectiveness to be acheved inthe film, alsa most important. When background sounds aze being recorded, it must be remembered that the more [powerful the source of the recorded sounds, the greater the distance should be between adjacent microphones, in order 10 achieve better sound localization ‘Thus, toachieve the best effets when recording the sound of waves breaking on the shore, the microphones must be placed 30 m (200 1) or more rem each other. “The best results in recording background sound for a distant shot ofa village were obtained with microphones placed 20-25 m (80-100 f) apart, as compared mwith a recording made with microphones placed adjacent to each other and orientated so that their zones of maximum sensitivity faced in various directions, ‘A background of sound recorded on three channels With widely dispersed micro- ‘Phones is composed from three sound tracks, different in character, which are ‘Fig, 142. Synchronous store recarding ouside with boont-mounted comers. rmergd together expanding the fil of sound and contributing tothe breadth of sropeof th cna shot, bth in he vial andar prepon oa wee Figure 143 shows the miophono arrangement for synchronous fiming of @ setue in which some carpenters ae ting logs (Poem of the Se) Is interesting that atest recording war mado ily with the micrpons placed in ine 1s (G9) spat, but tis was found fo be unstable Figure 1 ilsrates how instances oocur in practice whee the cores ocaiz- tion 6 sound is alee by soundorave reetions from vations types of sens, Used by the cinematographer or lighting purposes. ‘Our expeienn, terre in making t numer of widescreen films confcms tho advistbty of making synchronous recordings of dialog outside the so ‘only when technologial and weather conditions are favourable. In this way foun ck at bp in whe sound gly i eter than ge Channel recordings ahd serophone recordings pbduosl by the postscoi channel resording a 3g preducal by the postscoring ‘Ath same time seeophonic recording should be widely wed to provide tackground-noise sound track, to accompany ssnes in which there are moving ‘hic, uns, tank, crates and alo fo record background sods dita {orepredice aisly nth sod sao, Sng shannel ets tacks withthe ‘to a pan pots when te sound is eacorded donot aways produce a desirable m ig, 143, Mirophonearangementor synchronous sereophoniecwting ouside the fae \ 2 Fig, 144. Elect of sound reflection om sereen on correct sound kealization during 2 stereophonie recording. Equipment for stereo recording, and electrical printing Unidirectional condenser microphones for synchronous recording inside and out- Side the studio, and for recording mse. "These microphones ust be stall in dlimensions and weight, They mist have an operating frequency range of 40~ 12,000 Hs, and should bo highly directional witha fout-tovear senstity drop 3Stas Soap ete atone, omen pone spe septolmeromons as : oe Spare ne pp retire pel pepe nn ee open re ore i ea a sam ere ctr reponse Sen st eg nines i tnd nn he eset 4 ee OO em). To mere ep eet eerie neces ae creeper 2m, Te oral mon oa el SB 0 ae eee eer tne ten ase eee ee oer rfelr beset sip fan pt ee pec oe ae Segura of 2, The oe he raph hom 28 pene sreenrmecy chi enetera mgonng oem cor sate ening eg fu EW moter aie te apg ene, pe sie gurl lnipones meade ering on Recess ingen tere ya oh per gata set zope and ve eng to eng ‘The KZM-7 set consists of the following unit: 1. A 90K-9 four-channel mixing console builtin the form of a mobile table (Fig. 145). Tt includes four S00U-4 microphone amplifiers and 8 208-23 rectifier {or feeding anode and filament circuits faders foreach microphone input and for each channel, filters, four 8E-6 volute level indicators, monitor headphones, systems for switching-on, commutation and control, worked by a fixed frequency ‘generator. The signal level in each input ean be regulated over a 30 dB baind by 533 steps. A microphone is installed in the console and wsed for recording shot and {ake numbers on the sound tack. 2. A SSK-4 amplifier console including the following units: four 101U-7 recording amplifiers; four $1U-26 playback amplifiers; four 1031-6 monitoring amplifiers; a 650U-6 low-frequency generator; a 650U'-10 high-frequency g2norator and wo 208-37 power supply nits, 3. A 25D-5 apparatus for synchronous magnetic recording and reproduction, ‘mounted on the $5K-4 amplier console (se Fig. 146), Two ferrite erase heads are included in this apparatus. Ata current of 200 mA, 1 kHe signal, recorded with ‘an overmodulauion of “+648, 1s reduced by erasure to a level of less thaa 70 aB. 4, 254-18 monitoring loudspeakers, designed for a nominal power input of 4 12.W,andafequeney ban of 80-800 Hr, with a varition of ot more than 16, decibels '5. Auxiliary equipment: junction cables; 6K-114 and 6K-I1S patching panels; binaural 124-15 dynamic headphones; monitoring earphones linked with the booth, ‘Revecording. A KPZ-15 universal reecording unit is sed for re-recording (Gubbing) 2 wide-screen film. Developed by the Central Design Bureau, it 18 designed for re-recording both four-channel and single-channel magnetic sound tracks, Fig, 148. 