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Vitaphone was a
sound film A sound film is a motion picture with synchronization, synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decad ...
system used for
feature film A feature film or feature-length film is a narrative film (motion picture or "movie") with a running time long enough to be considered the principal or sole presentation in a commercial entertainment program. The term ''feature film'' originall ...
s and nearly 1,000 short subjects made by Warner Bros. and its sister studio First National from 1926 to 1931. Vitaphone was the last major analog sound-on-disc system and the only one that was widely used and commercially successful. The soundtrack was not printed on the film itself, but issued separately on
phonograph records A phonograph record (also known as a gramophone record, especially in British English), or simply a record, is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove usually starts nea ...
. The discs, recorded at   rpm (a speed first used for this system) and typically in diameter, would be played on a turntable physically coupled to the projector motor while the film was being projected. It had a frequency response of 4300 Hz. Many early talkies, such as '' The Jazz Singer'' (1927), used the Vitaphone system. The name "Vitaphone" derived from the Latin and Greek words, respectively, for "living" and "sound". The "Vitaphone" trademark was later associated with cartoons and other short subjects that had optical soundtracks and did not use discs.


Early history

In the early 1920s, Western Electric was developing both sound-on-film and sound-on-disc systems, aided by the purchase of Lee De Forest's
Audion amplifier tube The Audion was an electronic detecting or amplifying vacuum tube invented by American electrical engineer Lee de Forest in 1906.De Forest patented a number of variations of his detector tubes starting in 1906. The patent that most clearly covers ...
in 1913, consequent advances in public address systems, and the first practical condenser microphone, which Western Electric engineer E.C. Wente had created in 1916 and greatly improved in 1922. De Forest debuted his own Phonofilm sound-on-film system in New York City on April 15, 1923, but due to the relatively poor sound quality of Phonofilm and the impressive state-of-the-art sound heard in Western Electric's private demonstrations, the Warner Brothers decided to go forward with the industrial giant and the more familiar disc technology. The business was established at Western Electric's
Bell Laboratories Nokia Bell Labs, originally named Bell Telephone Laboratories (1925–1984), then AT&T Bell Laboratories (1984–1996) and Bell Labs Innovations (1996–2007), is an American industrial Research and development, research and scientific developm ...
in New York City and acquired by Warner Bros. in April 1925.Sperling, Millner, and Warner (1998), p. 111. Warner Bros. introduced Vitaphone on August 5, 1926 with the premiere of their silent feature '' Don Juan'', which had been retrofitted with a symphonic musical score and sound effects. There was no spoken dialog. The feature was preceded by a program of short subjects with live-recorded sound, nearly all featuring classical instrumentalists and
opera Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a libr ...
stars. The only "pop music" artist was guitarist Roy Smeck and the only actual "talkie" was the short film that opened the program: four minutes of introductory remarks by motion picture industry spokesman Will Hays. ''Don Juan'' was able to draw huge sums of money at the box office, but was not able to match the expensive budget Warner Bros. put into the film's production.Sperling, Millner, and Warner (1998), p. 113. After its financial failure, Paramount head Adolph Zukor offered Sam Warner a deal as an executive producer for Paramount if he brought Vitaphone with him.Sperling, Millner, and Warner (1998), p. 114. Sam, not wanting to take any more of Harry Warner's refusal to move forward with using sound in future Warner films, agreed to accept Zukor's offer, but the deal died after Paramount lost money in the wake of Rudolph Valentino's death. Harry eventually agreed to accept Sam's demands.Sperling, Millner, and Warner (1998), p. 116. Sam then pushed ahead with a new Vitaphone feature starring Al Jolson, the Broadway dynamo who had already scored a big hit with early Vitaphone audiences in '' A Plantation Act'', a musical short released on October 7, 1926. On October 6, 1927, '' The Jazz Singer'' premiered at the Warner Theater in New York City, broke box-office records, established Warner Bros. as a major player in Hollywood, and is traditionally credited with single-handedly launching the talkie revolution. At first, the production of Vitaphone shorts and the recording of orchestral scores were strictly a New York phenomenon, taking advantage of the bountiful supply of stage and concert hall talent there, but the Warners soon migrated some of this activity to their more spacious facilities on the West Coast. Dance band leader Henry Halstead is given credit for starring in the first Vitaphone short subject filmed in Hollywood instead of New York. ''Carnival Night in Paris'' (1927) featured the Henry Halstead Orchestra and a cast of hundreds of costumed dancers in a Carnival atmosphere.


Process

From the perspective of the cast and crew on the sound stage, there was little difference between filming with Vitaphone and a sound-on-film system. In the early years of sound, the noisy cameras and their operators were enclosed in soundproofed booths with small windows made of thick glass. Cables suspended the microphones in fixed positions just above camera range, and sometimes they were hidden behind objects in the scene. The recording machines were usually located in a separate building to completely isolate them from sound stage floor vibrations and other undesirable influences. The audio signal was sent from an on-stage monitoring and control booth to the recording room over a heavy shielded cable. Synchronization was maintained by driving all the cameras and recorders with synchronous electric motors powered from a common source. When music and sound effects were being recorded to accompany existing film footage, the film was projected so that the conductor could synchronize the music with the visual cues and it was the projector, rather than a camera, that was electrically interlocked with the recording machine. Except for the unusual disc size and speed, the physical record-making process was the same one employed by contemporary record companies to make smaller discs for home use. The recording lathe cut an audio-signal-modulated spiral groove into the polished surface of a thick round slab of wax-like material rotating on a turntable. The wax was much too soft to be played in the usual way, but a specially supported and guided pickup could be used to play it back immediately in order to detect any sound problems that might have gone unnoticed during the filming. If problems were found, the scene could then be re-shot while everything was still in place, minimizing additional expense. Even the lightest playback caused some damage to the wax master, so it was customary to employ two recorders and simultaneously record two waxes, one to play and the other to be sent for processing if that "take" of the scene was approved. At the processing plant, the surface of the wax was rendered electrically conductive and electroplated to produce a metal mold or "stamper" with a ridge instead of a groove, and this was used to press hard shellac discs from molten "biscuits" of the raw material. Because of the universal desirability of an immediate playback capability, even studios using sound-on-film systems employed a wax disc "playback machine" in tandem with their film recorders, as it was impossible to play an optical recording until it had made the round trip to the film processing laboratory. A Vitaphone-equipped theater had normal
projectors A projector or image projector is an optical device that projects an image (or moving images) onto a surface, commonly a projection screen. Most projectors create an image by shining a light through a small transparent lens, but some newer types ...
which had been furnished with special phonograph turntables and pickups; a fader; an
amplifier An amplifier, electronic amplifier or (informally) amp is an electronic device that can increase the magnitude of a signal (a time-varying voltage or current). It may increase the power significantly, or its main effect may be to boost t ...
; and a
loudspeaker A loudspeaker (commonly referred to as a speaker or speaker driver) is an electroacoustic transducer that converts an electrical audio signal into a corresponding sound. A ''speaker system'', also often simply referred to as a "speaker" or ...
system. The projectors operated just as motorized silent projectors did, but at a fixed speed of 24 frames per second and mechanically interlocked with the attached turntables. When each projector was threaded, the projectionist would align a start mark on the film with the film gate, then cue up the corresponding soundtrack disc on the turntable, being careful to place the phonograph needle at a point indicated by an arrow scribed on the record's surface. When the projector was started, it rotated the linked turntable and (in theory) automatically kept the record "in sync" (correctly synchronized) with the projected image. The Vitaphone process made several improvements over previous systems: * Amplification – The Vitaphone system used electronic amplification based on Lee De Forest's
Audion tube The Audion was an electronic detecting or amplifying vacuum tube invented by American electrical engineer Lee de Forest in 1906.De Forest patented a number of variations of his detector tubes starting in 1906. The patent that most clearly cover ...
. This allowed the sound to be played to a large audience at a comfortable volume. Vitaphone was far from the first sound film system to use this technology, but it had amplifiers and loudspeakers, developed by Western Electric, which were state-of-the-art. Their performance was greatly superior to anything else of the kind then available, including the equipment used by De Forest to present his own Phonofilm sound-on-film exhibitions. * Fidelity – Contrary to conventional wisdom, neither Vitaphone's ability to fill a theater with an adequate volume of sound nor its success in maintaining synchronization was unprecedented.
Léon Gaumont Léon Ernest Gaumont (; 10 May 1864 – 10 August 1946) was a French inventor, engineer, and industrialist who was a pioneer of the motion picture industry. He founded the world’s first and oldest film studio Gaumont Film Company, and worked in ...
's sound-on-disc films, which were being shown twenty years earlier, were successfully synchronized by the use of electrically interlinked multi-pole synchronous motors, and a pneumatic amplification system more than sufficed to fill Gaumont's 3,400-seat flagship theater in Paris with the recorded sound. That sound, however, had to be recorded by the same insensitive non-electronic method introduced by
Thomas Edison Thomas Alva Edison (February 11, 1847October 18, 1931) was an American inventor and businessman. He developed many devices in fields such as electric power generation, mass communication, sound recording, and motion pictures. These inventi ...
in 1877, or alternatively by a very crude microphone-based variant which had logistical advantages but did not offer improved fidelity. The resulting sound, however greatly amplified it might be, was tinny and unclear and speech was difficult to understand. The footsteps and other incidental sounds that audiences instinctively expected to hear were missing. It did not sound "natural". The Vitaphone system derived from extensive work on electronically recording and reproducing sound that had been carried out at Western Electric during the first half of the 1920s. Western Electric's engineers had developed a highly sensitive full-frequency-range condenser microphone, capable of capturing a whisper from several feet away, along with the electronic and mechanical equipment necessary to adequately record the audio signal it produced. As a result, the quality of Vitaphone sound in the theater came as a revelation to the audience at its public debut in 1926. It easily and dramatically surpassed anything previously achieved. It even surpassed the sound quality of Western Electric's own sound-on-film system, developed concurrently with the sound-on-disc system but still in the laboratory at that time, because at first the discs yielded better fidelity than an optical sound track. These innovations notwithstanding, the Vitaphone process lost the early
format war A format war is a competition between similar but mutually incompatible technical standards that compete for the same market, such as for data storage devices and recording formats for electronic media. It is often characterized by political ...
with sound-on-film processes for many reasons: * Distribution – Vitaphone records had to be distributed along with film prints, and shipping the records required a whole infrastructure apart from the already-existing film distribution system. The records would start to suffer from audible wear after an estimated 20 playings (a check box system on the label was used to keep count) and were then supposed to be replaced with a fresh set. Damage and breakage were inherent dangers, so a spare set of discs was usually kept on hand, further adding to the costs. * Synchronization – Vitaphone was vulnerable to severe synchronization problems, famously spoofed in MGM's 1952 musical ''
Singin' in the Rain ''Singin' in the Rain'' is a 1952 American musical romantic comedy film directed and choreographed by Gene Kelly and Stanley Donen, starring Kelly, Donald O'Connor, and Debbie Reynolds and featuring Jean Hagen, Millard Mitchell and Cyd C ...
''. If a record was improperly cued up, it would start out of sync with the picture and the projectionist would have to try to manually acquire sync. If the wrong record had been cued up there was no realistic option but to pause the show for a few minutes while swapping in the correct disc, resetting everything and starting that reel again. If the film print became damaged and was not precisely repaired, the relationship between the record and the print would be thrown off, also causing a loss of sync. Vitaphone projectors had special levers and linkages to advance and retard sync, but only within certain limits. Scrupulous care and attention were demanded from the projectionist. In the absence of
human error Human error refers to something having been done that was " not intended by the actor; not desired by a set of rules or an external observer; or that led the task or system outside its acceptable limits".Senders, J.W. and Moray, N.P. (1991) Human ...
and the occasional malfunction that can befall any complicated machine, the Vitaphone system worked as intended, but when a problem did occur it could be an embarrassing disaster. * Editing – A phonograph record cannot be physically edited, and this significantly limited the creative potential of Vitaphone films. Warner Bros. went to great expense to develop a highly complex phonograph-based dubbing system, using synchronous motors and Strowger switch-triggered playback phonographs. Multiple source discs would be carefully cued up, then parts of each in turn were dubbed to a new master disc. The cutting of the new wax master could not be paused, so each playback turntable had to be started at just the right moment and each signal switched to the recorder at just the right moment. The system worked, but imprecisely enough that the reel of film often required some adjustment, by adding or removing one or more film frames at imperfectly matched edit points, to conform it to the disc of edited sound. This discouraged frequent changes of scene in the film and the lively pace that they created. Editing sound on disc was a nightmare for the editor, and it was increasingly obvious to everyone that while the system sufficed for musical shorts and a synchronized musical accompaniment for otherwise silent films (the only applications originally planned), it was a clumsy way to make a feature-length film with "live" sound. By the middle of 1931, Warner Bros.-First National had thrown in the towel and was recording and editing optical sound on film, like all the other studios, and only then dubbing the completed soundtrack to discs for use with the Vitaphone projection system. * Fidelity versus Sound-on-Film – The fidelity of sound-on-film processes was improved considerably after the early work by Lee De Forest on his Phonofilm system and that of his former associate Theodore Case on what eventually became the Fox Movietone system, introduced in 1927. The De Forest and Case-Fox systems used variable-density soundtracks, but the variable-area soundtrack used by RCA Photophone, introduced in 1928, eventually predominated. Although the fidelity of optical sound never quite caught up with ongoing improvements in disc recording technology, for practical purposes the early quality advantage of discs had been overcome within a few years. After the improvement of the competing sound-on-film systems, Vitaphone's disadvantages led to its retirement early in the sound era. Warner Bros. and First National stopped recording directly to disc and switched to RCA Photophone sound-on-film recording. Warner Bros. had to publicly concede that Vitaphone was being retired, but put a positive spin on it by announcing that Warner films would now be available in ''both'' sound-on-film and sound-on-disc versions. Thus, instead of making a grudging admission that its technology had become obsolete, Warner Bros. purported to be doing the entire movie industry a favor. Despite the fact that Warner Bros. still used Vitaphone as a brand name, the soundtrack-disc era was largely over by 1931. Many theater owners, who had invested heavily in Vitaphone equipment only a short time before, were financially unable or unwilling to replace their sound-on-disc-only equipment. Their continuing need for discs compelled most Hollywood studios to prepare sets of soundtrack discs for their new films, made by dubbing from the optical soundtracks, and supply them as required. This practice continued, although on an ever-dwindling scale, through 1937.


Vitaphone soundtrack discs

In 1924–1925, when Western Electric established the format of the system which would eventually be named Vitaphone, they settled on a diameter disc rotating at   rpm as a good practical compromise of disc size and speed. The slow speed permitted the 11-minute playing time needed to match the maximum running time of a then-standard 1000 foot (300 meter) reel of film projected at 24  fps, yet the increased diameter preserved the average effective groove velocity, and therefore the sound quality, of a smaller, shorter-playing record rotating at the then-standard speed of about 78 rpm. Like ordinary pre- vinyl records, Vitaphone discs were made of a shellac compound rendered lightly abrasive by its major constituent, finely pulverized rock. Such records were played with a very inexpensive, imprecisely mass-produced steel needle with a point that quickly wore to fit the contour of the groove, but then went on to wear out in the course of playing one disc side, after which it was meant to be discarded and replaced. Unlike ordinary records, Vitaphone discs were recorded inside out, so that the groove started near the synchronization arrow scribed in the blank area around the label and proceeded outward. During playback, the needle would therefore be fresh where the groove's undulations were most closely packed and needed the most accurate tracing, and suffering from wear only as the much more widely spaced and easily traced undulations toward the edge of the disc were encountered. Initially, Vitaphone discs had a recording on one side only, each reel of film having its own disc. As the sound-on-disc method was slowly relegated to second-class status, cost-cutting changes were instituted, first by making use of both sides of each disc for non-consecutive reels of film, then by reducing the discs to in diameter. The use of RCA Victor's new "Vitrolac", a lightweight, flexible and less abrasive vinyl-based compound, made it possible to downsize the discs while actually improving their sound quality. There were exceptions to the standard size of 1920s Vitaphone discs. In the case of very short films, such as
trailers Trailer may refer to: a Transportation * Trailer (vehicle), an unpowered vehicle pulled by a powered vehicle ** Bicycle trailer, a wheeled frame for hitching to a bicycle to tow cargo or passengers ** Full-trailer ** Semi-trailer **Horse traile ...
and some of the earliest musical shorts, the recording, still cut at   rpm and working outward from a minimum diameter of about , was pressed on a disc when the smaller size sufficed.


Vitaphone shorts

Warners bought the
Vitagraph Vitagraph Studios, also known as the Vitagraph Company of America, was a United States motion picture studio. It was founded by J. Stuart Blackton and Albert E. Smith in 1897 in Brooklyn, New York, as the American Vitagraph Company. By 1907, ...
studio in 1925 and used its
Brooklyn, New York Brooklyn () is a borough of New York City, coextensive with Kings County, in the U.S. state of New York. Kings County is the most populous county in the State of New York, and the second-most densely populated county in the United States, be ...
facility to produce its new, experimental talking pictures. Although Warners' sound feature films were made in Hollywood, most of the short subjects were made in New York, and Vitaphone shorts became a fixture in movie-theater programs through 1940. Many major names in show business filmed their acts for posterity, and many stars of the future made their screen debuts for Vitaphone. Among those performers who made early film appearances in Vitaphone shorts filmed at the Flatbush studios: Al Jolson,
Humphrey Bogart Humphrey DeForest Bogart (; December 25, 1899 – January 14, 1957), nicknamed Bogie, was an American film and stage actor. His performances in Classical Hollywood cinema films made him an American cultural icon. In 1999, the American Film In ...
, Jimmy Stewart,
Bob Hope Leslie Townes "Bob" Hope (May 29, 1903 – July 27, 2003) was a British-American comedian, vaudevillian, actor, singer and dancer. With a career that spanned nearly 80 years, Hope appeared in more than 70 short and feature films, with ...
, Adelaide Hall,
Spencer Tracy Spencer Bonaventure Tracy (April 5, 1900 – June 10, 1967) was an American actor. He was known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, Tracy was the first actor to win two cons ...
,
Jack Benny Jack Benny (born Benjamin Kubelsky, February 14, 1894 – December 26, 1974) was an American entertainer who evolved from a modest success playing violin on the vaudeville circuit to one of the leading entertainers of the twentieth century wit ...
, Sammy Davis Jr., Sylvia Sidney, Pat O'Brien, Ruth Etting, Mischa Elman,
Frances Langford Julia Frances Newbern-Langford (April 4, 1913 – July 11, 2005) was an American singer and actress who was popular during the Golden Age of Radio and made film and television appearances for over two decades. She was known as the "GI Nightinga ...
, Betty Hutton, Burns and Allen, Giovanni Martinelli, Xavier Cugat, Bill Robinson, Lillian Roth, Joan Blondell, Judith Anderson, Ethel Merman,
Abbe Lane Abbe Lane (born Francine Lassman; December 14, 1931) is an American singer and actress. Lane was known in the 1950s and 1960s for her revealing outfits and sultry style of performing. Her first marriage was as the fourth wife of Latin bandleader ...
,
Eleanor Powell Eleanor Torrey Powell (November 21, 1912 – February 11, 1982) was an American dancer and actress. Best remembered for her tap dance numbers in musical films in the 1930s and 1940s, she was one of Metro-Goldwyn-Mayer's top dancing stars du ...
, Helen Morgan,
The Nicholas Brothers The Nicholas Brothers were an entertainment act composed of biological brothers, Fayard (1914–2006) and Harold (1921–2000), who excelled in a variety of dance techniques, primarily between the 1930s and 1950s. Best known for their ...
, Milton Berle, Leo Carrillo,
Harriet Nelson Harriet Nelson (formerly Hilliard; born Peggy Lou Snyder; July 18, 1909 – October 2, 1994) was an American actress and singer. Nelson is best known for her role on the sitcom ''The Adventures of Ozzie and Harriet''. Early life and career Ne ...
,
Brian Donlevy Waldo Brian Donlevy (February 9, 1901 – April 6, 1972) was an American actor, noted for playing dangerous tough guys from the 1930s to the 1960s. He usually appeared in supporting roles. Among his best-known films are ''Beau Geste'' (193 ...
, Jane Froman, Jack Haley, Phil Silvers, Roger Wolfe Kahn,
Judy Canova Judy Canova (November 20, 1913 – August 5, 1983),Although one source gives her birth date as November 20, 1916, (DeLong, Thomas A. (1996). ''Radio Stars: An Illustrated Biographical Dictionary of 953 Performers, 1920 through 1960''. McFarland ...
, Nina Mae McKinney, Marjorie Main,
Rose Marie Rose Marie (born Rose Marie Mazzetta; August 15, 1923 – December 28, 2017) was an American actress, singer, comedian, and vaudeville performer with a career ultimately spanning nine decades, which included film, radio, records, theater, night ...
, Joe Penner, Ethel Waters,
June Allyson June Allyson (born Eleanor Geisman; October 7, 1917 – July 8, 2006) was an American stage, film, and television actress, dancer, and singer. Allyson began her career in 1937 as a dancer in short subject films and on Broadway in 1938. She sig ...
, Shemp Howard, Lanny Ross, Lionel Stander, Edgar Bergen, and
Cyd Charisse Cyd Charisse (born Tula Ellice Finklea; March 8, 1922 – June 17, 2008) was an American actress and dancer. After recovering from polio as a child and studying ballet, Charisse entered films in the 1940s. Her roles usually featured her abilit ...
.


The Vitaphone Project

In 1991, The Vitaphone Project was started by a group of five vintage record collectors and movie enthusiasts. Since the soundtrack discs and film prints of Vitaphone productions often became separated, The Vitaphone Project searches for original 16-inch soundtrack discs and mute film elements that go with surviving soundtrack discs. The Vitaphone Project borrows or purchases soundtrack discs from private collectors and often works with the restoration labs at the
University of California at Los Angeles The University of California, Los Angeles (UCLA) is a public land-grant research university in Los Angeles, California. UCLA's academic roots were established in 1881 as a teachers college then known as the southern branch of the California ...
to create new 35mm preservation prints that combine the original picture and sound elements. The Vitaphone Project also often partners with the
Library of Congress The Library of Congress (LOC) is the research library that officially serves the United States Congress and is the ''de facto'' national library of the United States. It is the oldest federal cultural institution in the country. The libra ...
and the
British Film Institute The British Film Institute (BFI) is a film and television charitable organisation which promotes and preserves film-making and television in the United Kingdom. The BFI uses funds provided by the National Lottery to encourage film production, ...
. As of December 2016, The Vitaphone Project had located about 6,500 soundtrack discs in private collections and helped preserve 125 films, 12 of which were feature-length films. They have also raised $400,000 in donations, with Hugh Hefner being a notable donor. The Vitaphone Project has been able to help restore films featuring stars such as
Rose Marie Rose Marie (born Rose Marie Mazzetta; August 15, 1923 – December 28, 2017) was an American actress, singer, comedian, and vaudeville performer with a career ultimately spanning nine decades, which included film, radio, records, theater, night ...
and Al Jolson. They also worked with Warner Brothers to restore 1929's ''
Why Be Good? ''Why Be Good?'' is a 1929 American silent comedy film produced by First National Pictures starring Colleen Moore and Neil Hamilton. The film has no audible dialogue but is accompanied by a Vitaphone soundtrack with music, sound effects and s ...
'', the final silent film made by Colleen Moore. Funding raised by The Vitaphone Project was used to restore 1928's ''
The Beau Brummels The Beau Brummels was an American rock band. Formed in San Francisco in 1964, the band's original lineup included Sal Valentino (lead vocals), Ron Elliott (lead guitar), Ron Meagher (bass guitar), Declan Mulligan (rhythm guitar, bass, harmo ...
'', starring vaudeville duo Al Shaw and Sam Lee, which was added to the
National Film Registry The National Film Registry (NFR) is the United States National Film Preservation Board's (NFPB) collection of films selected for preservation, each selected for its historical, cultural and aesthetic contributions since the NFPB’s inception ...
in 2016.


