WO1997013243A2 - Sound system for compact distribution print - Google Patents
Sound system for compact distribution print Download PDFInfo
- Publication number
- WO1997013243A2 WO1997013243A2 PCT/US1996/015911 US9615911W WO9713243A2 WO 1997013243 A2 WO1997013243 A2 WO 1997013243A2 US 9615911 W US9615911 W US 9615911W WO 9713243 A2 WO9713243 A2 WO 9713243A2
- Authority
- WO
- WIPO (PCT)
- Prior art keywords
- film
- khz
- light
- sound
- slit
- Prior art date
Links
Classifications
-
- G—PHYSICS
- G03—PHOTOGRAPHY; CINEMATOGRAPHY; ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ELECTROGRAPHY; HOLOGRAPHY
- G03B—APPARATUS OR ARRANGEMENTS FOR TAKING PHOTOGRAPHS OR FOR PROJECTING OR VIEWING THEM; APPARATUS OR ARRANGEMENTS EMPLOYING ANALOGOUS TECHNIQUES USING WAVES OTHER THAN OPTICAL WAVES; ACCESSORIES THEREFOR
- G03B31/00—Associated working of cameras or projectors with sound-recording or sound-reproducing means
- G03B31/02—Associated working of cameras or projectors with sound-recording or sound-reproducing means in which sound track is on a moving-picture film
-
- G—PHYSICS
- G11—INFORMATION STORAGE
- G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
- G11B7/00—Recording or reproducing by optical means, e.g. recording using a thermal beam of optical radiation by modifying optical properties or the physical structure, reproducing using an optical beam at lower power by sensing optical properties; Record carriers therefor
- G11B7/002—Recording, reproducing or erasing systems characterised by the shape or form of the carrier
- G11B7/003—Recording, reproducing or erasing systems characterised by the shape or form of the carrier with webs, filaments or wires, e.g. belts, spooled tapes or films of quasi-infinite extent
- G11B7/0032—Recording, reproducing or erasing systems characterised by the shape or form of the carrier with webs, filaments or wires, e.g. belts, spooled tapes or films of quasi-infinite extent for moving-picture soundtracks, i.e. cinema
-
- G—PHYSICS
- G11—INFORMATION STORAGE
- G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
- G11B15/00—Driving, starting or stopping record carriers of filamentary or web form; Driving both such record carriers and heads; Guiding such record carriers or containers therefor; Control thereof; Control of operating function
- G11B15/18—Driving; Starting; Stopping; Arrangements for control or regulation thereof
- G11B15/46—Controlling, regulating, or indicating speed
Definitions
- the film frames are spaced center-to-center by 4 perforations (0.748 inch or 19mm) and the film frames are stepped at 24 frames per second past the film gate of a theater projector, resulting in an average film speed of substantially 90 feet per minute (27 meters per minute).
- the film moves at the same speed past the sound head, where a thin slit of light passes through the soundtrack and is detected by a photocell
- the output of the photocell is amplified and equalized, and used to drive the loud speaker system of a theater. It is generally accepted in the industry, that the sound should be faithfully reproduced at a frequency of up to 12.5 kHz (or 13 kHz).
- a system which enables the reproduction of sound represented by a variable width film soundtrack, where the reproduction is "flat" up to 12.5 kHz with minimal phase incoherence and maximum signal-to-noise ratio, despite a film speed that is much Iower than the present speed.
- a slit image is sharply focused on the film track, and light passing through the film track is detected by a photocell.
- the photocell, or light cell is selected so its response is substantially flat for light at a frequency (substantially 1000 nanometers) where the output of a commonly operated tungsten lamp is of greatest amplitude.
- the output of the photocell is amplified so the amplification is progressively greater at progressively higher frequencies, with the amplification, or gain, at 12.5 kHz being at least 6 dB greater than at 1 kHz.
- Fig. 1 is a front elevation view of a portion of a film strip soundtrack of the prior art, intended to be moved at substantially 90 feet per minute (27 meters per minute), and containing a pure tone of a frequency of 10 kHz.
- Fig. 2 is a view of a film strip similar to that of Fig. 1 , containing a tone of a frequency of 10 kHz, but wherein the film is intended to be moved at a speed of substantially 56 feet per minute (17 meters per minute).
- Fig. 3 is a simplified isometric and schematic diagram of a processing sound camera, which is used to produce the soundtrack of film in accordance with the present invention.
- Fig. 4 is a simplified isometric and schematic diagram of a commercial motion picture theater projector of the present invention.
- Fig. 5 is a chart for the processing sound camera of Fig. 3, showing the variation in gain with frequency for the signal delivered to the dual ribbon light valve of Fig. 3 for film recording, and comparing it to that of a prior art processing sound camera.
- Fig. 6 is a chart showing variation in gain with frequency for the processing circuitry of the projector of Fig. 4, and also showing the variation for a projector of the prior art.
- Fig. 7 is a chart showing variation in light output with frequency, for tungsten filament incandescent lamps of the type most commonly used in motion picture theater projectors, including S curves each showing the light output for a different filament temperature.
- Fig. 8 is a chart showing variation in electrical output with frequency for photocells, for photocells used in theater projectors of the present invention and for those used in the prior art.
- Fig. 9 is a simplified isometric and schematic diagram of another motion picture theater projector of the present invention.
- Fig. 10 shows variation in amplitude with time, of an original signal having a very rapid rise and fall, and of a reproduction of that signal where the reproduction has significant phase incoherence.
- Fig. 1 shows the film soundtrack 10 of a prior art piece of 35mm motion picture film, which is intended to move at substantially 90 feet per minute (27 meters per minute) past a sound head, the soundtrack portion shown representing a 10 KHz tone
- the recording of the soundtrack is transparent between its opposite sides 12, 14, with the distance between them at any point along the film, representing the instantaneous amplitude of sound to be reproduced.
- the opposite sides 12, 14 of the recording must lie within the opposite edges 16, 18 of the soundtrack to avoid “clipping", with the area between each side such as 12 and the corresponding edge 16 being opaque.
- a slit of light 20 is used in a sound camera for recording, the slit being modulated in width by the sound, by means of a dual ribbon light valve which constantly controls the width A of the slit.
- a slit of light 22 extending across the entire width of the soundtrack, is directed at the film. Only the transparent portion of the film illuminated by the slit of light at 22, passes through the film onto a photocell.
- the slit of light 20 produced by the processing sound camera (in a laboratory-like setting) has a thickness or height D that is nominally 0.005mm or 0.2 mil (one mil equals one-thousandth inch), while the slit of light 22 produced by a projector for play back of the soundtrack has a height E that is nominally 0.013mm or 0.5 mil (it is usually somewhat higher).
- the prior sound systems can record and playback sound at up to about 12.5 kHz, with the ultimate output being "flat" (the ratio of sound on the tape recorder 50 which supplies sound to be recorded on the film, to the sound produced by theater loudspeakers, is the same for all frequencies from about 50 kHz to 12.5 kHz), with substantial phase coherence.
- Fig. 2 shows a portion of a CDP (compact distribution print) film sound track 28, which is intended to move at substantially 56 fpm (17 mpm), with the soundtrack 28 representing the same high frequency tone of 10 kHz as in Fig. 1. It can be seen that the height B of one wavelength of the sound is only about 62% that of the height C for the same frequency in the prior art (90 fpm) film. If the slit heights for recording and playback had to be the same for the slow (56 fpm) film of Fig. 2 as the prior film (90 fpm) of Fig. 1 , then it was feared that higher frequency sound could not be recorded and played back.
- CDP compact distribution print
- the height of the light slit images such as the height E of the projector slit, would have to be reduced to about 5/8th current height.
- the slit height E is nominally about 0.013mm or 0.5 mil (actually 0.47 mil), and further reducing the height and consistently maintaining it might be difficult and expensive for ordinary theater projectors, where checking and realignment may occur at intervals of more than one year. Also, since less light passes through a thinner slit, it was thought that more preamplification and consequent noise would result.
- Applicant's analysis of current sound camera systems shows that they can record frequencies up to at least 20 kHz under near-ideal conditions (sharp minimum slit image height and high resolution developing), except for limitations of the dual ribbon light valve.
- a 15 to 16 kHz low pass filter is used in current systems to prevent second harmonic vibrations of the ribbons that modulate slit width.
- Fig. 3 shows a processing sound camera, which is used to produce an intermediate sound print, from which numerous distribution prints are made.
- Light from a source 30 passes through a dual ribbon light valve 32 that modulates the width of the beam.
- the light passes through a slit 34 whose image is focused on the soundtrack 28A of film 38A advancing at 2.5 perforations (0.468 inch or 12mm) per 1 /24th second (i.e. 56 fpm or 17 mph).
- Only one soundtrack 28A is indicated, although film usually carries two soundtracks for a stereo sound.
- light passing through the film soundtrack is detected by a photocell 40, and passed through a filter 42 that is intended to mimic processing and low speed losses, to a monitor 44 (e.g. audio monitor).
- a monitor 44 e.g. audio monitor
- a technician may listen to the audio monitor when a piece of test film is passed through the camera, to check that the camera is properly recording.
- Electrical signals for driving the light valve 32 are obtained from a tape recorder 50 or other source (e.g. compact disk or computer) where voice, music, etc. have been combined.
- the output of the tape recorder 50 is an original sound signal which is intended to be produced by theater loudspeakers.
- the output of the tape recorder passes through an amplifier/equalizer 52, which includes amplifying and filtering circuitry, whose gain vs. frequency profile is adjusted to provide an increasing gain at increasing frequency, to produce a modified sound signal.
- the output of the amplifier/equalizer 52 passes through a light valve protecting filter 54.
- Filter 54 reduces the passage of signals near 8 kHz to compensate for the moderately damped harmonic resonance of the ribbons of the light valve 32 at that frequency.
- Filter 54 is also a low pass filter that blocks frequencies beginning at about 12.5 kHz, to prevent excitation of the light vaive near its second harmonic frequency of 16 kHz, which would be very harmful.
- Fig. 4 shows a theater projector that projects film 38 having film frames 62 spaced by 2.5 perforations and moved at about 56 fpm (17 mpm).
- Light from a tungsten filament lamp 64 passes through a slit 66, with the slit image focused on the film soundtrack 28.
- a photo detector, or light cell 72 detects light passing through the soundtrack, and produces an output (the voltage of the cell at very low current is typically the input to the preamplifier).
- the output of the light cell 72 is passed through an optical preamplifier 74 and through an equalizer 76, to circuitry (unchanged from what is used for 90 fpm) that drives a theater loudspeaker system.
- the equalizer 76 includes amplifying and filtering circuitry, whose gain vs.
- Fig. 5 shows at 104, a prior art adjustment in sound camera gam, wherein (at 90 fpm) the amplification during recording usually began with a 3 dB gain (the breakpoint 106) which is at about 6.5 kHz, with a maximum gain of about
- Applicant at 56 fpm, uses a well controlled soundtrack exposure (especially a sharp slit image on the film) and very high film quality processing, to achieve near-maximum resolution. Applicant also alters the gain of the sound camera as shown in Fig. 5 by line 100, so that the breakpoint or 3 dB gain at 102 occurs at 4 to 5 kHz (instead of 6 to 7 kHz), with a maximum of about 8 dB gain at 12.5 kHz.
- applicant at 56 fpm adds gain to compensate for the Iower speed of the soundtrack.
- applicant is limited in the gain that can be applied, because a substantially larger gam may cause a soundtrack modulation that exceeds the width of the soundtrack (between opposite edges 16, 18
- Fig. 6 shows the variation in projector gain with frequency (for a 0.47 mil or 11.94mm sharp slit image), with line 1 12 representing gam for a projector operated at the prior speed of 90 fpm (27 mpm), and with line 1 10 representing gain for applicant's projector that is operated at 56 fpm (17 mpm).
- Fig. 6 are much higher for frequencies above 8 kHz, with the maximum gain being 14 dB at about 12.5 kHz.
- the gam at 12.5 kHz is at least 6 dB greater at 12.5 kHz than for the prior art (90 fpm) film speed, and is usually about 8 to 10 dB greater.
- Fig. 8 shows the variation in electrical output in decibels, with frequency, for various light cells actually used for commercial motion picture theater projectors.
- Graphs 121-125 shows the response of five actual cells tested by applicant, when illuminated by light from a diode that emitted light of a wavelength of 940nm, with the tests later confirmed by incandescent light.
- the "flattest" cell 125 had a drop off of about 1 dB between 1 kHz and 12.5 kHz. This cell was unusual, and applicant was not able to find any other cells with such moderate flatness. However, even this cell had an important disadvantage in that its output was relatively low, being about 6 dB below the output of the highest-output prior light cell 121 at 1 kHz.
- the other cells 122-124 which are typical of all cells tested by applicant, all have a large deviation from "flatness" and only a moderate output even at low frequencies. It is noted that the output of the flattest cell 125 would have been only marginally satisfactory, because of the need for much higher amplification, resulting in amplification of noise and in the higher cost for additional amplification circuitry.