90K-9 mixing console “The set consists of six units for eproducng fourhannel magnate sound tracks ig. 18, TOK-IS rorecordng console Wig. 149, a unt br fourchancal ‘agocti recording nd reproduction with an amplifier rac, a sens of fast ‘mens for fourchannel sound payback a projector synchronousand inerorked drive systems ax wells auxin unt wh ensue te proper functioning of he tie equipment "The PE" IS st includes the following stems to aitate operation 1. A push button svitcing system forthe sound rproducion equipment, ‘irs an unite in tho consle by means of which any combination eles i Channel may be switched stern advance or during the rereorng proves 2. A waring spon indeating the presence of spec signal 5. A ight signal system including a smultancous Basser el nsFig. 147. Equlpment for reproducing tour-chennel magnetic sound tracks 176 Fig, 148. A 7OK-15 re-recording console In order to facilitate the production of psoudo-stereophonic ound tracks (by re-recording from single-channel tracks), a specially designed optical synchronizer isused in a panning system, which projects alight spot on a special cal situated at the bottom edge ofthe screen in the re-recording room. BY means of this device sound may be more accurately localized in the re-recording process to conform w the movements of the image of the sound source on the seen. "The mixing console consists of thre sections. A lighted panel marked with conventional symbols helps to ease the work ofthe sound enginer. The electrical characteristics of the KPZ-15 set are similar to those of the equipment used for original recording. During re-recording, a slight correction may be made to the Position of the sound source on the screen, and thus the error which occurred Aluring synchronous recording can to some extent be corrected. it s not possible {o:make a completo change in the positions of sound sourves in the inital stereo phonic sound track, because these re only in part determined by intensity difer- fences in the various channels during the sound recording proces. Whether cor rections can be made or not will depend on the amount of errr. Ifthe error is Greoter Distance to Miraphone < [reds fo Time=1og semt io oN raphe Pv So °O wasePRee eat iy I : a ee Fig. 149. Frequency dsttions resulting from conversion of sereophone sound vacks to!monophonte. asmall, i is possible to use the diference in sound strength to make corrections. (Otherwise itis simpler f0 add the sound later. Sometimes when rezecording & four-channel magnetic original of a stereophonie film, it i necessary to produce 1 photographic negative in order to print a composite copy of @ wide-scoen film, ‘with a single-channel photographic sound track. Such copies ars intended mainly For export, snc by no means al foreign inmes are euippd fr stereaphonis "Experiments ave showin thatthe very best single-channel sound track is pro- dave by rerecoring rom fourack ago eign though streophonic Iiking console. AC te same tine it is fen newest Co vary the alc af the diferent tacks in order to obtain the best results. This ie bocause the frequency characteristic of a single-channel sound track produced by combining several Stereophonic sound tracks, often becomes distorted and requires correction by the use f fads and equi. Dstatons oss teas ofthe diferesse in ampli tude and phase of the sound waves which reach the different microphones daring & stereophonic recording. This i illustrated in Fig. 149 which shows a sound source, ‘the postions ofthe vo microphones, the frequency characteristics of sound tracks of each channel, and the frequency characteristic of a combined single charinel sound track. We shall examine this question later in greater detail Adding magnetic tracks to a positive copy ‘Alte a stereophonic fim has been re-recorded and approved bythe at council at the studi (a protection copy of the re-recorded magnetic original and a working Postve), the studio undertakes the task of editing the negative and printing = Positive copy from i. Four magnetic tracks are then added 0 this copy. which is necked for picture quit in accordance with the preseribed standards (Pg. 150), ‘Anal purpose MP5 inachine is sed fortis ack (Pig. 181, ‘The Mp-S consists of «controled fea mechani, which incorporates flanges for 35 or 70 mum postive copies. These ar ater wound on to similar flanges afer the magnetic soundtracks hae teen added, An automatic pump for sting and circulating te magnets suspension (aed dope), is connected by plate tbe the eank and appieaor, which spreads dope on ta tho copy to form the