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Topic: Dolby Stereo s/n ratio and frequency range ?
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Michael Coate
Phenomenal Film Handler
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Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 10-18-2006 01:05 AM
I've had that book on order for a while. I'm beginning to wonder if they printed only enough copies for the author and his mom!
Manny, I'm assuming you think the book is worthwhile since you're recommending it to Lionel. Is it?
I did some Web searching and found a review where the reviewer mentions the book author failing to account for the many different versions of Dolby Stereo and the ambiguity of presentation notations found in newspaper ads and on theatre marquees. So in light of this, I'll take a moment to copy-and-paste some information I posted in the "quick guide to 35mm optical (mono vs. Dolby stereo) & Dolby Analog NR formats by year" thread.
Without knowing the scope of Lionel's project, this info may not be of any interest (or he may already have it or something similar). But here goes.
Year of Introduction: film gauge and sound format, noise reduction type First and/or early significant titles released in format
Introduced 1974: 35mm optical, mono, A-type Noise Reduction "Callan"
1974: 35mm magnetic, 3-track, A-type NR "The Little Prince"
1975: 35mm optical, 3-channel, A-type NR "Lisztomania"
1975: 35mm magnetic, mono, A-type NR "The Rocky Horror Picture Show"
1975: 35mm magnetic, 4-track, A-type NR "Nashville," "A Star Is Born"
1976: 70mm magnetic, 6-track (5-screen, 1-surround), A-type NR "Logan's Run," "A Star Is Born"
1976: 35mm optical, 4-channel, A-type NR "A Star Is Born," "Star Wars," "Close Encounters Of The Third Kind," "Saturday Night Fever"
1977: 70mm magnetic, 6-track "baby boom" version #1, A-type NR "Star Wars"
1977: 70mm magnetic, 6-track "baby boom" version #2, A-type NR "Close Encounters Of The Third Kind," "Days Of Heaven"
1978: 70mm magnetic, 6-track "split surround," A-type NR "Superman," "Apocalypse Now," "Pink Floyd: The Wall"
1986: 70mm magnetic, 6-track "baby boom," SR-type NR "Star Trek IV: The Voyage Home"
1987: 35mm optical, 4-channel, SR-type NR "Innerspace," "RoboCop"
1991: 35mm digital, 6-track (5.1), SR-type NR "Star Trek VI: The Undiscovered Country," "Newsies," "Batman Returns," "Honey, I Blew Up The Kid"
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Michael Coate
Phenomenal Film Handler
![](/ubbmembers/757d.jpg)
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 10-18-2006 09:59 PM
quote: Michael Schaffer Which is why I always doubt that "film makers" who do not understand at least the basic technical parameters of film technology can not really create good content - how can they make best use of a tool they don't understand?
This reminds me of a screening I attended a few years ago that was followed with a filmmaker Q&Q. I asked the director a technology-oriented question regarding the soundtrack of one of his films, and he gave me one of those "Why on earth would anyone want to know that?" looks! Needless to say, he did not have the answer.
I won't say the name of the filmmaker in question; it would be impolite to do so. But to give a hint, he directed "The Cowboys," "The Rose," "On Golden Pond," "The River," "For The Boys," etc.
And to add a bit of irony to the incident, I should mention that three of those films I cited were nominated for Best Sound Oscars.
I'm also reminded of a remark former Monty Python member and now filmmaker Terry Gilliam once gave during an interview. If I'm remembering the question and subsequent answer correctly, it went something like:
Q: How do you account for your success as a filmmaker?
A: Hire great people to work for me and then make sure to stay out of their way!
The point (I think): it is not entirely necessary for a filmmaker to know the specifics of any particular technology. It can't hurt, of course, but hiring talented and skilled people and then directing like a conductor seems to be a technique that can produce excellent results.
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