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Author Topic: Variable Density Klang - Rashomon (1950) Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 01-08-2016 03:50 AM                     Yes, Gordon, Berglund made a contract with Johann Heinrich Ernemann on May 24, 1922. The patent dated from August 28, 1912. Ernemann, deceived in his high expectations, revoked the cooperation on December 31, 1923. From May 25, 1932 on the Berglund technology was common knowledge and thus picked up by Ernemann. Ernemann became part of the Zeiss-Ikon group and Zeiss-Ikon left all negotiations around TOBIS in 1928 or 1929. The multi-track variable area recording finds itself halfway between single-track VA and VD recordings. Technically, the VA type is better apt for low dynamics, the more so when used in conjunction with noise reducing area recuts. The VD process on the other hand excels at great dynamics because the limits are not the track width but the density range of the positive film.  |  IP: Logged Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 01-08-2016 12:38 PM                     Mistake, from August 29, 1932 on . . .  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 01-08-2016 01:42 PM                        quote: Simon Wyss The VD process on the other hand excels at great dynamics because the limits are not the track width but the density range of the positive film. That can be both a blessing and a curse. If the film stocks (and not just the print stock, but the stocks used for origination and intermediate duping as well), optics, and lab QC is excellent, all the way from studio to theater, VD can outperform VA for dynamic range. In reality, though, they very rarely were and it very rarely did. It's like the difference between a car with manual and automatic transmissions. Well maintained and in the hands of a skilled and careful driver, the manual will deliver better gas mileage than the same vehicle but with an automatic gearbox. But the automatic will deliver a more consistent performance doing the same journey repeatedly, even with different drivers of varying skill levels. That was essentially why the industry abandoned VD.  |  IP: Logged Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 01-09-2016 02:45 AM                     Perfectly agree with you You’re expressing the one big cinema killer: superficiality.  |  IP: Logged Jane Matthews Film Handler Posts: 8 From: Berkhamsted Hertfordshire England Registered: Oct 2015 posted 01-13-2016 06:19 AM                    Hi Simon, so does it seem more likely to you that is may be a MTVA recording rather than VD? Sorry I don't have a clearer picture.  |  IP: Logged Leo Enticknap Film God Posts: 7474 From: Loma Linda, CA Registered: Jul 2000 posted 01-13-2016 10:26 AM                        The most modulations I've ever seen in an MTVA track is probably 6 or 8. I suppose that one just could be if it has around 30, but it looks like VD to me. Incidentally, the Janus print of Seven Samurai I'm showing on Saturday has an RCA duplex track. I'm guessing, therefore, that the audio was remastered for a US release, or that RCA sound cameras and ultraviolet sound negative mastering stock found their way to Japan after the war - very possible, given the American occupation.  |  IP: Logged Simon Wyss Film Handler Posts: 80 From: Basel, BS, Switzerland Registered: Apr 2011 posted 01-18-2016 02:24 AM                     Yes, Jane, for me it’s a slightly blurred or unsharp (what’s the best designation in English?) print off a MTVA recording. You have mentioned its gruesome quality and that’s my hint. A good copy would sound well. If the original sound master can be found, hooray!  |  IP: Logged

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