- Fig. 7 is a graph showing the amplitude of light output of tungsten filament lamps (used in projectors) with wavelength. Such tungsten filament lamps are usually energized so they glow as indicated by graph 128, at a filament temperature of 2900°K.
- the greatest output is at about 1000 ⁇ m (nanometers) with the output actually being greatest at 990nm, and with the average amplitude being at a wavelength of only slightly more than 1000nm. It is also noted that the range of wavelengths for visible light is about 400 to 700nm, which is considerably below the maximum and average output of the lamp.
- Fig. 8 shows, at 130, the output of a typical one of such newer light cells. It is noted that the output is very flat up to 12 kHz, and the magnitude of the output at any frequency is much greater than even the best one 121 of the prior art. Specifically, the cell 130 is "flat" with a variation in output of less than about
- Fig. 10 shows a variation of amplitude with time for a sound pulse of fast rise time and fast fall time. Such sounds may occur when a gun is fired or a door is slammed, with even a piano or drum sound having a fast rise.
- Graph line 140 represents the actual pulse, while line 142 represents the results of a non-flat response, with the non- flatness compensated by an increase in gain with frequency.
- phase shift cannot be compensated as a practical matter. It can be seen that the resulting curve of amplitude vs. time has been changed, and the sound from the loud speaker will be different than it should be. It is especially for this reason (in addition to cost for extra preamplification and additional noise resulting therefrom) that a photocell with a flat response up to 12.5 kHz is especially desirable (especially if it has a high output).
- Fig. 9 is a simplified view of a motion picture theater projector L, wherein the film 38 moves along a film path between a supply reel P and a takeup reel Q (although platter systems are often used).
- the film passes around a first sprocket wheel V, past a film gate R, and around three other sprocket wheels Z, W, X, and past a sound head M, before reaching the takeup reel.
- a motor T is connected by a timing belt to the various sprocket wheels to turn them all at a predetermined constant speed such as 56 fpm (17 mpm), except for a pulldown sprocket wheel Z.
- the pulldown sprocket wheel Z is shown being driven through a Geneva mechanism Y which advances the film in steps such as 0.468 inch (12mm), every 24th of a second, for an average speed of about 56 fpm.
- the film moves at a constant speed equal to the average speed through the film gate. The film speed is changed between 56 and
- a switch 150 (which may be electronic) to either one of two preamplifier/equalizer circuits 152, 154, and from there through a switch 160 and through an amplifier 162, to a theater loudspeaker system 164.
- the second circuit 154 is required, which produces a gain of the type shown at 1 12 in Fig. 6.
- the switches 150, 160 permit changeover between the two formats (4 perforations film frame spacing and 2.5 perforations spacing).
- Applicant has actually constructed, tested, and demonstrated to potential licensees, the sound system described above which reproduces sound from film moving at 56 fpm (17mpm).
- the demonstrations showed that high quality sound, which is basically sound of up to 12.5 kHz which sounds the same at 56 fpm (17 mpm) as at 90 fpm (27 mpm) to expert observers, could be obtained using prior art (modified) projectors. It is noted that applicant adjusted all of the projectors on which the various demonstrations were given, to assure that the light slit images were in focus at the film plane, and had a height of no more than 0.5 mil (0.013mm) thereat.
- a 12.5 kHz tone has a wavelength on the film of 0.90 mils (0.023mm).
- the slit image on the soundtrack should be no more than about half the wavelength, or no more than about 0.45 mil, or no more than 0.5 mil (0.013mm). This is because when the slit image increases above a half wavelength of a frequency component on the soundtrack, the light cell output greatly decrease. Of course, at a slit image height equal to the wavelength, the light cell output is absolutely zero for that frequency component. Applicant consistently maintains a slit image of no more than 0.013mm or 0.5 mil (it would be 0.47 mil in perfect focus).
- the type of projector slit lens assembly in current use produces a slit image height of 0.47 mil (0.012mm) when in precise focus. It is often referred to as a T-12 type.
- a new type of projector slit lens assembly referred to as the T-8 would have a slit image height of 0.32 mil (0.0081 mm) in precise focus, but apparently is not yet in use. If such 0.32 mil slit image were used instead of the 0.47 mil one, then the projector gain (at a film speed of 56 fpm) would be as shown by graph line 114 of Fig. 6.
- the graph line 114 represents line 110 shifted to the right by about 2kHz. It can be seen that for line 114, the gain would be about 8dB at 12.5kHz, or about 4.5dB above the present level (for 90fpm) for line 1 12.
