Early Cinerama sound recording

[LICORNE]

Today it is common practice to record sound effects with two audio channels, one picking up the overall sound, and a second to pick up just the left part. Through a bit of wizardry, multiple channels are then derived from the differences between the two tracks. With Cinerama, however, five, six, or seven channels were recorded live. Here is a microphone array set up to catch the sound of the train from the top of the tender. Note that there are seven microphones in this curved array. This sound is mated up with live action material photographed in the same location. (quote)

http://www.widescreenmuseum.com/wide...htwwwsound.htm

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[stpower]

Thanks for the interesting post, Convergence. I think this should remind us how todays movie sound has actually gone downhill. I have a separate Home Theatre system with Altec 9846 speakers, but it has remained 2 channel stereo.
I have tried the 5.1 stuff, but after the initial gee whiz effects, the sound is just plain phony sounding. Mostly you hear mono dialog with a stereo music score. The rear channels are mostly used with overly loud Foley sound effects and dubbed sounds. It sounds exciting and sells tickets but just doesn't sound real like Cinerama could.

[LICORNE]

Hi,

I'm glad you liked it.If you sit close to a movie screen today. The dialogue track is panned
vis a vis the actor and so are some of the sound effects. Therefore the need for 5 speakers behind the screen.

And even if you sit to the far right or far left
the overall sound is even.Not a single speaker
will over power the others.

There must be some level of compression to achieve this effect and they
must spend weeks in post to finalize the mix.

Altough I've heard the use of the Mobile sound truck on some sites . I wonder how manny productions really go through all that trouble perhaps only 5% of all films. But no fancy stuff like How The West Was Won.

Wireless microphones are only good for 100 feet.

The photo that I wanted to show and was removed
are the 7 Altec Bird Cage microphones attached to
a pole for a Cinerama film shooting.

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[LICORNE]

FILM makers don't have the same freedom of sound recording as in the old days.

Quality control is part of the Dolby process. Dolby `forces' you (for your own good, of course) to maintain certain technical standards through out every stage of the film's post production. They assign a Dolby Sound Consultant to each film under a consultancy agreement. This guy/gal can discuss with the location sound recordist the proper recording techniques for Dolby Stereo. The consultant checks the studio's facilities are up to scratch. The consultant is usually present for all or part of the mix, according to the experience of the particular studio and if you need them there or not. The consultant's role is meant to be purely technical, and is not meant to influence creative or stylistic aspects of the mix. The consultant can also assist with the mixing of the music for the film, to ensure, for example, that it is monitored via a Dolby Stereo encoder and decoder, so the music is heard as it will be heard later in the cinema. The Dolby Sound Consultant will also carry out print checks where necessary to see that the sound neg. and final lab work was done correctly, or check out a cinema's installation for special preview screening, designed as a final technical check on everything including the sound.

DOLBY HAS TECHNICAL rules that you must follow
to achieve best sound .
Here is a rough schedule for using Dolby Stereo. Start preliminary arrangements with Dolby during pre-production. On the set, all analogue recordings should be made using one or other NR system, preferably Dolby SR noise reduction. Dialogue tracks should be recorded in mono, and not stereo as one might expect. `Panning' can be used in the mix to position dialogue where ever it is appropriate. Atmosphere tracks, on the other hand, are better recorded in stereo, if possible. However, enough mono atmosphere should be recorded specifically for use as fill in the later editing of the mono dialogue tracks. If not used earlier, you should now start using Dolby NR when transferring location sound to 35mm or 17.5mm magnetic film (perfo) or multitrack recorder. Calibration tones and pink noise should be recorded at the beginning of all tracks. The tone enables levels to be checked that ensure the correct operation of the noise reduction system, and the pink noise enables azimuth and frequency response checks to be made. During track laying, older-type library sounds and effects, should be avoided if they are not comparable in quality to the rest of the sound track. It is best if library sounds effects and atmospheres are in stereo. Preferably use C.D.s as the source of library sound material. Last chance to enter a license agreement with Dolby Laboratories before mixing starts. During the mix, the use of the special Dolby Stereo 4-channel analogue matrix encoder/decoder (DS4E DOLBY STEREO ENCODER/DECODER), under the supervision of the Sound Consultant, is essential for listening to the four-channel mix, in order to simulate the final cinema sound. The final stereo magnetic master of the mix must be Dolby encoded ready for transfer to optical. The Dolby consultant will check the test signals and compare the first optical print with the Dolby Stereo magnetic master. Cinemas elected for special previews can be checked and realigned if necessary.


WHAT IF I want to use 2 mics for dialogue with Dan Dugan's Automatic mixer.I will always have one mic on the other off when the second person is not talking. It's none of Dolby's business to tell us how to record sound.

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[Brek]

That sure looks like Old Tucson movie set.

Good post

[LICORNE]

Thanks !

If I find more on this subject I'll post it.
There was much more 5 years ago . These sites
are disappering slowly.

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[LICORNE]

Hi,
Here is the site with the Altec 639 microphones for Cinerama, also known as bird cage.

http://www.cineramaadventure.com/theworks-sound.htm

Enjoy!
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