Issue 13 - The Association of Motion Picture Sound.

AMPS
?he Association
of Motion;licture found
CONTEN{TS
Council Election Results
flartoon Clompetition Winner
199-5
-J
AG\'l Report
4
(icrry Cassidl' tribute
5
Nervs Notes
6
Brief Guide To Non-Linear tditing
8
Clin6ma Dl.namique
Solid State Nagra - a nerr apprc'rach
9
General N{eeting Report - Nagra-l)
10 Diary dates
Nleeting Report - D{o-A Transfer
lt
Neu'Products News
t2
End Credirs 1994
For Sale
Neu'N'lembers
REMINDER
Non-standing order subs
are now due. SAVE f5.00,
pay by standing order.
Ask Robin O'Donoghue
for details.
199 5
RECRUITMENT DRIVE
Help keep subscriptions
down. Encourage a
colleague to join AMPS.
Assistants especially
rvelcome
l\ewsletter No.
13
MARCH 1995
Congratulations, Gerry Humphreys OBE
By now most AMPS members will have heard the good
news that Gerry, for his services to the British Film
Industry, was awarded the Order of the British Empire in
the 1995 New Year Honours.
The AMPS Council are sure that all members join rvith
them in congratulating Gerry and expressing their delight
that motion picture sound has been considered rvorthy of
recognition as playing a part in the British Film Industry.
Further congratulations are also due Gerry. With the
retirement of Guido Coen, he is taking over the mana-gement
of Trvickenham Film Studios. Gerry has been with the
studios for thirty years and as Head of Sound rvas
responsible for the planning, equipping and installation of
the excellent Sound Centre post production facility. He will
continue to supervise the sound department along with the
general running of the studios as Studio Manager.
Gerry's gain is AMPS Council's loss. He now feels that
pressure of work will not allow sufficient time to devote to
Council affairs and while he wishes to remain a very active
member of the Association he has decided it would be fairer
to step down from office.
A founder member of AMPS, Gerry put in many hours
with the working party during the formation of the
Association. He was elected to Council at the first election
and for the last two years has done an excellent job as
Chairman. Since the formation of AMPS, the Association
and Council have been greatly indebted to him for his
generous hospitality and providing venues for general and
Council meetings.
Thank you Gerry for all you've done for AMPS.
Very best wishes for your future.
b1' Ilob ;\llen and Keith Spencer Allen and is published b1' the Association of \lotion l)icture
Sound for distribution 1o all members. A\{PS c:rn be contacted through Rrian lIickin,'I'he .,\dministration Secreian, 28
Iinox Slreet, lxxdon \\'1H lFS. lVembership encluiries to Robin O'Donoghuc, A\lPS \{embership Secrctarr', Tsickenham
l;ilm Studios, St \{argarcts, fuickenham, \4iddx T\\rl 2,\\V. ^.\n) communicalrons u'ilh the.\\ilPS Ncu'slctter should bc,
addressed to l'hc Editor. A\11)S Nervslcttcr, Old Post ()lTice (ixlage. Old Posl Ol'fice Road. Chevinglon. Sullirlk If29 -5RI).
l'his Ne*'sletter is edited
1995 Council Election Results
O*V 67.loling papers were
of which 8 were deemed invalid as they failed to indicate a vote
" a Sound Editor as the votingretumed
for
papgl instructed. Eddy Joseph standing down ireant that there were
only two-sou-nd editors on the Council. The Constitution statbs that thei6 must be at least three members
from each of the crafts Production Mixers, Post Production and Sound & Music Editors.
. . After.voting papers were distributed last December it transpired that Colin Chutt", had not agreed to
his nomination so some voters perhaps wasted a vote.
The votins was as follows
Eddy Joseph
Robin O'Donoghue
Graham Hartst6ne
Brian Simmons
DavidOld
MartinTrevis
Peter Hodges
59
48
The Council Officers elected for 1995
M
BobAllen
Lionel Strutt
Eddy Joseph
43
29
Zl
8
Eddie, Robin, Graham, Brian and David were all
re-elected and Martin has been elected to fill the
vacancy caused by Gerry Humphrey's retirement.
PeterMusgrave
Chair
Vice Chair
Robin O'Donoghue
Secretary
Treasurer
MembershipSecretary
Brian Hicken will continue as Admin Secretarv
And the Winner is Sound Editor, Peter Musgrave for his caption
"€olsorv Toto
llfe Qeanus rc fr6 lasnnenoa, 9g%Pepsapartaa"
Thank you Peter" You have won a, now quite rare, AMpS Windcheater!
2
through but there were many things left out.
Eddy Joseph's financial report was clear and to
the point. AMPS is not a wealthy organisation. It
pays it's way and is not in debt but the reserves are
low. The Bankers Order scheme is working well
and he urged those not already using it to take
advantage of the f5.00 reduction and do so. He
indicated that he would be asking the Council to
approve an increase for 1996 subs. A copy of
accounts was circulated. (Should any nonattending members require a copy, contact Brian
Hicken and ask for one.)
Peter Musgrave spoke about the Membership
Directory and explained that a copy would be sent
to all paid up members with their new membership
cards. He thanked those who had helped with it's
production. Six hundred copies have been printed
as it's intended to distribute copies to producers,
directors and production managers. If members
know of PMs and crew hirers, especially outside
the London Area, who should have a copy, please
let Brian Hicken know.
