
It’s actually quite simple.
In this article, I describe the recording of original sound parallel to filming as well as the later synchronization of the sound with the finished film. I describe my own workflow, focusing on the combination of recording camera and projector I use (Nizo Professional with Tascam DR40 and Braun Visacustic 2000 with associated control unit), but also try to show solutions for other devices. In addition to the original operating instructions for the Nizo Professional, the Visacustic and the Visacustic control unit, I use many tips from the book by Walter Werner: “Filmton mit dem Tonbandgerät” (1981), which can be found here in the archive. The book impresses above all with its very precise and in-depth examination of the aspects of two-tape dubbing with the Braun Visacustic and control unit.

Instruction manuals can be downloaded here:
These (german) books, which can probably only be found in antiquarian bookshops or on ebay, are just as helpful:


The latter deals with aspects of two-tape dubbing, albeit with much older equipment, but is nevertheless interesting and helpful (the book is available with two different cover designs).
Why “quite simple”?
Anyone who used to film on Super 8 always had respect for sound film. Of course, it always required (before the introduction of the sound cartridge around 1973 – 1998) an additional, separate sound recording device, i.e. a portable tape recorder or cartridge recorder, which recorded the live sound (useful sound) and the synchronous impulses (more rarely, both camera and sound recorder were kept in sync by retrofitted quartz stabilizers or even synchronized via a connection).
There was also the difficulty of keeping the sound synchronized throughout the entire workflow, from the original live recording to the screening of the finished film. To do this, film and tape had to be kept in sync, edited in sync and otherwise synchronized.
I started that way myself and gave up on sound film at some point in the early 2000s.
With the possibilities of digital sound editing on a PC, but also with the possibility of digital sound recording, the process later simplified enormously.
- The individual scenes can now also be clearly distinguished from one another in terms of sound
- Not only the recorded sound, but also the impulses are easily recognizable on the screen, making synchronous cutting without offset much easier. Fiddly additional devices such as those sold with the Braun Visacustic system have become superfluous:

