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hi, john hess from filmmaker iq.com and today we’ll look at the epic history of synchronized sound at the movies. our story begins with one of the originalamerican pioneers of film - the prolific inventor thomas a. edison. edison didn't invent motionpictures, but he did invent the phonograph in 1877 - a device which could record andplayback sound etched onto a wax cylinder. in february of 1888, edison attended a lectureby motion photographer eadweard muybridge - the man who first documented the gait ofa galloping horse and inventor of a very crude projector device called the zoopraxiscope.aftward the two men met privately - why not marry the the idea of edison's sound recordingwith hugely successful phonograph with moving pictures of muybridge's zoopraxiscope? therewas a one major technological hurdle - there

was no way of amplifying sound for large audiencesto hear. the phonograph used larged horns to direct and amplify sound but this wouldn'tbe enough for a crowded theater. because of this muybridge abandoned the ideaand returned to photographing his motion studies - but not edison. he believed the future offilm was not in projection for large audiences, but in individual exhibition - edison sawa future of coin-operated entertainment movie machines. by the year's end he had a crudedesign in mind and set his lab assistant william kennedy laurie dickson on the task of developinga machine that would be called the kinetoscope. in 1894, dickson and edison experimented withrecording sound and images together for playback on a device that would be called kinetophone- a kinetoscope connected to a phonograph.

this film restored and synced by walter murchin 1998 is the only surviving kinetophone film in existence and dates from sometimearound 1894 to 1895. so from the very beginning - the design ofmotion pictures included the use of synchronized sound. unfortunately getting and keeping syncwas nearly impossible in these early machines. but the kinetoscope by itself did catch on.on april 14, 1894, andrew holland opened the first kinetoscope parlor in new york citywhere for 25 cents you could get a chance to see five of edison's peep show viewers.though there was money to made in arcade entertainment, with the advancement of film projection, itwas becoming clear that edison was wrong about individual viewing and that motion pictureswould find a place in public theater exhibition.

again sound faced the technological barrierthat had discouraged muybridge from the very beginning.other inventors did take a crack at the sound sync issue. in 1900 at the paris world fair,three separate photograph synced devices were exhibited, the phonorama, chronophone andphono-cinema-theatre. but these sound-on-disk systems suffered from three major problems:sync issues if the stylus on the phonograph should skip a grove, amplification, and thefact that wax cylinders and later on 12 inch discs, could only hold at most maybe 5 minutesof recording time. the marriage of film and sound would haveto wait. but in the mean time, film would go from a arcade novelty to a major internationalindustry. when sound technology finally caught

up, the movie business was a game of mogulsand big money with sound threatening to turn the entire industry on its head. twenty years after edison and dickson's firstsound and film experiment, the movies were now a major entertainment outlet. but it'simportant to note that even though we call it silent film it was never really silent.when the nickelodeons gave way to the movie palaces around 1915, these large movie establishmentswould employ live orchestras to play music and add sound effects to the happenings onthe screen. some directors like d.w. griffith even commissioned scores to be performed alongwith specific scenes in his films. but only the biggest theaters could affordsuch luxuries. smaller venues would make do

with a pianist which was still a big expense.so now the effort was now on to trying to get pre-recorded music to go along with silentfilms so smaller theaters wouldn't have to pay for musicians. instead of recording audioto a separate disc as edison had tried, inventors focused on imprinting the audio right ontothe film strip itself. in 1919 three german inventors - josef engl,joseph massole, and hans vogt patented the tri-ergon process that converts audio wavesinto electricity which drove a light. this light would then be photographed on the filmstrip negative - the density being the strength of the signal. when playing back, a patentedflywheel would control the speed and the a light would shine through the audio stripand onto a reader which converted the light

back into electricity and into sound.that solved the sync and length issues with sound on disc - but not amplification. thatwould be tackled by a giant in the development of radio broadcasting: dr. lee de forest.in 1906 de forest patented the audion tube - the first electronic device that could takea small signal and amplify it - a key piece of technology for radio broadcast and longdistance telephones. in 1919, de forest's attention turned to motion pictures as herealized that his audion tube could provide much better of amplification for these opticalsound on film systems. three years later in 1922, de forest had designed his own systemand opened the de forest phonofilm company to produce a series of short sound films innew york city.