The visit to the Bradford Museum of
Photography Film and TV is still on the books"
The meeting was asked if they were still interested
in the Council pursuing the idea. The present
proposal is for a two day plus overnight outing
with visits to IMAX, Cinerama and the museum
collection. There would also be side trips to Harry
Ramsden's Fish Restaurant and the Bronte sister's
home at nearby Haworth. The excursion would
also be open to members guests. The cost would
be in the region of f65.00 a head to include bed
and breakfast and entrance to the shows. A show
of hands indicated that?4 of those present had
genuine interest in the trip. The Council will
continue to plan for the early autumn and
endeavour to interest other Guilds joining in.
A very good discussion got going on the subject
of extraneous noise that often inhibits production
sound crews from getting satisfactory dialogue.
The noise produced by certain types of present day
lighting equipment seems to be the main source of
annoyance. It was decided that the council should,
as soon as possible, arrange an open forum
meeting to discuss the problem fully and formulate
serious questions that could be put to the experts
who manufacture the lighting equipment. Allwere
convinced thatit was time AMPS did somethins.
The meeting was still immersed in the
discussion at 1315 hours when the Chair pointed
out that it was time that people were on their way
home to Sunday lunch and promised that the matter
of a specific meeting would be looked into at the
next Council meeting.
The AGM closed with a hearty vote of thanks to
Graham Hartstone and Pinewood Studios for the
use of Theatre 7.
5th ANNUAL GENERAL
MEETING & EXTRAORDINARY
GENERALMEETING
Pinewood Theatre 7 was again the venue for the
AMPS AGM and EGM. As usual before AMPS
meetings, there was a pleasant atmosphere of chat
over a cuppa awaiting the start of proceedings.
The EGM preceded the AGM because the
meeting was called by the Council rn1994 and the
business had to be conducted and completed before
the AGM.
The purpose of the EGM was to discuss and
vote on a resolution to add Student Membership to
the existing Constitution. It was pleasing to see
that the members present didn't take the Council's
recommendation as fait accompli and a good debate
ensued. Some members thoueht it would make
entry to AMPS too easy as pJrsons on short
courses could call themselves students. This worry
was overcome by adding 'for the period of their
enrolment' to the resolution.
The question of how the Council would decide
which media courses should be approved was
raised. Graham Hartstone's suggestion that
courses already approved by the BKSTS and
Skillset would be a good starting point, met with
approval.
The resolution was put to the vote and carried
25for,4 against, 1 abstention.
The business of the EGM completed, the vice
chairman who had chaired this meetins called for
any further votes for the Council elecdbn to be
handed to the Admin Secretary. As AMPS
Chairman G"rry Humphreys had not arrived, the
Vice Chairman took the chair and opened the
AGM.
The minutes of the 1994 AGM were presented
and approved as a correct record of the
proceedings.ln matters arising, the Vice Chairman
reported that he had been present at a luncheon put
on by Skillset where 14 NVQ certificates were
presented to the first candidates. All were in TV
and Radio, and mostly from the BBC. When Kate
O'Connor was questioned about progress on
applications from film sound people she said that
no suitable assessment centre had been organised
yet. The Vice Chairman said that he would
continue to keep Skillset well aware of Film Sound
as a special category.
The Chairman's address was rather a fiasco as
the Vice Chairman, unaware that he would be in
the 'hot seat' was quite unprepared to give a proper
report of the past year's activities. He did 'busk'
Bob Allen
a
J
Lionel Strutt pat,s tribute to
Gerry Cassidy
Sadly, G".ry Cassidy died on the 12th December
1994.He was well known and respected by many in
the industry as the Manager of the Audley Square
Preview Theatre during the period 1955 to 1980.
Gerry's approach was something different because
he didn't just organise the screenings...he was also
very good with people"...and he took care to see that
they were well looked after. Nothing was too much
trouble for him.....he could always obtain at short
notice a copy of the latest feature film....he could
organise a first class dinner delivered by waiters from
th6Dorchester Hotel... or arrange a chiidrens party,
showing all their favourite films. Getry would help
anyone and everyone !
During its twenty five years of operation Audley
Square previewed to some very interesting
people...like...Her Majesty The Queen and most
members of the Royal Family...numerous top notch
producers and directors such as Sam Spiegel, Otto
Preminger. Mike Todd, David Lean, Alfred
Hitchcock, Lord Lew Grade. Charlie Chaplain and
dozens more, and of course all the big name film stars
of the era. Everyone knew Gerry and everyone
noticed how good he was at arranging things... the
Beatles discovered him at the beginning of their
heyday during the sixties. They used to turn up every
Friday night for a regular film which G"rry would put
on exclusively for them , as a 'mystery' show.
I first met Gerry in 1954 when he was Chief
Projectionist at the old Academy Cinema Oxford
Street. He took me on as a boy and we worked
together for a few months. Then he began talking
about his friends in the big time production side of the
business. I didn't know whether to believe him at first
when he said to me "Lionel"..would you like to come
and work in this private preview cinema in
Mayfair?"...
He said the pay was f 10 a week with hours of 9am
to 6.3Opm...plus Saturday mornings. This seemed
ridiculous I couldn't believe it.... when the average
pay I had been used to as a West End Projectionist
was f6 a week for loam to 11pm six days and even
then you were lucky to get a day off...oh... and no
holidays, not even Bank Holidaysl
Anyway, it all came true... and Gerry and I opened
the newly built Audley Square Theatre in 19-55. We
had the first ever reversible Westrex projectors (which
often played up like mad and broke the film) and our
bosses were Cubby Broccoli and Irving Allen who
ran Warwick Film Productions... Irving used to
scream at us if the film broke... he'd had a very short
fuse.... Cubby was the exact opposite, the perfect
gentleman. At that time they had the edge on the
British Film Industry and produced a series of hit
4
feature films like 'Cockleshell Heroes', 'Prize of
Gold', 'The Red Beret', 'Zarak' ,'lnterpol' etc
etc.