- Nothing can get lost anymore. Storing sound files on the PC, labeling them with names and copying them lossless opens up a very transparent way of working (especially without any tape snippets on the desk)
- In the case of errors, you can easily revert to a previous status, synchronization errors can be easily ironed out
- The screening is already possible from a first working cut version
- Creating a “guide tape” that allows a complete overview of the scenes on the screen at all times (and thus “dry” dubbing without constant use of the projector) has never been easier
- All this also simplifies the dubbing of silent scenes or entire silent films
With the discontinuation of the Super 8 sound cartridge now more than 25 years ago, two-tape dubbing (SEPMAG, but witout the magnet strip) is the last possibility to have Super 8 with original sound.
The possibility of working with two crystal-controlled devices (digital recorder plus crystal-controlled camera) or controlling the camera or sound recorder during recording is not discussed in this article.
There have already been many posts in the projectionist forum and some articles on digital Super 8 dubbing – here is an excerpt:
in the german Schmalfilm magazine:
- “Digitaler Ton im Heimkino” from issue 1/2005 (p. 27 and following), where you can read a lot about the state of two-tape dubbing at the time
- Or the article by Dr. Ing. Karl-Ferdinand Schultz in issue 06/2007 “Synchroner Sound durch den Computer”, which inspired me the most at the time (even though it took many years before I was ready) and finally “Die Champions des Gleichlaufs (eine kritischer Gang durch die Welt der Zweibandsysteme)”, three parts from issue 1/2010 (p. 46, part 1) to issue 3/2010 (part 3).
in the german magazine Cine 8-16
- Cine 8-16 No. 22 (2012): Großes Zweiband-Special: Zur Geschichte des Zweiband-Tons — M. Hiebel über “Synchrone Vertonung im Computer”
- Cine 8-16 No. 16 (2010): Die (fast) ideale Zweibandvertonung
- Cine 8-16 No. 6 (2008): “Über die vielfältigen Möglichkeiten des Computers bei der Vertonung und Vorführung”, berichtet J. Künsemüller† am Bsp. der Projektoren “Elmo GS 1200” und “Braun Visacustic”
I will now try to show you in as much detail as possible how to work with the Nizo/Braun equipment that was commercially available at the time using today’s digital possibilities. To do this, I often go into great detail in order to provide instructions that give even newcomers to two-tape dubbing as complete a picture as possible from the outset.
Don’t worry, it’s actually really quite simple. 🙂
What does film dubbing mean here?
Synchronous presentation of image and sound as a goal.
- Once synchronization has been defined, it can be reproduced at will
- Synchronously recorded original sound must be editable and reproducible in sync with the developed film
- Dubbing by creating atmospheric recordings, sounds, comments and music
What is behind two-tape dubbing?
Recording the original sound in parallel and synchronously with the film recording. Here too, in addition to recording pulses, there have been various methods for synchronously controlling one of the two recording devices. The aim is to synchronize the film projector and the separate sound source.
Control of the sound source from the projector -> Reverse control (e.g. Pötter)
Control of the projector from the sound source -> Forward control
Working specifically with two-tape dubbing initially places somewhat higher demands on the user in terms of recording, editing and presentation. Here I am working with the so-called forward control, where the sound source controls the projector. This has the advantage that there are no sound changes (as with reverse control) that would be more noticeable.
Original Sound: SEPMAG vs. edge track?
or SEPMAG(separated magnetic tape) vs COMMAG(combined magnetic tape on the film)
The table below compares the impulse method with the complete edge track work sequence, among other things.
Two Tape method | Edge track | |
Recording | ||
Sound recorder | Tape recorder, field recorder | Special camera, special film**** |
How synchronous? | Impulse, perforated tape, crystal control Start control* | Mechanical |
Devices | Camera, sound recorder, microphone, connection** | Camera, microphone |
Playback | ||
Sound player | Tape recorder, field recorder, PC, CD player | Projector |
Devices | Projector, player, connection** | Projector |
Sound quality | Very good, depending on the player | Frequency response and synchronization limited |
Editing | ||
Synchronous editing | Separate sound and picture, manually check picture number and intersections | With the film (disadvantage of the 1 sec overlap)*** |
Preserving the original sound | Any options | Only possible by using the 2nd edge track (or prior dubbing to two-tape sound) |
* In addition to the synchronous run, at least a synchronous start must be guaranteed
** In any case, there must be a connection during playback, at least for the start (e.g. with pure crystal control)
*** Due to the 1 second offset between picture and sound track, remedy only by 1s gaps in the recording (silence or atmo) or manual “saving” of the 1s sound
**** There are no more Super 8 sound cartridges on the market since a long time.
Devices and procedure
(forward control with pulse recording)
- In addition to the camera and projector, a device for mobile recording and playback of the sound is required. The device must have at least two tracks (or channels), one of which is required for the synchronization information.
- “Portable” recording device
- A controllable projector and a control device (aka “control unit”) are required to synchronize the sound with the film during playback
- Film and sound are “cut” separately, i.e. start and possibly dubbing marks are required
- Recording of sound and synchronous pulses
- Start the sound recording with the first image of the scene
A typical representative of these systems is the system offered by Braun consisting of Nizo “Silberling” (S560 and above) and the Visacustic projectors (models 100, 1000 and 2000, which together with the Braun Visacustic control unit enable synchronous playback).
I would like to focus on this system here.
Concept

Coupling of a S8 camera (Nizo) with an audio tape
Recording of the pulses in parallel to the audio recording
This is what it looks like on the tape (examples):

4-track tape unidirectional
Stereo sound
Pulse track

4-track tape bidirectional
Mono sound
Pulse track

Playback of the original sound parallel to the film via amplifier
Control of the projector with the previously recorded pulses
Synchronization by Braun Visacustic control unit
The beginnings with a tape recorder

That’s how I started, first with the Nizo 481 macro, then the Nizo 801 macro and today with the Nizo Professional. The Uher Report was always there, but it always weighed heavily on me.
It was also a device without a pulse head, so only mono sound.
This is how it worked in the beginning, with or without the assistant
(as in the examples from the literature):