they churned out lots these sound films - severalone and two reel photofilms a week and by the middle of 1924, 34 theaters on the americaneast coast had been wired for de forest sound. over a 1000 films were made in the span offour years from vaudeville acts to plays to speeches from prominent people like presidentcalvin coolidge, even this comedy routine from eddie cantor in 1923 but de forrest�s success out east did notpique the interest of hollywood. he had offered the technology to moguls like carl laemmleof universal and adoph zukor of paramount but they saw no reason to disrupt the silentmovie cash cow business they had with something as frivolous as sound. that is until one studiotook a gamble, going back to a sound-on-disc

technology. vitaphone was a sound on disk process createdby western electric and bell telephone labs that used a series of 33 ? discs. when representativestried to sell the technology to hollywood in 1925 they faced the same disinterest thatde forest had. that is except for one relatively minor but venturesome studio: warner bros.pictures. in april of 1926, warner bros. with the financialassistance of goldman sachs established the vitaphone corporation, leasing the sound technologyfrom western electric for the sum of $800,000 with the intent of subleasing to other studios.warner bros. never intended the technology to create "talking pictures" - instead usingit to provide synchronized musical accompaniment

for warner bros. films. to demonstrate theirnew acquisition warner bros launched a massive $3 million dollar premiere in the refrigeratedwarner theater at broadway and fifty second street in new york city on august 6, 1926.(it was called refrigerated because the movie theater was really the first time people ofthat era got to experience air conditioning). the feature film was don juan with a lavishscore performed by the new york philharmonic along with many sound shorts including a briefspeech from the president of the motion pictures producers and distributors of america: will hays. the premiere was a resounding success withcritics praising it as the eighth wonder of

the world. warner took the show on the road,hitting boston, chicago, los angeles, detriot, st. louis as well as touring europe. despitethe success, industry insiders weren't sure about sound's future. you see the entire economic structure of thefilm industry would necessarily have to change. new sound studios would have to be built andnew expensive recording equipment installed. theaters would have to be wired for soundand there was really yet to be a standard sound process. the star system, with actorstrained in the ways of pantomime, would be upturned as now they would be required tospeak for the first time. foreign sales would plummet. silent film'stitle cards could easily be translated for

export, but not dialogue and dubbing a foreignlanguage was still technology of the future. even the musicians who found employment inthe movie palaces would have to be laid off. for all these reasons hollywood hoped thatsound would be a passing novelty but the moguls began to move to protect themselves anyhow.loew ( which would become mgm), famous players lasky (soon to be paramount), first national,universal and producers distributing corporation signed an agreement which came to be knownconfusingly as the "big five" agreement, where the studios agreed to all adopt a single soundsystem should an industry wide conversion come to fruition.meanwhile warner bros didn't halt on their vitaphone investment. they announced thatall their 1927 films would be produced with

synchronized musical accompaniment and inapril of the same year built the very first sound studio in the world. in may, productionwould begin on the film that would cement sound's place in cinema: the jazz singer. originally the jazz singer was suppose tobe a silent film with vitaphone musical accompaniment. but al jolson improvised those famous wordsand warner bros. left them in. later jolson adds more dialogue in this tender and intimatescene where his character sings to his mother. did you like that mama? i'm glad of it. i'd rather please you than any other. oh darling, would you give me something?