We had a host of stars in and out of the
preview theatre and Gerry made a habit of
bringing them into the projection room for
introductions. I remember him introducing me to
Robert Mitchum, Gary Cooper, Rita Hayworth,
Anita Ekberg. Jack Lemmon, John Wayne,
Michael Wilding, Trevor Howard, James Mason
and Victor Mature. This was typical of Gerry in
his element enjoying all the glamour and making
a fuss of all these starry people.". and they in
turn appreciated him for it.
One legendary story told of him giving a lift
one night to Elizabeth Taylor and Mike Todd in
his little old Ford Anglia because all the
chauffeurs had gone home!
Another classic was.". one evening a special
show had been arranged for hincess Margaret,
Gerry was pacing the corridor waiting for the
guests to arrive... suddenly this pregnant woman
appeared and Geny said rather irritably "You
can't go in there. This is a special show . We're
waiting for the Princess". Not letting on, the lady
insisted that she went in. "Oh alright then" said
Gerry "but you better go in the front row!" Of
course it was the Princess herself, not looking
particularly glamourous because she was
expecting her first child!
ln spite of the fact that he was capable of
making this kind of faux pas Gerry had a lovable
sense of humour and somehow his charm alwavs
broke through.
I left the Audley Square in 1957 to do my
National Service and didn't meet Gerry again for
some years. Eric Palmerjoined the crew, and the
preview theatre went from strength to strength.
John Daly of Hemdale took over the building in
the 70s and the Audley Square remained popular
because it was providing a specialised service
and therefore always had the top clientele.
Finally, in 19{30 the premises became
Mayflower Studio and Gerry handed over the
keys and went into a kind of retirement. But he
kept busy and was always popping in for a chat.
One could honestly say of Gerry that he
enjoyed a good life and made the most of
everything that came his way. He will be
remembered with affection by those who knew
him and especially so by the many people he
helped, including me. He leaves a widow Val
and a son Peter.
Cyril Crowhurst 1906 -
1995
Many people in the Motion Picture Industry throughout the u'orld will be saddened by the death of Cyril
Crowhurst. A career in Motion Picture sound from 1931 to l97l - most of those years as Head of Sound at
Pinewood Studios supervising the introduction of magnetic recording, transistors and stereo.
A fuller appreciation of his work and contribution to Motion picture sound lvill appear in the next
Newsletter.
Multiplexes Multiply
According to Screen Digest, cinema screens in the
UK continue to increase in numbers. Odeon plans to
invest f l0 million in 1995 to build 3 new multiplexes
and rebuild 5 existing cinemas giving 26 extra
screens. Warners are expanding from 84 screens in
1994to 148 by early 1996. Six of these will be added
to the Sheffield Multiplex making rt, at I7 screens,
the biggest in the UK.
MGM is to build its first multiplex in Kent having
just finished rebuilding their cinema in Hammersmith.
Spielberg Right Again
"You have got the best talent pool in the world"
Steven Spielberg told a British House of Commons
Select Committee on the Film Industry during their
recent five day visit to Hollywood. "You would have
a great industry" he continued "if you had an
industry".
For your information the members of this Select
lighting received their certificates from James Paice
MP, Minister for Training.
The majority of the recipients were from the BBC
but three rvere from Cyfle, the Welsh Industry's new
entrant training schem-e. Five of the recipients had
gained full NVQs in various levels and the rest were
certificates for units passed towards full NVQs"
The Minister for Trainins told the 150 lunch
guests that ''the launch of tliese l.:t qualifications
heralds a neiv dawn for the employers and employees
in the vital part of the UKs communications and
cultural industries".
Based on Skillsct press rclease
Bazza's Bazaar
Production Mixer and AMPS member Barrie White
is now organising a used and surplus sales service
for all types of motion picture and TV equipment
under the name of B azza' s B azaar. B y usin g mai led
lists. a telephone service and a fax on demand
Committee were Gerald Kaufman, Toby Jessel.
service, he rvill put buyers and sellers in contact. No
Anthony Coombs, Michael Fabricant and Sir John
fees for buyers but sellers will pay a percentage
Gorst. How exactly their five day junket will help the based on the value of goods sold. No sale, no fee future of the British Film Industrv. vour guess is as
which makes it lots cheaper than conventional
good as anyone's.
advertising. Interested? Phone or Fax Barrie on
(01446)771708. He'll be pleased to send you full
Also in Hollywood
details.
Another recent UK visitor to Hollywood was HRH
Prince of Wales, and what do you think he saw
New Chairman for APRS
durine his visit? Believe it or not he saw BAFTA's
Congratulations to Adrian Kerridge on his election as
compilation of 100 Years of British Cinema!
Chairman of APRS. Adrian, a director of CTS and
Lansdowne Studios, is well known in the film
Good Bye Soho
industry for the many film scores that have been
Future Film developments Ltd have moved from
superbly recorded in these studios. He is also a
Wardour Street after more than 20 years in 'the
member of AMPS and members were pleased to see
street'. They are now at Network House,64 Oxford
him at the recentAGM.