Problems:
- The Uher tape recorder was heavy, even a Nokia (ITT) cassette recorder I used later was only marginally lighter
- The tape recorder and microphone had to be carried somehow, attaching the microphone to the camera resulted in the coupling of structure-borne noise from the camera run, so a boom was needed, which made the “mobile” setup even more unwieldy
- The editing was confusing, snippets of audio tape were sometimes lost, and the overview of the synchronized sequence meant considerable additional documentation work
- A tape that has been cut and then glued can also eventually tear
The digital path today
I then achieved a reduction in size and weight more than 10 years ago by using a “field recorder” instead of the mobile reel-to-reel tape recorder. Interim experiments with a portable Sony MiniDisc recorder were not particularly successful.
The Field Recorder has many advantages:
- Lightweight, mobile and reasonably easy to install
- Allows easier synchronization through “pre-recording”, which makes the exact start of recording uncritical (no information is lost at the beginning of the scene)
- Simple further processing of the recording on the PC instead of by analog means (no lossy dubbing or physical cutting, no searching for pulses on the tape)
- Good overview, nothing gets lost
And lighter and more compact too:

What is required for recording in the Braun/Nizo system?
Nizo Professional
(or any other Nizo “Silberling” from S560 (ca. 1970) or later (see below for the differences), as well as some Agfa S8 cameras or retrofitted Beaulieu or Leicina. With the Nizos and some other cameras, the so-called “microröhren plug” connection is a sure indication of the possibility of synchronous pulse output!

Other cameras with a flash contact can also be used if an active adapter is built and connected (see chapter at the end)
Tascam DR40 (or almost any other field recorder with at least two-channel (stereo) recording and an external connection for it)
Flash bar + damper (plastic) against structure-borne noise or boom + second person or separate microphone stand (e.g. for stationary recordings such as interviews etc.)
Standard 1:1 impulse cable + adapter
About the cable: there are differences within the family of silver Nizos. With the “normal” Nizo, both pulse types are always sent, 1:1 and 4:1. To select the appropriate pulse type, there are different cables that output the desired pulse at the end on the same pin.

The exception is the Nizo Professional, which always outputs the same pulse on both pins; the desired pulse type is selected via a switch on the underside, so a 4:1 cable could also be used for 1:1 pulses.
Some other manufacturers only output pulses in 4:1. Although this can be used, 1:1 is always preferable in terms of synchronicity. 4:1 means that only one pulse is output every 4 film frames. In my opinion, this so-called “ETS” (Einheitstonsystem, “unified sound system”) was mainly due to the technical possibilities of projector control at the time. 1:1, also rarely called “NIV” (Normimpulsverfahren, “standard impulse method”), has considerable advantages; asynchronicities are quickly recognized by the control unit and just as quickly compensated for. Editing is also considerably easier in 1:1; you can cut to any film frame.

Selection switch of the Nizo Professional (shown here without pulse selection).
Setting the camera to “Imp 1/1 0.3”
(1:1 pulses with 0.3 seconds start-up delay, unfortunately there is no switch position for 1:1 without start-up delay)
And the assignment of the Nizo Professional sound connections:



Adapter for connecting the Nizo impulse cable to the input of channel 3 or 4 of the Tascam DR40 (balanced connections for channels 3+4). For other devices, at least one mechanical plug adapter is required, which is either plugged as an adapter cable between the 1:1 or 4:1 cable (Braun/Nizo cable remains untouched) or the DIN plug at the other end of the original cable is removed and replaced by a plug (with or without resistor) that fits the recorder.
With the Nizo Professional, you can also use “Graupner” connection cable ends (presumably for servos) that were often offered in the past, which consist only of the micro plug and a cable end approx. 6″ long. Unfortunately, pin 3 of the micro plug is assigned (4:1 pulse), but not pin 2 (1:1 pulse), which excludes the use on another Nizo Silver, on the Nizo Professional the same signal is output on both pins.