you'll never guess, shut your eyes mama. shut em for little jackie... i'm going to steal something. i'll give it back to you someday you see if i don't. mama darling. if i'm a success in this show. well, we're going to move from here. oh yes, we're going to move up to the bronx lot of nice green grass up there, a whole lot of people you know, the ginsbergs, the gutenbergs, and the goldbergs,

a whole lot of bergs i don't know them all.... and i'm going to buy you a nice black silk dress mama. you'll see, mrs. freedman the butcher's wife, she'll be jealous of you. yes she will, you see if she isn't. and i'm going to get you a nice pink dress that will go with your brown eyes. what do you mean no. who is telling you.yes you'll wear pink or else. or else you'll wear pink. and darling, i'm going to take you to coney island

yes, we're going to ride on the shoot d' shoot. and the dark mill, you ever been in the dark mill? well with me it's alright. i'll kiss you and hug you... now mama.. stop now, you're getting kittish. mama, listen, i'm going to sing for you like i will when i go on stage with the show. i'm going to sing it jazzy now get this... blue skies smiling at me nothing but little blue skies do i see... blue birds singing a song....

nothing but blue birds all day long you like that slapping business? never saw the sun shining so bright, never saw things going so right... noticing the days going so by when you're in love oh don't they fly blue days ... stop! as you see the film slips back into silentfilm title cards. thsse were the only two pieces of improv were the only pieces of spokendialogue in the film but the impact was enormous. this wasn't a speech or a canned performance,this was seeing actual drama unfold on the

screen. and although synchronized sound hadbeen around before, it was the jazz singer that was the first feature film to use itin such a realistic almost voyeuristic way. the film went off to be an international successearning 3.5 million dollars worldwide. at roughly the same time fox film corporation'swilliam fox who was not part of the big five agreement but a minor studio, much like warnerbros., also saw potential in the talkies. in 1927, fox acquired the tri-ergon sound-on-filmprocess for $50,000 and began releasing newsreels with sound. these newsreels were a hit andfox began sending camera crews around the world to interview famous personalities oncamera pumping out three to four newsreels per week to fox theaters.in a shrewd move, fox negotiated a reciprocal

contract with the vitaphone corporation inwhich each studio would license the other's systems, technicians and theaters thus coveringboth fox and warner bros. should one sound system become standard over the other.by the end of 1927 it was becoming quite clear - sound was here to stay. a dismal year forthe industry, only the sound films were able to attract and do big business. even the worstsound film outsold the best silent ones. the moguls were forced to act. with sound a sure thing, the studios beganthe process of picking a standard in accordance to the big five agreement and there were alot of optical sound-on-film options. while still pushing vitaphone, western electrichad developed their own optical system under

electricalresearch products incorporated and won the contract with paramount and loew's. rca andgeneral electric had perfected a system called photophone and after narrowly losing the contractto paramount, acquired joseph p. kennedy's film booking office, pathe and keith albee-orpheumto create a new major rca controlled studio: radio-keith orpheum - rko by the summer of1928, every studio in hollywood was armed with some sort of sound system license.warner bros. continued to lead the way making the first 100% all talkie - lights of newyork in 1928. it did so well in the box office that hollywood insiders who thought silentpictures and talkies could coexist at least for a while, realized that silent film wasall but dead.

in 1929 three quarters of all films made inhollywood were released with some kind of pre-recorded sound which included 335 alldialogue features, 95 features with mixture of dialogue and subtitles and 75 featureswith musical score and sound effects. 175 silent films were released into smaller provincialtheaters that had not been wired for sound but even those were becoming more scarce.in just a span of 2 years, from 1927 to 1929 the entire industry was retooled from productionto exhibition - at an estimated cost of $300 million dollars more the 4 times the valuationof the entire industry. this money was lent from corporate wall street giants j.p. morganand rockefeller group who controlled western electric and rca. but the investment paidoff in big profits as audiences came in droves

to see the talkies.it was because of sound that hollywood was able to survive the first wave of the greatdepression that started with crash of the stock market in october 1929. had it not beenfor the bold moves of warner bros and fox pushing the industry early on, the money requiredfor sound conversion would have been delayed for another 10 years or so. and when effectsof the crash finally made its way to hollywood in 1932, silent film was all but a forgottenmemory. fox's movietone and rca's photophone were the standard in the united states andtobis klangfilm's tri-ergon was the standard in europe. warner bros. who had made bankwith vitaphone had plenty of cash to make the switch to sound on film.sound was now common place in the movie theater

and it would take another threat to bringthe industry to the next big innovation: the threat of television. the period from the 1927 to 1950s or early60s is considered the golden era of hollywood - the studio age - a rich period of mass productionin which sound played a crucial role. with sound came the advent of the lavish musicaland the familiar musical animation. the silent slapstick comedy of chaplin and keaton gaveway to the fast talking humor of the marx brothers and romantic screwball comedies.horror gained new ground bringing in german expressionism influences along with eeriesound tracks - the first great horror icons, dracula and frankenstein were all part ofthe sound era.