- a disadvantage of the 0.32 mil slit is that much more preamplification is required, which may not be available in projectors in use, requiring the costly installation of a different preamplifier.
- the invention provides a sound system which produces high fidelity sound when a new film format (CDP) is used wherein the film is moved at only 5/8 or 62.5% of the speed of film in the prior art, thereby making the new film format practical.
- the new sound system achieves this by a moderate progressive increase in amplification with frequency by the sound camera, and by a large progressive increase in amplification with frequency for the amplifier/equalizer circuitry of the projector.
- a light cell which has a "flat" response at up to 12.5 kHz, with the flatness being within 1 dB, to achieve phase coherence so the high frequency sounds are very close to the original sounds recorded on the film.
- the slit image is well focused to be no more than 0.5 mil.
- the projector gain is at least 6 dB, preferably at least 8 dB and often (for a 0.47 mil slit) at least 10 dB at 12.5 kHz (compared to the amplification at 1 kHz), which is at least 4 dB to 6 dB more than present projectors.
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- Physics & Mathematics (AREA)
- General Physics & Mathematics (AREA)
- Optical Recording Or Reproduction (AREA)
Abstract
Description
Claims
Priority Applications (1)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
AU73896/96A AU7389696A (en) | 1995-10-04 | 1996-10-02 | Sound system for compact distribution print |
Applications Claiming Priority (4)
Application Number | Priority Date | Filing Date | Title |
---|---|---|---|
US494595P | 1995-10-04 | 1995-10-04 | |
US60/004,945 | 1995-10-04 | ||
US08/697,606 | 1996-08-26 | ||
US08/697,606 US5621490A (en) | 1996-08-26 | 1996-08-26 | Sound system for compact distribution print |
Publications (2)
Publication Number | Publication Date |
---|---|
WO1997013243A2 true WO1997013243A2 (en) | 1997-04-10 |
WO1997013243A3 WO1997013243A3 (en) | 1997-05-29 |
Family
ID=26673693
Family Applications (1)
Application Number | Title | Priority Date | Filing Date |
---|---|---|---|
PCT/US1996/015911 WO1997013243A2 (en) | 1995-10-04 | 1996-10-02 | Sound system for compact distribution print |
Country Status (2)
Country | Link |
---|---|
AU (1) | AU7389696A (en) |
WO (1) | WO1997013243A2 (en) |
Citations (5)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
US1032172A (en) * | 1910-03-22 | 1912-07-09 | Ernesto Zollinger | Process for reducing the size of pictures on kinematograph-films and of projecting such pictures to their normal proportions. |
US3583803A (en) * | 1968-12-16 | 1971-06-08 | Anthony L Cole | Motion picture process and motion picture film having wide-screen aspect ratio frames |
US3865738A (en) * | 1974-01-21 | 1975-02-11 | Miklos Lente | Method of making motion pictures |
US5479223A (en) * | 1993-01-29 | 1995-12-26 | Duo-Sprocket, Inc. | Film conversion sprocket |
US5534954A (en) * | 1991-12-12 | 1996-07-09 | United Artists Theatre Circuit, Inc. | Motion picture system |
-
1996
- 1996-10-02 AU AU73896/96A patent/AU7389696A/en not_active Abandoned
- 1996-10-02 WO PCT/US1996/015911 patent/WO1997013243A2/en active Application Filing
Patent Citations (5)
Publication number | Priority date | Publication date | Assignee | Title |
---|---|---|---|---|
US1032172A (en) * | 1910-03-22 | 1912-07-09 | Ernesto Zollinger | Process for reducing the size of pictures on kinematograph-films and of projecting such pictures to their normal proportions. |
US3583803A (en) * | 1968-12-16 | 1971-06-08 | Anthony L Cole | Motion picture process and motion picture film having wide-screen aspect ratio frames |
US3865738A (en) * | 1974-01-21 | 1975-02-11 | Miklos Lente | Method of making motion pictures |
US5534954A (en) * | 1991-12-12 | 1996-07-09 | United Artists Theatre Circuit, Inc. | Motion picture system |
US5479223A (en) * | 1993-01-29 | 1995-12-26 | Duo-Sprocket, Inc. | Film conversion sprocket |
Also Published As
Publication number | Publication date |
---|---|
AU7389696A (en) | 1997-04-28 |
WO1997013243A3 (en) | 1997-05-29 |
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