Graupner Pigtail
Working method: Recording with the camera
Concept Nizo / Agfa etc.
The micro connector is equipped with 3 contacts for the remote tape start (see table above)
This starts the tape when the shutter release is pressed
Handling with Nizo camera (as of S560, not valid for Professional)
Press the trigger until the first pressure point -> Tape starts (sound recording starts)
Press the shutter release -> Start camera and pulse output and its sound recording
Handling with Nizo Professional
Press the trigger -> analog audio tape would start (audio recording starts)
0.3 seconds later -> camera as well as pulse output and its audio recording start automatically
The delays (manual for the normal Nizo, automatic for the Professional) are superfluous when using a field recorder.

Setting the Tascam DR40 to 4-channel recording.
Triggering automatic recording at high levels.
Recording shadow memory (pre-recording) to 2 seconds.
High level of pulses on channel 3.
Medium level of useful signals on channels 1,2,4
This is what the result of a scene looks like in Audacity, for example:

The actual sound is located on the top two tracks. The impulses from the camera are on track 3 at the bottom. The pre-recording can probably also be set shorter, but I would not go below 1 second, also to always have some reserve for editing.
What is required for processing and demonstration in the Braun/Nizo system?
- A controllable projector, in my case
- Braun Visacustic 2000 (but Visacustic 1000 and Visacustic 100 also work)
- Braun Visacustic control unit (required!)
- A PC (or Mac) with multi-channel sound output if possible (I use a LogiLink UA0099 7.1 Channel USB SoundBox)
- A software for editing, I use Audacity
- A frame counter on the film viewer (in my case the one for the HKS “projectorette”) is not a bad idea, alternatively you can count the perforations by hand or measure them with a tape measure.
Editing part 1 (transferring the sound files to the PC and preparation)
First transfer the recording files to the PC (this also provides an important data backup).
The DR40 delivers two separate .wav files for each 4-channel recording. Without adjusting the file name, these are TASCAM_00xxS12.wav and TASCAM_00xxS34.wav, where xx is simply counted from recording to recording and S12 or S34 stands for the channels recorded there (channel identification). If the date and time are set correctly on the DR40, the time and date of creation as well as the length in min:sec and bit rate can be read out using normal Windows tools in the Explorer.
And now?
- First copy all files of a project to a working directory after the first backup
- Then remove all “file pairs” there that were created by random triggering of the automatic system, but without active filming (then there is no pulse recording in ….S34.wav)
- Now use Audacity to read in the recordings one after the other in the order in which they were recorded, creating one audio track per file in Audacity
- Now mark “empty” areas on the impulse track so that the marking selects all audio tracks (these gaps were created by the pre-recording during the scene change) and then remove these gaps (aim: impulse track with as few gaps as possible to avoid synchronization problems during the screening). If you have inadvertently marked only the gap itself in the affected impulse soundtrack, asynchronicities occur and the gap area for all soundtracks must be marked, selected and deleted. On the corresponding ….S12.wav audio track, there is only an audio recording from before the camera started at the position of the impulse gap; there should be nothing at all on all other audio tracks.
At this point, there is now a complete Audacity file of the rough cut of all scenes in the original recording sequence, which can also be played synchronously.
How this can be played synchronously will be explained elsewhere.
Editing part 2 (parallel cut)
In the first editing chapter, the sound of all film scenes was appended in the original order.
Now it would make sense to give all tracks a meaningful title (rename them in Audacity), for this I would only replace the front part (“TASCAM..”) and leave the rest (consecutive number and channel ID) unchanged.
Now completely obsolete (entire!) scenes are cut out in the rough cut and the corresponding sound including the impulse track is removed (entire sound track is removed) and all subsequent scenes are marked and “moved” to the left in such a way that a gapless impulse track without overlaps is created (from the end of the …..S34.wav sound track to the beginning of the next ….S34.wav sound track).
Incorrectly sorted, complete scenes are repositioned, as are their ….S12.wav and ….S34.wav audio tracks, after which the impulse tracks are restored to a seamless overlap by moving the subsequent scene audio tracks in Audacity.
All scenes that are removed from the movie and “parked” for the time being should be given a label in the scene folder with the same name that was previously assigned to the corresponding Audacity track.

