Josef Engl, Hans Vogt and Josef Engl patented the "Tri Ergon" process. In 1922, this process announced the development of glow lamp light modulator for variable density recording of sound.
1933: King Kong was released and made sound history. Murray Spivak designed the sound of the movie.
1990: Kodak introduced Cinema Digital Sound with the premiere of Dick Tracy.
1993: 2 new Digital Sound formats were released as DTS and SDDS. Digital Theatre systems and Sony Dynamic Digital Sound.
Digital audio workstations- sufficient for use in the film production. They have the ability to synchronise with picture. Its electronic system is designed solely or primarily for recording, editing and playing back digital audio. During the production the sound crew uses audio technology to meet their goal of consistency and clarity of dialogue. DAW's were originally tape less, microprocessor based systems.
Modern DAW's are softwares which run on computers with audio interface hardware.
Technological developments in recording and editing have transformed in record, movie and television industries in recent decades. Audio editing became practicable with the invention of magnetic tape recording but digital audio (cheap mass storage) allows computers to edit audio files quickly and cheaply.
The most modern method of recording sound on a film print is by stereo variable-area (SVA) recording, encoding a two-channel audio signal as a pair of lines running parallel with the film's direction of travel through the projector.
Sound-on-film refers to a class of sound film processes where the sound accompanying picture is physically recorded onto photographic film. Sound-on-film processes can either record an analog sound track or digital sound track, and may record the signal either optically or magnetically. Earlier technologies were sound-on-disc, meaning the film's soundtrack would be on a separate phonograph record.
Edge of a 35mm film print showing the soundtracks. The outermost strip (left of picture) contains the SDDS track as an image of a digital signal; the next contains the perforations used to drive the film through the projector, with the Dolby Digital track between them. The two tracks of the analog soundtrack on the next strip are bilateral variable-area, where amplitude is represented as a waveform. At present, these are generally encoded using Dolby Stereo matrixing to simulate four tracks. Finally, to the far right, the timecode used to synchronize with a DTS soundtrack CD is visible.