Road, New Denham, Uxbridge UB9 4DN. Tel:
(01895) 813730. Fax: (01895) 813701" The Brill
sales office will also be moved to the Oxford Road
Correction
building. The same service will be maintained and
Sydney Samuelson CBE writes to inform us
staff will be pleased to see all old customers.
that according to his favourite movie reference
Official Launch of NVQ Qualifications
The first Scottish/ National Vocational Qualifications
awarded by Skillset and the Open University in the
UK Broadcast, Film and Television industry were
presented at a luncheon at BAFTA in London on
January i2th. Fourteen candidates who have been
working towards their NVQ's in camera sound and
book Hav,en't I Seen You Sc.tmewhere Before?,
there are 56 Hamlet movies and not the 42 as
reported in Movie Trivia (Newsletter l2).
Thanl<s S,vdney for your information and
interest. And thanks for the great job you are
doins as British Film Commissioner.
A BRIEFG{JIDETO
I{ON.LINEAR
POSTPRODUCTION
b1t Nick Lowe
is non-linear
\lulhat
v_rnowadays
post production? The term
refers to computerised techniques
editing picture and sound. There is a plethora of
devices on the market which perform-these
of
functions: Avid, Lightworks, DAR SoundStation,
AudioFile, WaveFrame, Synglsrier, to name but a
few. They all do basically ihe same thing: those
designed for picture editing 'digitise' picture rushes
and offer highly flexible approaches to picture
editing. On the sound side, the systems do much
the same thing with location sound material in
addition to handling all other aspects of post
production sound work. The purpose of this article
is not to debate the merits of competing systems or
to argue the benefits of handling post production in
this manner as opposed to doing it in more
conventional ways. What I will attempt to set out
are certain ground rules for productions
contemplating using these techniques either for
picture or sound or both.
Firstly let us consider what we are dealing with:
SCENARIO 1
Camera original is video. Sound original is either
married to the video image and /or is shot separately
on a timecode format ie timecode DAT, Nagla
IVSTC, Nagra-D. [f the sound is not manied to the
video tape then the timecode DATs or ll4in tapes
must bear the same timecode and user bits (which
are commonly used to denote roll numbers) as the
camera original otherwise the whole post
production process is rendered impossibly
cumbersome and expensive. Non-timecode formats
are, in cost terms, not an option. So assuming that
we are dealing with camera original that is married
with sound, the location rushes are disitised into
Avid/Lightworks logged and theniut. An edit
decision list is then produced which reflects every
picture and sound cut the editor has chosen to
make. Typically when viewed this EDL will show
event numbers (ie the chronological order of the
cuts), source roll numbers (conlained in the user
bie of the 80-bit timecode word). source in and out
times (ie which chunk of the said location roll was
used) and the destination timecodes (ie where the
editor chose to put these chunks in the cutting
copy).With the EDL is is possible to 'on-line' edit
the camera original and produce decent looking
pictures that are an exact mirror of the often mankylooking (frequently digitised at low resolution to
save memory) Avid/Lightworks cutting copy.It is
also possible to autoconform the sound from the
camera original (or if available, the timecoded
sound rushes) onto a digital sound workstation and
the
193
I
hence considerably embellish the sound tracks. It goes
without saying that the other sound elements apartTrom
the original location audio can be added at thisitaee ie
FX, Foley, ADR, music.
SCENARTO 2
Camera original is 16 or 35mm negative. Sound is any
analogue or digital sync format ie Nigra neopilot, FM "
pilot, Nagra timecode, Nagra-D, DAT timecode. Under
these circumstances producers have a wealth of
confusing choices.
Firstly, they want to cut picture and sound
conventionally" This is not within the scope of this
article.
Secondly, they want the picture non-linear and do the
sound conventionally. This is not really an option as the
sheer cost of producing reasonably curient fiim dupes of
a non-linear cutting copy from negative is prohibitive.
Cutting room synchronisers that have been produced to
allow accurate synchronisation between videotape and
magnetic film have never really worked all that well.
Thirdly they want to cut both picture and sound using
non-linear equipment. This is dead easy as far as l6mm
post production is concerned since 16mm shot in the
UK nowadays invariably runs at 25 fps and can
therefore be easily scanned by any telecine array to
produce true 25 fps video copies. The only issue here is
how the sound is to be synchronised to picture. Since
thewhole pict.utt cutting erperience is to take place
within the Avid/Lightworks it follows that the most
economical way to do this is to transfer straight from the
original negative to video tape. As far as the-syncing of
the sound is concerned it is either done at the nes
telecine.rbse-,orafterward to mute video tape rJlls.
The principle disadvantages of syncing sound to
original negative are:
1/ You are spending expensive telecine time hunting tor
clapper boards
2l If the sound is shot on analogue timecode format there
may be insufficient pre-roll time to lock picture and sound.
{:}
conformed print of the original negati'i'e. not only
be in sync but will also be at the correct pitch' The
process of timewarping is something of a palaver
since it has to be done in real time.
Lastly under Scenario 2. they want to cut the
picture conventionally and do the sound non-linear.