….S12.wav soundtrack and ….S34.wav soundtrack belong together and are always moved together!
Individual frames “lost” through cutting (when removing and rearranging entire scenes) must be taken into account. In Audacity, exactly the same lengths (usually 1-2 frames per cut) must be removed from the corresponding …S34.wav audio tracks at the beginning or end, after which the absence of overcuts and, above all, gaps must be restored.
It helps to simply count the number of perforation hole snippets produced during cutting (remove one impulse per perforation hole).
The same procedure is used for the fine cut!
Example 1 (inserting a soundless intermediate scene):
Mark two perforation holes in front of and behind the planned cutting point (here simply with one sewing thread knot each) with sufficient distance to the cutting point (in case you have to cut again due to an error):

Here 5 pictures distance (may also be more)
Now cut and splice the new (intermediate) scene:

How long is the new track now? It is simply measured again, for example with a frame counter, between the two remaining nodes:



This results in an additional length in single frames:

Now simply create exactly 96 additional pulses (e.g. by copying the correct number of existing, recorded ones) and insert them in the right place. This ensures that complete synchronization is maintained.
Here are 3 screenshots:

10 pulses added by copy/paste in Audacity

96 pulses added in total (multiple 10 and then 16)

Finally, move all remaining tracks after the end of the inserted pulses
During a screening, a piece of film was “eaten” by the projector, and 24 destroyed and 2 cut images were lost (counting the perforation holes!), whereupon I deleted exactly 26 impulses at the point (which should be found reasonably accurately) and “pushed” the project back together again without gaps and synchronously.

In both cases, the entire subsequent area (all Audacity audio tracks) must be moved afterwards to restore the absence of gaps and overlaps between all impulse tracks.
Beginning and end
The movie will now probably have a title scene at the beginning and an “end” or similar at the end.
It makes sense to stick some black film (approx. 2-3 seconds) at the beginning before the title scene and a start tape in front of it. This consists of a sequence (for easier control) and an image as a fixed start mark,
Here is an example of a starting mark made from black film:

(from “Wilhelm Herrmann: Sound film with Braun equipment”)
You can also buy them ready-made (but I didn’t pay €10.90 at the time):

Pulses must then be “filled” from the start marker to the first scene with recorded or already generated pulses.
It can also make sense to add black film after the (possibly faded out) “end” lettering and to fill at least this part with impulses at the end, preferably even up to the very end of the subsequent credits (unless you deliberately want the film to stop at the end of the sound and then switch to “impulse-free” mode manually).
Guide band/guide text
Now you can play the film via 2-tape synchronization from the start marker (more on this in the chapter “Demonstration”) and optionally record a guide tape with scene markers via playback (creates another audio track in Audacity to orientate yourself for chapter 3).
See also Braun Foto Nachrichten 1/75 page 20 “The impuis-controlled two-band dubbing:
Practical tips for the guide text”
and Walter Werner: Film sound with the tape recorder page 73 “Guide text”
Editing part 3 (even more sound)
You may still need comments, which are now recorded separately, in a PC-compatible format (e.g. as WAV).
Select and save music and sounds from CD and download.
Recording of the commentaries and pieces of music including fade-in and fade-out (e.g. based on master tape commentaries) to new Audacity audio tracks. Now position these correctly (by moving them completely freely for the first time, without taking the impulses into account) and fade them in and out
Now the sound is final
First screening “from Audacity”
Now it gets a little complicated, but only a little.
There are three things to do in Audacity:
- bring all audio tracks, whether music or original sound or commentary (if stereo) to one channel (all balance controls to the right)
- if the sound is in mono, make sure that it can only be heard via the right-hand side
- all impulse tone tracks to the other (all balance controls to the left)
- connect the right channel to a loudspeaker or headphones
- Connect the left channel to the input of the Visacustic control unit
- position the cursor to the left of the first pulse for playback
The following must be done on the projector:
(see also the manual for the Braun Visacustic control unit p. 12 – p. 17)
On the Visacustic, set the light selector switch to 1/2 (so that the projection light is very slightly on when stationary)

insert the film and use the main switch to move it to the beginning of the start sequence before the start mark and stop the projector
Then connect the control unit to the projector
Set the control unit to “manual”, “Automatic recording” off, “b/sec” control all the way to the left

