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Lecture 11

Film Lecture 11 November 12th.docx

3 Pages

Film Studies
Course Code
Film Studies 1020E
Barbara Bruce

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Film Lecture November, 12 2013h Week 10 Sound lecture outline: - history of sound in film Ø Crosland's The Jazz Singer (1927) Ø optical soundtrack Ø setbacks in filmmaking Ø what to shoot? § “canned theatre” § Hollywood boom Ø changes to an international art form § intertitles, subtitles, dubbing Ø 1990s: digital sound § notes on digital sound · with DTS, the sound is recorded on a separate disc and the data is converted digitally o DTS employs an optical time code, a series of dots and dashes along the side of each frame between the image and the analog optical sound track, which is there as a back-up o an optical reader on the projector read the dots and dashes and sent this information to a computer that controls three CD players o the soundtrack, which consists of six tracks, is on one or two CDs, depending on the length of the movie, and the computer plays the soundtrack in sync with the film · DTS was to be a temporary solution while theaters made the transition to digital o but the ease of use, relatively low cost, and the initial investment by theatre owners keep DTS a viable alternative to the sound-on-film digital formats, such as Dolby Digital Ø which uses the space between the sprocket holes to encode information Ø a reader turns the binary data back into sound —so no need for the system of CDs · the newest digital sound system is Sony Dynamic Digital Sound (SDDS) uses the outside edge of the film to stripe digital audio information, like the analog strip o because SDDS has more channels of sound, it is more expensive to implement than DTS or Dolby Digital, so a lot of theatre owners are reluctant to convert, even though it offers better sound quality · almost all commercial films today have Dolby Stereo as the analog format, and some films also have a digital format, even all three, encoded as wellsound as a stylistic system (see image below) o spatial dimensions of sound § die
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