This is very much a favourite option for a variety
of reasons. Firstly the sound has been accurately
synchronised to picture and rubber numbered in the
time honoured fashion. During the sound transfer
process the original location time code is recorded
on track three of the 35mm magnetic film alongside
the audio on tracks one and two. Or if a nontimecode sync format was used on location, the
transfer operator sets a timecode generator running
with user bits reflecting roll numbers and records
this timecode on track three as well as sending it,
alongside the audio, to a timecode DAT machine,
producing time.coded clones of the location sound
material. The picture is then cut alongside the sync
sound and thus track three of the cutting copy
sound bears a flow of discontinuous timecode that
can be read at the telecine stage to produce an EDL
which when autoconformed, provides an exact
mirror image of the cutting copy soundtrack. Yes.
a24fps telecine is used to provide video tape
workprints for the sound editors but the final fruit
of their labour is always in sync with the final cut
picture negative.
This route has the added advantage that the
cutting copy can always be shown to the director as
a halfway decent image ott the big screen.
Obviously if having gone through the one-light
print and conventional syncing-up route, a decision
was made to cut the picture using an
Avid/Lightworks then these rushes rolls could be
transferred via a24 fps telecine to video, digitised
and then cut. Providing that key numbers were
accurately logged against the timecode on track
three of the sound rolls then conforming a 35mm
print for viewing purposes rvould be relatively
a
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3/ If the sound is shot on non-timccodc s1'nc formats
1.'ou
rvill have to produce timecoded copies of the original sound
rushcs in addition to )'our later 'cltxes'.
4/ With the best u'ill in the world telecinc operators arc not as
skilled as second assistant ecliLors ai slncing sound to picture.
Errors at this stage are a considerable nuisance later on.
A far more efficient way to handle this process which
works for all sync sound formats and gives you a
fighting chance of getting rushes material that is in fact
in sync is to re-record the location sound material into a
low cost non-linear digital recorder, mark the claps,
sync the latter to rnute video rushes and whett in sytrc,
'bounce' the sound across to the video and to 'clone
DATs' bearing thc same timecode (and hence the uscr
bits which identify roll numbers) as the videotape. The
latter is now ready to digitise into the Avid/Lightworks
and the whole process proceeds as described above, the
only difference being that instead of conforming original
video tape material to the non-linear cut you are now
conforming film negative via a correlation between the
time code carried on the video tape copies and the key
numbers on the negative.
If you are shooting 35mm negative at24fps rate this
process is considerably more tricky. To produce video
tape copies of this material it is necessary to effect a24
fps telecine transfer. This is because the PAL television
standard insists on25 television pictures per second.
What is fact happens during the 24 fps telecine is that
one frame, or two fields of picture are repeated every
second. Unfortunately the location sound material
cannot be made to sync up with these 24 fps telecines.
Doubtless Avid/Lightworks will come up with a solution
to this one as they apparently have for our US
counterparts who are cursed with the NTSC 29.W
frame rate, Currently the only solution for those of us
stuck with PAL equipment is to telecine the 24 fps
negative at25frame rate, digitise the location sound.
timewarp it to a factor of 24125, sync this to the mute
video images and produce the clone DATs which will
then autoconform beautifully to the Avid/Lightworks cut
and at the end of the day will, if replayed at 24 fps with
7
easy.
There follows a brief description of how sound,
assuming it is to be handled in a non-linear
fashion. should be handled:
oNon timecode sync formats: timecoded DAT
clones of the location sound rolls have to be
produced at the rushes transfer stage. It is essential
that the transfer is handled competently in terms of
level and most importantly, the user bits generated
in the timecode recorded on the magnetic film rolls
and the clone DATs.
oTimecode sync formats: levels are really the
issue here. A sound recordist lays down a line-up
tone for a reason - make sure this is accurately
carried across to the clone DATs and magnetic
film.
o When making clone DATs from original
material keep labelling clear and stick to one sample
rate, either 44.1 or preferably 48kHz. Do not
switch between the two.
.SEATS TURN
FILM
INTOAMOVING
If you can't afford the time or cash to visit
Futuroscope in France and experience Cinema
Dynamique, then take a ride up front on top of a
behind-schedule No 17lA London bus. At
Futuroscope warnings are given that it is unwise for
Patrons with heart and back problems to participate in
any of the 'ride' shows.
It would probably be a good idea if London bus
The above heading is from a recent British national
operators did the same.
daily newspaper. The item tells the story of
London's Trocodero experimenting with two 24-seat
More about Futuroscope in
cinemas in which the seats move to simulate screen
forthcomin g Newsletters"
action rangingfrom carchases to space travel.
The article gives the impression that the 'Ride
Film' is something new. As usual in the
entertainment business, London is slow to venture.
Where is the talked about Omnimax, let alone Imax?.
Futuroscope, the movie theme park at Poitier in
France has had 'Le Cin6ma Dynamique' since 1988
and have this year installed a second 'ride' cinema.
Simulated seat movement to accompany the onscreen action is nothing new. Back in 1906. Hales
World Tours opened in Oxford Street, London. This
was a simulated train ride. A mock-up of a Pullman
railway carriage was built and set on a platform
which could be rocked and vibrated to simulate the
movement of a train. Fans created the effect of the
passage of air. The moving picture scenery, using
film taken from the front of a moving train. was seen
throueh the end windows of the carriage.
EXPERIENCE,'
Nagra's Solid State
Solution
While there has been considerable interest in Nagra
Kudelski's current tape-based approach to digital aidio
recorders, the Paris AES Convention saw an
alternative direction unveiled - no tape. just a solid state
recording system.