Now set the projector to forward operation again (nothing should move due to the connection with the control unit)

Carefully turn the “b/sec” (fps) control to the right to move the film slowly to the start mark and stop (control all the way to the left). Manually move the start mark to the center opening of the 3-blade shutter using the projector wheel.
With the Visacustic, set the light selector switch to full brightness (“parking light” is switched off)

Now press “Memory reset” and “Counter reset” on the control unit

Start the sound, the projector should start with the first impulse and the projector should stabilize after a few seconds.
Errors in synchronicity are best noted and/or recorded on tape (can also be recorded on an additional track in Audacity analog to the master tape). Asynchronicities can be compensated for with the rocker switch (+- 2 frames each) and then compensated for later on the impulse track.
Final elaboration for mobile demonstration
Merging all audio tracks into one stereo track
- To do this, first create a copy of the project for final editing (new name, possibly date in the title)
- Then mute all pulse tracks first (“Mute”)
- Then either mix all selected tracks (these should only be the audio tracks) into a new track using the mixer and render (do not select the impulse tracks!) or export as WAV
Merging all pulse tracks into one track
(Concept should reliably exclude overlaps)
- To do this, proceed in reverse, all useful sound tracks to “Mute”, all impulse tracks unmuted.
- A new overall track or a new WAV is created
Creating a 4-channel WAV file for demonstration
(if the sound is stereo)
- To do this, load both WAVs or delete all tracks except the two rendered ones from just now
- Export with “Export Audio”, select “Custom” and map the 4 remaining tracks in Audacity to 4 tracks of a WAV file

Projection / Screening
See above (“First screenig from Audacity”)
With the difference that now no further precautions have to be taken.
With 4-channel WAV, the “front” output of my LogiLink soundbox simply outputs the sound and one channel of the surround output outputs the pulses
Conclusion
- Easier than the earlier 2-band dubbing with tape or cassette recorder
- Is somewhat more complicated than commag (at least if there is little need for cutting)
- Delivers outstanding results in terms of sound technology
- This is probably the last possibility of filming with original sound that can still be achieved today with reasonable means
- No special material is required (e.g. “fullcoat” perforated magnetic tape), nor is a device conversion necessary
- It certainly falls short of the capabilities of the Gebuhr multisyn systems, for example, in terms of versatility, but fulfills the underlying purpose here
- What could be even better would be the remote start of the recording via the already existing connection from the camera and not via the level and the automatic
Advantage: fewer “empty” files due to loud noises and more freedom in the level control
Unfortunately, most field recorders use a special data protocol for the remote start, something would have to be built then
Alternative devices and procedures and a few more tips
2-channel recorder instead of 4-channel
- There are various devices with different expansion stages, which are often significantly smaller than the Tascam DR40
- If the built-in microphone is to be used (for the mono sound), the other channel must be available for a connection to the impulse connector. If there is only a “Line-IN” jack connection as an alternative to the built-in stereo microphone, then both channels of the built-in microphone will probably be switched off when it is used and an external microphone will then be required here.
- Pre-recording should also be available here
Tape recorder / cassette recorder for recording instead of digital recorder
Sounds kind of strange, but it works. Of course, you have to go back to the “old” way of starting the analog sound recorders via the remote start options of the Nizo connection (see above) and you only have very limited options for separating the individual scenes on the tape. And you have a heavy device again (and where to put the microphone?).
However, if you digitize the entire sound of a project or a cartridge quite soon after recording the image and sound and read it into Audacity, for example, and move the individual sound sequences (which always have a small gap between them) to different tracks, you can continue working almost as well as in the fully digital sound workflow.
Flash contact (“x contact”) instead of pulse output
If the camera used does not have a pulse output (which will be the case with most cameras), then the flash contact that is often available can also be used with an appropriate circuit to generate pulses.
There was, for example, a commercial solution from Gebuhr (Multisyn Mic pulse generator, presented in small-format film 05/2009) and the Pedrobox.
Creating a pulse track for dubbing silent films in Audacity
- First create a new track
- Then create a 1000 Hz sine wave for the entire length of the (silent) movie, including the start, opening, end and end credits
- Then use the “Tremolo” effect in Audacity (square wave, initial phase “0”, wet level “100”, frequency 18Hz)