though the studios would experience ups anddowns in the first 30 years of sound, major industry shaking challenges were just aheadin the 1950s. first was the supreme court case united states vs paramount pictures in1948. the paramount decision ended the studios control over their own theaters - declaringthe practice an illegal vertical monopoly. it also limited the practice of block booking,where studios could force theaters to purchase large blocks of movies - often bundling prestigiousa-pictures with a bunch of low quality b-films. this effectively killed studio's mass productionmentality bringing an end to the studio system and then came television. between 1946 and1955 movie theater attendance plummeted dropping 50% as suburban audiences decided they'd rathercatch the latest show on television than make

it out the theater.the old way of doing business was dying and innovative producers realized the only wayto get people out of the house was to show them something you couldn't get at home. thisis when we see the use of stereoscopic 3d which led to an explosion in widescreen aspectratios along with huge projections - making the trip to the movies an experience.and to create that immersive feel came multitrack sound. for most of the studio era - soundwas recorded and played back on a single mono track. 1940's fantasia from walt disney wouldbe the first film released with a multichannel format call fantasound but only two theaterswere equipped to play back the surround sound - at $85,000 per theater. who could blamethem?

but theaters in 50s were desperate for somethingdraw audiences out. "this is cinerama" in 1952 - a bold new widescreen format that used3 strips of film to create an 146 degree field of view treated audiences to a total of 7audio channels recorded magnetically onto the film strip. exhibition placed 5 loudspeakersbehind the screen with two placed in the rear for surround sound.20th century fox's cinemascope - also amped up the channels of audio to a total of 4 - left,center and right for loudspeakers placed behind the screen and the fourth as an surround soundeffects channel which could be switched on and off with a 12 khz tone to avoid unnecessaryhiss when there was no surround sound present. vistavision used something called perspecta- a mono optical track that could be directed

to three speakers using an subaudible tonesto activate left speaker at 30hz, middle at 35hz and right at 40hz. this really only workedfor isolated sound effects and dialogue and was pretty much abandoned by 1958.the large 70mm prints of the 50s like todd ao also boasted a robust six channel sound.but the problem with many of these systems was they used a magnetic strip that ran alongside the film. this added to the cost of the print and would wear down over time resultingin little specks of iron oxide that would flake off and jam the projectors.once hollywood had settled into a new groove of filmmaking in the 60s, 35mm with it's agingmono optical track became the go to format. but audio technology progresses and a onecompany would forever change the audio landscape

and become almost synonymous with movie theatersound. the story of dolby and film theater soundreally begins back in the 1930s. in the rush to equip theaters with sound, the academyof motion pictures and sciences became an important technical resource for filmmakersand theaters on how to shoot and properly wire for sound. consistency was always theproblem, big lavish theaters could afford great sound while smaller theaters had tomake do with less than stellar setups. in 1938 the academy essentially standardizeda frequency response - a sort of worst case scenario which all sound mixing stages wouldbe calibrated to so that sound editors knew what their mix would sound like even in theleast capable theaters. theaters with good

sound setups would have to handicap theirsetups to match this academy curve. to our modern sensibilities the academy curvekilled audio fidelity but it ended up doing one very important thing - it masked the highrange hiss that was so prevalent in the analog recorders of the day.but masking the problem doesn't make it go away. as the music industry became more sophisticatedin the 60s, recording artists turned increasingly to multi-track recordings - this high endhiss became a serious problem. if noise was bad on one channel, mixing together 16 channelsonly amplified the problem. one engineer by the name of ray dolby cameup with a solution. by splitting up the input signal into frequency bands and applying compressionbefore recording the sound onto a tape he

