Sound film

In the early years after introduction of sound, sound films were called "talkies", from "talking picture" on the model of "movie" from "moving picture".

The idea of combining motion pictures with recorded sound is nearly as old as the motion picture itself; some of the early experimental films at the Thomas Edison laboratory in 1889 were combined with sound recorded on wax Phonograph cylinder. However two major problems soon arose that lead to motion pictures and sound recording largely taking separate paths for a generation:

1. Synchronization problems The pictures and sound were recorded and played back by separate devices, which were difficult to start and maintain in synchronization.
2. Audio volume & fidelity problems While motion picture projectors soon allowed film to be shown to large theater audiences, audio technology before the development of electric amplification could not adequately play sound to fill large spaces.

Various elaborate devices were attempted to get around these problems, and some films with synchronized soundtracks on oversized amberol cylinders or "Cameraphone" systems were marketed to small audiences in large cities with moderate success before the 1910s, but these were a very small fraction of the motion picture business.

Two technological developments triumphed over the earlier problems in the 1920s:

1. Sound on film In 1926 Lee De Forest, William Fox[?], and Theodore W. Case[?] produced the first "Movietone Phono-films", where the sound track was electrically recorded and printed on to the side of the strip of motion picture film, making it almost impossible for the sound and picture to go out of synchronization.
2. Fidelity electronic recording In 1925 the Western Electric company introduced a greatly improved system of electronic audio, including sensitive electronic microphones and electronic amplification of sound which allowed recordings to be played back over loudspeakers at any desired volume.

Initially, the introduction of synchronized sound caused immense difficulties in production: cameras were noisy, so a soundproofed camera booth was used to isolate the loud equipment from the actors, at the expense of a drastic reduction in the ability to move the camera. The necessity to place microphones just so meant that actors often had to limit their movements unnaturally; and of course, some silent-era actors simply didn't have attractive voices. These kinds of problems are spoofed in the 1956 film Singin' in the Rain.

These problems were solved with cameras made with modified casings to suppress their noise, the invention of boom microphones which were essentially microphones on long poles to be held just above the photographed scene but out of the frame and could be moved at will by the sound personnel and post synchronization sound recording techniques.

The phenomenon of the "talkies", coupled with the rapid evolution of silent to sound in the movies, had an adverse effect on many motion pictures of the time. A great number of silent movies made between 1926 and 1929 were abandoned and discarded by the studios and lost forever, including London After Midnight[?], one of Lon Chaney's[?] famous roles.

See also: Film history