Pulses with 50% duty cycle are generated
Then use the “Tremolo” function again with initial phase “80”, otherwise unchanged:

The result is pulses with a length of approx. 16 ms, which corresponds to the original pulse duration.
- Now play the movie from the start mark in two-tape mode
- Recording a guide track
- Then ad sound, effects, commentary and music to the film along the guide track (always create new tracks)
- At the end, carry out the finalization as above
iPhone
The demonstration can also be carried out from a mobile device instead of a PC or tape recorder. According to my research, only with mono audio, but very mobile and compact
Cassette recorder or tape recorder for the demonstration
The good old tape recorder or cassette recorder is also an alternative to the mobile PC or Mac for later, mobile presentations. Depending on the equipment, with useful sound in mono or stereo (if a separate impulse head is available)
3-step method to make use of the edge track
Not everyone is a “two-tape dubber”, but would like to bring synchronous original sound to the edge track.
To do this, you can shorten many of the steps shown and choose a very simple method, after which the dubbing continues on the edge track:
- Preparation for sound
- Have the 50ft roll provided with an edge track after/at the development stage
- Read in the files belonging to this cartridge (audio and impulses) in Audacity one after the other (as described above)
- Remove all gaps on the pulse tracks (delete synchronously on all tracks)
- Preparation of the two-tape dubbing
- Add 48 pulses before the first recorded pulses
- Merge all useful sound tracks into one mono track so that only 1 useful sound track and one impulse track remain at the end
- Insert the film into the projector, prepare the screening from Audacity (as described above)
- Manually turn the film back exactly 48 frames before the first frame of the first useful scene (to stabilize the synchronous screening)
- In contrast to the description above, connect the useful sound to the recording input of the projector
- Overdubbing the sound
- Switch to recording and prepare everything on track 1 for recording the audio signal (pin assignment, level)
- Start the two-tape dubbing; the original sound is automatically dubbed to side track 1 from the first frame of the first scene.
- This allows you to proceed with each cartridge individually
From then on, you only work with the edge track in the projector as before
Advantages:
- Familiar working method
- You don’t necessarily have to own Visacustic and the control unit yourself, you can ask a small-format filmer colleague who owns them
- Even if you accidentally delete a piece of valuable original sound, you can restore it from the original recording (albeit with some effort)
At the very end: What can go wrong
The output level of the pulse signal to the control unit must be correct within certain limits. This should be set once during playback of the device(s) used and the setting of all controls (especially on the PC) should be documented. If the level is not correct (too high or too low), pulses are not recognized correctly and the performance becomes asynchronous, you can also check the correct level. In my opinion, however, the control unit has a high tolerance as far as the level is concerned.
The camera must (!) generate exactly 1 pulse for each film frame recorded . In the case of defects, this may no longer be the case. My Nizo Professional had the so-called run-on error, i.e. it continued to run for a random time after the shutter release button was released. The devilish thing about this is that no impulses are output during this run-on time, and it is very time-consuming to correct this afterwards (either adding impulses after each scene or removing the surplus images, which leads to enormous editing and impulse correction measures).
You can always make a mistake when recording, record the sound too quietly or forget to switch the recorder to standby beforehand. After painful experiences, I recommend always wearing headphones/earphones in at least one ear and, of course, not forgetting a wind muffler when outdoors. Otherwise, the only option is to record music, sounds, commentary or similar afterwards…
It sometimes happens that you accidentally delete impulses in post-production, you make a mistake when importing sound files or you don’t correctly trace the film cut in the sound. Constant, good documentation (possibly handwritten or better still on text tracks in Audacity) is helpful and, above all, after every somewhat larger step you should save the Audacity file under a new name, possibly with a date and additional information, so that you can access old versions again at any time. And of course you still have all the original recordings of the individual scenes.
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