It wasn't until the early 70s when Ray Dolby adapted a noise reduction technology developed for multi-track recorders for cinema sound. antitrust legislation forced studios to innovate or raise the standards of cinema, studios decided to tackle the sound quality issue by recording on a 360-degree soundtrack on six channel magnet. In the 1940s, Disney’s Fantasia was recorded on a 9-track Omni-directional FantaSound, but only four U.S. The achievement of dubbing allowed artists like Fred Astaire to pre-record his tap steps exactly as he would dance them in his films. In the early 30s, the standard dubbing prep was to lay dialogue on one track, leaving three tracks to be shared between music and sound effects. There were cases of other actors being hired to do the voices of stars who refused to reshoot their silent scenes like the case of Louise Brooks, who starred in The Canary Murder Case. ![]() More and more films started to record actors’ dialogue after shooting scenes, then synchronizing the dialogue to the scene. Mamoulian experimented with editing all the sounds on two interlocked 35mm tracks which began the standard film tracklaying/dubbing practice. Dubbing, as we know it, started around 1930 with films like Rouben Mamoulian’s Applause pioneering sound mixing in film. That line was one of four talking segments in the film, but the door had been opened to the possibilities of sound in film.Īs cinema began transitioning from the silent film era to sound, the fight to have clean and clear dialogue was on. The following year, The Jazz Singer was released, becoming the first feature-length "talkie." As soon as audiences heard the line, "You ain't heard nothing yet," the silent movie era was essentially dead. George Groves used the Vitaphone to record the soundtrack that would play along with the film and became the first music mixer in film history by doing so. had acquired an exclusive license for the Vitaphone sound-on-disc system, and released their first talking film, Don Juan, later that same year. The Vitaphone debuted in 1925 at a packed auditorium in New York and San Francisco, where a recording of President Harding's speech was played.įrom that moment on, the search for technology to blend sound into motion pictures was on.īy 1926, Warner Bros. This machine known as the Vitaphone created a significantly better signal-to-noise ratio over the consumer standard 78 RPM. decided to move forward with the industrial giant. Unfortunately, Bell Labs and its subsidiary Western Electric developed a 16-inch shellac disc revolving at 33.3 RPM that recorded 9 minutes of sound which outperformed the Phonofilm in sound quality, and Warner Bros. Gaumont’s Chronophone and Nolan’s Cameraphone followed Edison’s inventions, but it wouldn’t be until 1923 when inventor, Lee De Forest, unveiled his Phonofilm, the first viable optical sound-on-film technology. In 1895, Thomas Edison experimented with synchronizing sound-on-film with his Kinetophone, a machine that synchronized a kinetoscope and a phonograph to produce the illusion of motion accompanied by sounds, but the lack of amplification led to the Kinetophone's failure. Several other reasons dubbing is used are to add in voice-over narration, sound effects to the original soundtrack, or substitute musical numbers for a more pleasing voice before filming the musical numbers. The new audio must be mixed with the other audio tracks so that the dubbing doesn’t become distracting to an audience.ĭubbing came to exist due to the limitations of sound-on-film in the early days of cinema. ![]() Dubbing allows the filmmaker to obtain high-quality dialogue regardless of the actual conditions that existed during shooting. It is more constraining, limiting the freedom of the voice actor’s performance.Īn editor might also dub the audio when the original audio from filming isn’t usable. Live-action dubbing is an imitation of the original performer’s acting, but with a different voice. Animation dubbing allows the voice actors to have more freedom with their performances because animated faces are not as nuanced as human faces. There are two types of foreign language dubbing: animation dubbing and live-action dubbing. Foreign language films are translated from the project's original dialogue, and the translator carefully decides what words to use based on lip movement, tone, and script. Dubbing is typically used to translate foreign-language films into the audience’s language of choice.
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