magnetic ‘coating. Attachod tothe tanks & deve for ensuring hat the coating hicks Is orrect A drying-box, fan and filer for blowing warm ait dies tie copy. The temperature inthe drying-bor fi 35-40°C. “The instrument which regulates the thickness of the magnets layer i of inter- sting design (Fig. 152) It consists of a 50 KHz quartz osellator, a. ample, {dr voltmeter, stabilzed power supply. combined ina single housing, and & Separate contol head witha agnoto cet. Tho insrement i equipped with & Sandard contro fm carrying four magnetic sound tracks, “The standard fms ovsed in the clara in the magnetic head of ciruit, Ninked to the output of an amplifer afer which by changing the capacity the cireult may be tuned to the frequency ofthe generator The vallage at the output Of the frequency detector ecto : : Tf the fm fo be measured with its fero-magnetic ayers placed in the clearance in the magnet, then thre wil ba voltage athe ouput the amount of which wll Aponte iene io tieknsybeteon the fithmeaered an he standard Sim. Tho sensitivity of te instrument adjusted by varying the senaiy ofthe voltmeter. Ii mated In relative unis, The eapacty of the MP-5 machine is 1800 m per hour. 18 L | aa ded Edge ooo¢ oo 0 8 oatoa [4 ato, 4astod 6,16:01 L a 29,6%0,05 30,7 +0,08, 39,150. 34,7820 33,0520 20,150.05, 5.3020,05 | | pe i | | Guided Edge | 1.40008 1420.08 1940.0 14t008 c 38,92 0,98 I 20,140.08 | 4 F j2st008 Fig. 150. (2) Postion of magnetic wacks on # composite copy of 2 wide-screen Sstereophonic film. (b) Peston of magneti recording heads. (2) Pasion of magnetic playbook heeds ‘Seen from Bose Side 179Fig, 151. MP-5 machine, used for adding magnetic sound tacks Cerin techoologicl requirements are set out below, based on operating | ‘experince. These apply t0 positive copies of stereophonic fms, magnet sound | tracks ad the cleat pening of tereophoni und tracks } ‘Alter printing and processing, each part of widescreen postive copy must be ! carally checked inthe fim prossing department bere delivery. The tet includes checking the following points the visual quality ofthe image and its suitably for showing in the einem; the state of the ‘lm surface —sratches, fi ‘wea, grease spots (the copy must be processed ina machine to clean the fim ia & j special liquid by meas of ultrasonic exilations or fread from grease by tons), the condtion ofthe perforations; the quality of spies and warping ofthe fm surface. If defects are detected the postive copy ctnnot be used. tore magne sound rick rad, aa part th pote copy ms be conditioned for 36-48 hours. Leaders of siandard lngth are then spliced to each end ofthe film. "When the checks and preparation have been completed, fur magnetic tracks | are aod to each rea of th postive copy, ster which it must be ptm the sim ] Processing laboratory fora further 24-36 hous inan open can befor its passed | ‘Stbiized oer Supply Fig. 152. Instument for controling the thickness of magnetic coatings added to hm. ‘on for elecrical printing (transfer). Moreover, the pars ofthe film which are passed ‘on for making the composite print must be synchronized with the magnetic rereconded sound tracks. For this purpose standard 120 (picture) and FONO Hi (Goud) leaders are used i 180 181Electrical printing of a composite copy. Figure 153 shows a block diagram of ‘equipment vied for the electrical printing of composite copies of wide-screen ‘éreophonic fils. "The equipment consists ofa playback unitin which the magnetic original of the film re-recording is placed, and a unit for ecording and reproducing sound, in Which the postive copy with its four magnetic sound tracks is placed. Both uaits i Baoding at |x| Sy Eee | | 2 Lea ot | 33 ' 3 ' a i |i | I Sey | ' | Serie [2 tated VI Meter | a 4 Fig. 153. Equipment used for the electrical printing of composite copies of wie screen steroophonic fis. are linked by a synchronous interlock drive. The playback unit contains an oscillator with a frequency of 12 KHz. In the rezecording process the oscillator feeds a control tone tothe fourth of the four magnetic track, indicating when the surround speakers in the auditorium are requited to function. The level of the control tone must not be lower than 18 dB below 100 per cent modulation “To avoid the necessity of switching on and regulating the level of the control ‘one manually when making each print, i is recommended that one copy of the ‘magnetic original ofthe re-recording be produced with a 12 KHL signal added £0 the fourth sound track. Ths copy can then be used as a matix for printing further ‘composite copies. The signal can also be added during the final recording proces. The electrical printing unit (Fig. 153) may be used not only for printing a ‘composite copy of a film, but also for producing studio copies of steeophonic sound tracks by re-recording from the original recording. For this