The new ARES-C is a ponable (2.9kg) stereo
recorder for radio reporting that uses standard credit
card-sized PCMCIA cards (Flash RAM) as the
recording medium with each Gl MegaByte card
allowing up to two hours of mono recording. The
machine is designed to be familiar to users of the 4.2
and4S, the reel holders, capstans and heads being
replaced by a RAM card holder, jog/shuttle wheel,
backlit LCD and editine controls.
The ARES-C is fittea with two mic inputs offering
48V phantom and lZV T power, two line inputs and
outputs. The onboard digital converters are l6-bit.
48kHz and it appears that the system has a frequency
response of 30Hz - ZOkHz capability although
currently it's running broadcast standard digital
compression algorithm G722 that allows a speech
orientated TkHz bandwidth. Later this year there will
be an option to use MPEG Layer II (Musicam)
compression that will allow greater bandwidth.
Standard D cells allow up to 8 hours recording time
and by swapping RAM cards 4 hours, 16 minutes of
mono recording time can be achieved.
8
The on-board editing facilities allow the creation of
EDL log of all material. Full non-destructive, cut
and paste editing capability is present and no external
equipment is required. When the audio item is
completed, the intemal ISDN facilities allow direct
connection to an ISDN network for transrnission to a
distant location.
This report is based upon brief information
available at the time of writing and may be subject to
change. It is quite clearly stated that this is designed
for radio use but the front panel appears to boast
video and timecode legends so closer investisation
might be worthwhile.
KSA
an
Nagra D
could compare in price with the Nagra 3 when
that was first introduced. Pro rata it would be
better value for money too because of all the
facilities it affords.
- The Complete System
Barrie White travels fromWales to find out
Some of you may be wondering why have a second
Nagra-D meeting forAMPS members? Having been
unable to attend Take One, Take Two gave me the
opportunity of finding out something about the beast.
In any case Kudelski though it quite important because
the whole of the UK sales force, Claude Burton and
John Rudling, was there together with John Owens
from Kudelski SA, Switzerland, who did most of the
talkins and demonstratins on this occasion.
One"impressive demon-stration given was of the
Nagra-D's ability to chase lock to another source ie to
be married to a video picture. He also showed the
Production mkers do not need all the.facilities
that this machine offers. Couldvou not have buih
a cheaper versionfor them?
The Nagra -D is software driven. Because the
EPROMS which control the built-in software are
already there, it would not be any cheaper to
build a location version. In fact different versions
could be more expensive.
Wouldwe Bet vctlue for money?
Here Nigel Woodford of Richmond Films,
answered by saying that the life expectancy of a
DAT recorder is about three years. He expects
the Nagra-D to last considerably more than that
and now that the original faults have been cured,
it is also a reliable machine.
Any possibility of a smaller machine?
No
Will Kudelski produce u digital mker to go with
affect on a playback tape when altering the sampling
frequency. These are not gimmicks.
John Owens detailed the changes in the machine
since its introduction and particularly the new Nagcom
software for PCs which operates on Menu settings.
very much in the way of directory structure on PCs.
The menu display is independent of what the machine
is doing. As well as programme material, a lot of
information is recorded on the tape by the built-in
computer which is very useful in post production. The
machine itself is capable of being used as a
sophisticated editing machine. Everything is software
controlled.
John tended to concentrate on the Nagcom software
which can be used on a PC connected to the Nagra-D
for fault diagnosis or for retrieval of information, time
codes, programme numbering, drop outs, etc which
can the be used in post production and also for remote
operation of the Nagra-D. As someone who uses
computers I found this quite interesting.
From a Production Mixer's viewpoint, perhaps the
session concentrated on the post production side but
the question and answer session that followed heavily
represented production mixers who appear to be
critical of the Nagra-D yet pro analogue Nagras. It was
a pity that Ivan Sharrock. who owns and uses a
Nagra-D, was not able to attend and participate
because I'm sure his contribution would have been
helpful. For example, disappointment was expressed
that another over-the-shoulder Nagra had not be
produced. Whilst Kudelski was also criticisedfor not
killing the DAT market. The answer was that
Kudelski is far too small to have done this. The
questions and answers continued:
ir?
No. This is probably better left to the experts.
And on analogue topics:
Will Dolbv SR be introduced?
It's already available as an add on.
Is the Nagra 45 TC to be improved? There are
possible modifications which will be retrofitable,
not retrofitted.
Had Kudelsi considered afour channel analogue
recorder?
No
It must be pointed out that the questions and
answers have been paraphrased but hopefully
they have given a fair representation of what took
place at Pinewood. If not there will be no point in
Kudelski employing Mr Carter Ruck because I
don't have a bean!
My hope is that John, Claude and John all
thought it worth their time talking with us. I
thought is worth travelling the distance I did to
hear them and see the Nagra-D and particularly to
participate. I didn't realise that the prize awarded
to the member who travels furthest to attend an
AMPS meeting was to write about it. Thanks
Bob!
Isn't lhe Nagra-D is too big to he a genuinelv useful
Barrie White can be contacted on
IOO 524, 1 55@ CompuServe.Com UK
corder and too expens ive ?
It could not be built any smaller. It is not designed for
off- the-shoulder operation. It is aimed at high budget
movie and music recording.ln defence of the'high'
price, one production mixer suggested that relatively it
lo cat i on re
9
March 15-17
Diary Dates 1995
Digitat to Analogue Transfer
-The Levels Minefield
The Television Show
Nick
laue reports on an informal AMPS
meeting atTwickenhnm
Business Design Centre, Islington,
London (deurils 0171 344 3888)
April9-13
NAB Convention
l-as Vegas Convention Center, Las Vegas
(details +1 (301) 662 9400)
May 13-14
BECTU Annual Conference
TUC Headquarters, L,ondon
(details 0171 437 8YJ6)
l/ray 17-28
Cannes International Film Festival
Cannes, France
(details +33
June 8
-
13
1
42 66 92 20)
International Television Symposium
Montreux, Switzerland
June2O-22
MultiMedia95
Business Dcsign Centre, Islington. London
(Details Steve Pattenden 0l7l 359 3536)
June 21-23
Audio Technology 95 - The APRS Show
National Hall Olympia, London
(details Philip Vaughn, 01734 7 %218)
Sept
A7
Conference 100 Years of Radio
Savoy Place, l-ondon
(dctails 0171240 lgTl)
Sept
G9
Sept 14-18
SMPTE / World Media Expo
New Orleans, l-ouisiana, USA
, . . ".,Y::i::.,
Dolby facts and figures
IBC
RAI Centre, Amsterdam
Sept 19-24
Live 95 - HiFi, Video & Computer Show
Earls Court, London
(details O171728 6893)
Oct5-8
AES Convention
Neq,York
Oct 9-13
MIPCOM
Canncs, France
(details Peler Rhodes O171 528 0086)
Oct 19-17
BKSTS Moving Images 95 / Vision 95
Ol1'mpia Conference Hall, l-ondon
(delrils AI71242UN)
Nov 2
A lively meeting was held on this subject at
Twickenham Film Studios on 2nd September
1994, many a red herring was explored in depth
and considerable polemic erupted over the issue
of whether floor mixers or transfer bay staff
should have the responsibility of controlling the
(some would say) excessive dynamic range
offered by digital recorders. A vote to lumber the
floor mixers with this was passed pretty well
nem con.
On a more serious note two important
recommendations arose from the meeting, Firstly
that all those using digital recorders should have
theirinternal D to A and A to D converters
calibrated such that -18 dB full scale (ie -18 on
the digital meter) should read 0 dBu analogue.
Secondly that floor mixers should then strive to
'peak' their levels no higher than 10 dB above
this (ie peak at -8 dB full scale).
I very much doubt this will be the end of this
issue but these recommendations may go some
way to achieving compatibility between location
sound rushes shot on DAT machinesiNasra Ds
and those shot on conventional Nagras.
Reducing the dynamic range of digital
recordings does not eliminate their two principal
advantages over analogue; complete lack of tape
hiss and the ability to record truly continuous
timecode.
Sound Broadcasting Equipment Show
Birmingham
(details 0171 323 3437\
10
As part of their regular information
monitoring installations and films, Dolby have
released a figures relating to the end of 1994.
Apparently over 25,000 cinemas around the
world are equipped for Dolby Stereo. More than
8,000 of these are equipped with a Dolby CP65
and over SOVo of these are fitted with Dolby SR.
Dolby digital SR.D is to be found in 1500 of
these cinemas in 39 countries.
On the film side, more than i0,000 films
have been released in Dolby Stereo which breaks
down in to 5,000 original productions and 36
languages worth of foreign language versions.
Dolby Digital productions are over the 100 mark.
Technicolor in London has recorded its 1Ooth
dieital soundtrack which is the larsest number of
OilUy Digital transfers recorded oi uny camera
worldwide. There are currently 18 digital
cameras now installed, the latest being in
Thailand. There are also 24 processing
laboratories equipped to handle Dolby Digital
printing.
3M have recently announced
digital audio cassettes for
use with the AlesiVFostex ADAT format and the Tascam DA8 8 format. For ADAT. the ASD4O+ S-VHS cassette has a
playing time of 42 minutes and is provided with the full APRS
label set while the AHD Hi-8 cassette is for use with the RD-88
system and offers 113 minute running time.
Sonosax have introduced several enhancements to their
mixer range. A plug-in Film Module for the S X- S series of
portable mixers occupies two of the ten module slots and offers
new metering, remote tape machine start/stop, intercom and
'advanced' audio slating. The SX-S series received a Technical
Achievement Award from the Academy of Motion Picture Arts
and Sciences in January. Finally the portable SX-PR mixer
has now been modified for greater headroom.
Cooper Sound have introduced an extended chassis
variant of the CS 106+i location mixer. The CS 108+ I is iust
over 17 inches wide and can be configured with between sii to
nine input modules. A new module, the Aux Module CDS-2
allows either mixer to be configured as full614 or8/4 when
installed in the last slot of the mixer. The module has two
additional balanced outputs and output faders and'nay also be
used to provide two separate stereo mix outputs or aux sends.
Digital Audio Research are about to introduce a new
networking facility for all DAR workstations. It will allow
audio from remote machine to be displayed on a local
workstation and the auditioning of stereo segments prior to
copying" Further, Audio Reels will be able to be sourced from
systems of other manufacturer such as Lightworks.
Meyer Sound Laboratories have launched a new self
powered 'mid-field; monitor speaker known as the HD-2. The
HD-1 found considerable favour in situations where portability
and compactness were requirements but audio quality still had
to be maintained. The HD-2 uses a design technique that
reduces destructive reflection from mixing console surfaces
even when used in the nearfield. There are also two variants of
the design that are optimised either for wide dispersion or for
narrow (6O degrees horizontal and vertical) coverage, the latter
being more suited for mobile installations" Suggested
applications include surround mixing with the wide dispersion
models in rear and narrow models for front positions.
