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In double-system film, speed variations of camera and recorder, as well as the elasticity of the magnetic recording tape, requires some positive means of keying the dialogue to its appropriate film frame. The inclusion on the sound recorder of a second, parallel, sync or "Pilotone" track, has been the most common method in use until today.
The first feature film released using the Fox Movietone system was Sunrise: A Song of Two Humans (1927), directed by F. W. Murnau. This film was the first professionally produced feature film with an optical soundtrack. The sound in the film included music and sound effects but only a few unsynchronized spoken words.
Sound-on-disc is a class of sound film processes using a phonograph or other disc to record or play back sound in sync with a motion picture. Early sound-on-disc systems used a mechanical interlock with the movie projector , while more recent systems use timecodes .
The most complex part of telecine is the synchronization of the mechanical film motion and the electronic video signal. Every time the video (tele) part of the telecine samples the light electronically, the film (cine) part of the telecine must have a frame in perfect registration and ready to photograph.
Before the adoption of timecode by the motion picture industry, pilotone sync was used on almost all 1/4-inch magnetic double system motion picture sound recordings from the late 1950s until the late 1980s. Prior to the introduction of 1/4-inch audio tape, recordings were made on 35mm optical cameras, and later on 16mm or 35mm magnetic stock.
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; [1] and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. [2]
Mickey Mousing occurred with forms of the Villain's Theme, such as with steps synchronized with the notes [1] Play ⓘ. In animation and film, "Mickey Mousing" (synchronized, mirrored, or parallel scoring) is a film technique that syncs the accompanying music with the actions on screen, "Matching movement to music", [2] or "The exact segmentation of the music analogue to the picture."
However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof. [41] A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong.