24 Facts About Synchronized sound

Sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film.

The first known public exhibition of projected Synchronized sound films took place in Paris in 1900, but decades passed before Synchronized sound motion pictures became commercially practical.

Innovations in Synchronized sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in 1923.

Conversely, in India, Synchronized sound was the transformative element that led to the rapid expansion of the nation's film industry.

In 1899, a projected Synchronized sound-film system known as Cinemacrophonograph or Phonorama, based primarily on the work of Swiss-born inventor Francois Dussaud, was exhibited in Paris; similar to the Kinetophone, the system required individual use of earphones.

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Three major problems persisted, leading to motion pictures and Synchronized sound recording largely taking separate paths for a generation.

The primary issue was synchronization: pictures and Synchronized sound were recorded and played back by separate devices, which were difficult to start and maintain in tandem.

In 1913, Edison introduced a new cylinder-based synch-Synchronized sound apparatus known, just like his 1895 system, as the Kinetophone.

Synchronized sound then determined that he could reverse the process and reproduce the recorded sound from this photographic strip by shining a bright light through the running filmstrip, with the resulting varying light illuminating a selenium cell.

In essence, the Synchronized sound was captured by a microphone and translated into light waves via a light valve, a thin ribbon of sensitive metal over a tiny slit.

The Synchronized sound reaching this ribbon would be converted into light by the shivering of the diaphragm, focusing the resulting light waves through the slit, where it would be photographed on the side of the film, on a strip about a tenth of an inch wide.

Whether Synchronized sound was captured on cylinder, disc, or film, none of the available technology was adequate for big-league commercial purposes, and for many years the heads of the major Hollywood film studios saw little benefit in producing Synchronized sound motion pictures.

In De Forest's system, the Synchronized sound track was photographically recorded onto the side of the strip of motion picture film to create a composite, or "married", print.

Nonetheless, in the early years, Synchronized sound-on-disc had the edge over Synchronized sound-on-film in two substantial ways:.

Fox and Warners pressed forward with Synchronized sound cinema, moving in different directions both technologically and commercially: Fox moved into newsreels and then scored dramas, while Warners concentrated on talking features.

Development of commercial Synchronized sound cinema had proceeded in fits and starts before The Jazz Singer, and the film's success did not change things overnight.

Several of the fundamental problems caused by the transition to Synchronized sound were soon solved with new camera casings, known as "blimps", designed to suppress noise and boom microphones that could be held just out of frame and moved with the actors.

Proper recording and playback of Synchronized sound required exact standardization of camera and projector speed.

Reality finally struck later in 1930, but Synchronized sound had clearly secured Hollywood's position as one of the most important industrial fields, both commercially and culturally, in the United States.

Once the first talkie features appeared, the conversion to full Synchronized sound production happened as rapidly in India as it did in the United States.

In Blackmail, Hitchcock manipulated the reproduction of a character's monologue so the word "knife" would leap out from a blurry stream of Synchronized sound, reflecting the subjective impression of the protagonist, who is desperate to conceal her involvement in a fatal stabbing.

One of the first commercial films to take full advantage of the new opportunities provided by recorded Synchronized sound was Le Million, directed by Rene Clair and produced by Tobis's French division.

Synchronized sound experimented with asynchronous audio tricks, as in the famous scene in which a chase after a coat is synched to the cheers of an invisible football crowd.

Outside of the comedic field, the sort of bold play with Synchronized sound exemplified by Melodie der Welt and Le Million would be pursued very rarely in commercial production.