From Sony comes a new software release for owners of
PCM-7000 DAT machines. Version 5 system software
includes a number of features that were originally developed
for individual users and generally assists integration into video
and post production situations. Aside from several video and
transport interface options it is apparently possible to instruct
the recorder to replay 'problem' tapes recorded on badly
aligned machines. Also track renumbering can be instructed to
start at any point on the tape - notjust the sfart.
Alt Ps
11
PRODUtrS
OTHER ITEMS
IN BRIEF
Panasonic have announced
that it will be supporring rhe
digital 8-track ADAT
format joining Fostex and
format originator
Alesis.....Amongst the fi rst
for Avid's new
l6-track digital audio
workstation are post house
VTR in London and Edit
Hire at Shepperton...."
Dolby Surround gets
everywhere - BBC Radio 4
has just broadcast its first
Dolby Surround encoded
drama while Radio I
broadcast two encoded
customers
productions last
year......Richmond Films
have increased their stock of
Nagra D recorders by
adding two more machines
making a total of 12
available.....Movie
attendances have doubled
since 1992 accordine to
figures released by t[e New
Zealand Motion Picture
Di stributors Association.
From 3 million in 19W,4.2
million in 1993 to 6 million
plus in 1994. Not bad from
a population of just over 3
million. The increasing
number of multiplex
cinemas was claimed to be
the key factor behind the
increases. Cities and larger
towns now have more movie
screens than in the so called
heyday of the cinema. The
quality of movies on offer
was also afactor. Mrs
Doubtfire, Sc hindle rs List.
Four Weddings And A
Funerctl and the New
Zealand production O nc e
Were Warrirtrs all drew large
audiences......HHB
Communications has
launched its own brand of
recordable CD-R discs......
END CREDITS
r994
SOUND
ACTORS
Jean-Louis Barrault
Noah Berry Jnr
Rossano Brazzi
John Candy
Joseph Cotton
Peter Cushing
Tom Ewell
Raul Julia
Burt Lancaster,
Marc McManus
MelinaMercouri
RalphMichael
George Peppard
MarthaRaye
Cesar Romero
Marge Ryan
Telly Savalas
Terry Scott
Heather Sears
Dinah Shore
Lionel Stander
Jessica Tandy
BillTravers
Gil Knight
Ted Scaife
Ian Struthers
Norman Warwick
EDITING
Peter Horricks
WRITERS
Tim Horricks
Jack Knight
Freddie Wilson
Derek York
John Osborne
Dennis Potter
LABS
Thomas Chamberlin
Geoff Healey
PRODUCERS
AlbertBecket
Lord Delfont
Bill Podmore
Harry Saltzman
Frank Welles
Ray Elton
ANIMATION
John Halas
Walterl,antz
MUSIC
Henry Mancini
ART DIRECTION
Don Deacon
DIRECTORS
Lindsay Anderson
Patrick Carey
Sidney Gilliat
James
PROPS
George Pepriatt
Hill
PROJECTION
CecilHolmes
Gerry Cassidy
Terry Morgan
Derel< Jarman
Gerald Thomas
Terenue Young
MaiZetterling
We would like to welcome the following as
LEE CORBETT
NEW MEMBERS
PRODUCTION MIXER
of the Association Of Motion Picture Sound
Members, especially those in the North, will be
saddened to hear of l-ee's sudden death in early
March. The AMPS Council. on behalf of all
members, would like to express sincere sympathy
to his wife and familv.
-l
CAMERA
Peter Brown
Dave Badger
Paul Caulfield
Ted Karnan
Laurie Peak
FOR SALE
I AM SELLING my surplus sound gear, Please phone
for full list or let me know what you require. Sample Nagra 45 Time Code with extras; Audio Engineering
Quad Diversity system with four CNS legal channels;
Sennheiser MKH P7O gun mic kit etc; many alloy transit
cases in good condition. Your sound gear sold at
reasonable commission. If your production needs a 2nd
unit sound crew give me a ring: this is now my forte. If
you can't cover a TV commercial let me know. Call
David Wynne Jones (01582 767348 / mobile 0378
383523;2 The Deerings, Harpenden, Herts AL4 2PE
PROPERTY
C APARTMENT for rent or sale on the Costa del Sol.
Perfect for retirement or holiday home. Three bedroom
fully furnished property situated in ideal location close
to Malaga. Magnificent panoramic views of bay of
N4alaga. Adjacent to beach and close to links golf course.
12
Christopher Ackland
Sound Editor
Ian Sands
Barry O'Sullivan
Production Sound N4rxcr
Lee Tavlor
Rerccording Mixer
B<xrm Operatcn
Large shared pool, lockup parking. two lifts, and
resident porter. Surprisingly low overheads. Much
improved property sold freehold for f65,000 to
include most of contents down to the last knif'e and
fork. English speaking solicitor available. Full title
deeds available here. Two inspection flights
refunded if you buy. To rent f.175 per week. Sorry
no smokers or children. Interested? Phone David
Wynne Jones for further details on (01582)
767348 / mobile 0378 383523.
3 HOLIDAY FLAT at Fuengirola on Cosra del
Sol. Sleeps six, huge pool, good facilities. Ring
Peter Musgrave on 0189-5 635010
'l'his spacc is alailablc licc to .,\\{l)S mcnrbers rtho u,ish to
Plc,asc send details to thc .\\{l)S \cu,slct'.cr at thc
adclrcss on the l'irst pauc.
bul or scll.