could record a much better signal to noiseratio on the recording medium - for playback, the dolby would reverse the compression andthe result was dramatically reduced noise. this system, dolby a, was introduced in 1966and pretty quickly became a standard in the recording industry. dolby's attention thenturned to the film industry. in 1971, stanley kubrick's a clockwork orange would be thefirst film to use this dolby noise reduction on all magnetic generations up to the printmaster though the final release print was an optical mono track.but the cat was out of the bag. academy curve was replaced the following year with dolby'sx-curve which is defined using pink noise and calibrated from a listening position oftwo thirds of the way back in a theater - which

incidentally is the best place to sit whenyou go to the movies from an audio standpoint. for the first time, sound engineers were calibratingspeakers for the psycho-acoustical response and taking into consideration the reverberationof any given room size. armed with noise reduction and the new eqstandards, dolby released a new audio system - dolby stereo with the release of 1976's"a star is born" -dolby stereo sported 4-channels cleverly encoded onto the two optical stripsthat ran along the film. the two channels were known as left total (lt) and right total(rt). a center channel was derived from everything that was in both channels and 3db down. asurround channel is recorded down 3db on both lt and rt channels so that one channel isplus 90 degrees and the other was minus 90

degrees.in 1977, dolby stereo would get it's first real showcase in star wars which did justokay at the box office. star wars would go on to win an special achievement academy awardfor ben burtt in the sound effects department. a sequel later before the release 1983's returnof the jedi, george lucas and lucasfilm got in on the movie sound business with the thxsound system. thx wasn't a recording format but rather a quality assurance system. thx-certifiedtheaters had to pass several rigorous criteria in terms of reverberation time versus volume,picture sharpness, noise limits and screen properties all for the honor of being a certifiedthx theater and playing this sound effect dubbed deep note:movie sound was serious business. in 1986

dolby released dolby sr, the second generationprofessional recording system with even better noise reduction and recording dynamic rangewhich gave engineers master recordings that were indistinguishable from live sound. 1987'srobocop and innerspace were the first films to be released with dolby sr.coming into the 90s, in 1992, dolby released dolby digital with the film batman returns.dolby digital uses a 5.1 surround sound format using their ac-3 compression algorithm. thedigital data was printed in between the sprocket holes and the dolby analog tracks were keptas a back up or for theaters that didn't have a digital reader.a year later two new digital sound formats were also released: dts and sdds - (dts) digitaltheater systems premiered with steven spielberg's

jurassic park in almost a call back to vitaphoneusing a cd-rom for audio playback which was synchronized to a timecode embedded on thefilm strip. sony dynamic digital sound (sdds) which premieredwith the film last action hero printed digital data on both edges of the 35mm print sporting7.1 surround sound - the first format to exceed cinerama in terms of audio channels.as we move into digital projection the audio component is simply embedded as a file withthe digital package. current digital cinema formats are able to handle upwards of 16 channelsof audio. the always forward thinking japanese broadcasting service nhk has even debuttedtheir 8k projection with an astounding 22.1 channel surround sound.what industry insiders thought was a novelty

in 1927 is now, in the words of of spielberg,"half the picture". cinema and moving pictures have this amazinggrip on our collective psyche - it's more than just merely entertainment or frivolousescapism. at the core these stories told through camera direction and performance remind usof a fundamental human fact - that you and i are not alone -that what you feel isn'tonly felt by you - that we are all on this human journey together. the act of storytelling.what may have started out as reenactments around a flickering campfire are now reenactmentson a flickering screen - and sound - to hear your fellow human being speak or hear thehowl of the wolf and the sound of the surf crashing into the shore - sound was the finalkey to unlocking cinema's amazing power. no

matter how you slice the history of cinema,it is a story of inventors and showmen, magicians and technicians, dreamers and those with thecourage to make those dreams come true. be part of that amazing tradition. make somethinggreat. i'm john hess and i'll see you at filmmakeriq.com