purpose two ses of magnetic beads re included inthe recording equipment, one for producing Wide sound tracks on studio copies, the other for narrow sound tracks on com posite copies. Both kinds of sound tracks are produced by a simple interchange of the magnetic bead units. Studio copies ofthe storeophonic sound tracks ae neoded to select takes for best stereophonic eet; the original tracks are usually stored away until production of the film is completed and the film is subsequently edited for re-recording. The electrical printing unit is also used to re-record the protection prints from sound tracks setup for re-recording, to reproduce magnetic e-record- {ng copies ofa film and to make music and effets (M. & E.) tracks needed for foreign language dubbing. In the electrical printing proces, loudspeakers are used to monitor the sound by 182 car, aided by volume indicators (V-Lmetet) and automatic electronic equipment (Fig. 155), 1 rakes 12 minutes to print 300 m (1000 ft) of film. ‘The principle by which the automatic electronic equipmert operates is as follows! a magnetic control head CH reproduces a signal from the magnetic retecording copy of the wide-screen stereophonic film, which serves as a standard Fig, 154. Unit for elaccaly printing composite copies. ‘of comparison. This signl is compared with a signal simultaneously reproduced from the copy during the process of electrical printing. The voltage of both signals passes through identical channels, consisting of amplifier A, gain control GC, compression unit C, input transformer T, rectifying device D and integrating circuit, RC, to the differential amplifier DA "The algebraic diference in integrated voltages from both chamels is applied to ‘one grid of the diferential amplifier, the other grid of which hasa fxed potential ‘The differential amplifier controls the error indleator system (o which the sensitive relay is linked between the amplifier anodes. This relay switches on colour (L) and ‘buzzer sound signals, when the difference exceeds the permissible limit. The com pression unit C produces a logarithmic reaction between the input signel and the fignal atthe grid ofthe diferential ampli. 183on Troster Copy Fig, 185. Auxiliary equipment for automaticaly monitoring eecwleal printing of “Stereophonie sound wacks, ‘To increase the productivity ofthe electrical printing installation atthe release- print plan, several recording units may be used with one playback unit, making it possible to produce soveral copies similtaneously Editing magnetic stereophonic sound tracks ‘When the original stereophonic sound track has teen recorded, and the studio copy prodiod, the editing sssstant locates and marks up the eapper marks on the sound wacks. This synchronization mark used when both sound tracks (rginal and work prin) are fod into a special mache Tor pining ienteal ‘mers onthe two copies "When the accuracy ofthe print numbers hs ben checked andthe to sound tracks have Deon syacroniaed by means ofthe synchronizer and by monitoring. tho orginal sound track stored unt he Sa completed, whe th work print i csed throughout the editing "The section of takes is made it the viewing room with « fourchannel magnetic head designed for reproducing ‘agotic ereophoni sound treks, The Subsequet natching of egal sound tracks for rerecordng is done Binal by numbers. Figure 156 shows the sequence ‘of technical procese in the production of widesreen stersophon fm Conversion of a stereo track to mono (single-channel) Single-channel re-recording sound tracks are essential for printing 3 x 4 (1:1.38) ‘composite copies of 35 mm films obtained by unsqueezing techniques from wide- sereen negatives or from wide-format 70mm negatives by means of optical printing. Even whilst the first wide-teroen film Iiya Muromets was being made in 1956, it was established that the simple conversion of stereaphonic sound tracks t0 single-channel track gives unsatisfactory results 184 Ig ale | Sel |e SE) ) 2 g 21h Hu 1 ek | ee cud [PE Bel Ie Hd EC EER a 4 = | ie by i dh i ls] 5] [33 Rs | Ff ¢ c Is Fg, 156 Flow diagram of processes in the production of streophonic wide-screen fis.1m onde o avoid thi, it would seem that apart from several basic microphones con tess forthe stereupbonie recordings, there must alo be one more miro- ‘hone on a separate boom anda separate recording channel for a single-channel ‘rant of lm. Although his is theoretically advise, experince shows that this ease the microphones cannot be arrange inthe best Postion an in conse uence this variant doesnot prodesaisactry esl ‘When making yochronows shots, or ding sound t @ sereophonic fim, the sound engine areanges the microphones to st the sal ofthe mage the nate ofthe sosnry andthe conditions on the st inorder to produce a sxeophonie ‘cording whch ges the most aovurste rendering of sound space Wien rpro-