Legacy

Warners' short-subject division The Vitaphone Corporation (officially dissolved at the end of 1959) is best remembered for releasing the ''
Looney Tunes ''Looney Tunes'' is an American animated comedy short film series produced by Warner Bros. starting from 1930 to 1969, concurrently with its partner series '' Merrie Melodies'', during the golden age of American animation. ...
'' and '' Merrie Melodies'' cartoons. In the 1950s, the Warner Bros. record label boasted "Vitaphonic" high-fidelity recording. In the 1960s, the end titles of ''Merrie Melodies'' cartoons (beginning with ''
From Hare to Heir ''From Hare to Heir'' is a 1960 Warner Bros. ''Merrie Melodies'' theatrical cartoon short directed and written by Friz Freleng. The short was released on September 3, 1960, and stars Bugs Bunny and Yosemite Sam. Plot In Bedlam Manor, Sam, Duke o ...
'' (1960)) carried the legend "A Vitaphone Release". ''Looney Tunes'' of the same period (beginning with that same year's ''
Hopalong Casualty ''Hopalong Casualty'' is a 1960 Warner Bros. ''Looney Tunes'' theatrical animated short, directed by Chuck Jones. The short was released on October 8, 1960, and stars Wile E. Coyote and the Road Runner. The title is a play on the Hopalong Cassidy ...
'') were credited as "A Vitagraph Release", making further use of the name of
Vitagraph Studios Vitagraph Studios, also known as the Vitagraph Company of America, was a United States motion picture studio. It was founded by J. Stuart Blackton and Albert E. Smith in 1897 in Brooklyn, New York, as the American Vitagraph Company. By 1907, ...
in Brooklyn, which the Warners had bought in 1925, used as a facility for working out practical sound film production techniques and filming some early musical shorts, and from which a name for the previously nameless Western Electric sound-on-disc system had been derived. By late 1968, the Vitaphone/Vitagraph titles had become swapped inbetween the ''Looney Tunes'' and ''Merrie Melodies'' series titles. Vitaphone was among the first 25 inductees into the TECnology Hall of Fame at its establishment in 2004, an honor given to "products and innovations that have had an enduring impact on the development of audio technology." The award notes that Vitaphone, though short-lived, helped in popularizing theater sound and was critical in stimulating the development of the modern sound reinforcement system.Mix Foundation. ''TECnology Hall of Fame, 2004''
/ref> Though operating on principles so different as to make it unrecognizable to a Vitaphone engineer, DTS is a sound-on-disc system, the first to gain wide adoption since the abandonment of Vitaphone.


See also

* List of film formats * Movietone * Phonofilm * Photokinema * RCA Photophone *
Sound film A sound film is a motion picture with synchronization, synchronized sound, or sound technologically coupled to image, as opposed to a silent film. The first known public exhibition of projected sound films took place in Paris in 1900, but decad ...
* Sound-on-film *
Vitagraph Studios Vitagraph Studios, also known as the Vitagraph Company of America, was a United States motion picture studio. It was founded by J. Stuart Blackton and Albert E. Smith in 1897 in Brooklyn, New York, as the American Vitagraph Company. By 1907, ...
* Vitaphone Varieties


References

Notes Further reading * Barrios, Richard (1995), ''A Song in the Dark'',
Oxford University Press Oxford University Press (OUP) is the university press of the University of Oxford. It is the largest university press in the world, and its printing history dates back to the 1480s. Having been officially granted the legal right to print book ...
, . **Examination of early sound musicals, with extensive coverage of Vitaphone. * Bradley, Edwin M. (2005), ''The First Hollywood Sound Shorts, 1926–1931'', McFarland & Company. * Crafton, Donald (1997), ''The Talkies: American Cinema's Transition to Sound, 1926–1931'',
Charles Scribner's Sons Charles Scribner's Sons, or simply Scribner's or Scribner, is an American publisher based in New York City, known for publishing American authors including Henry James, Ernest Hemingway, F. Scott Fitzgerald, Kurt Vonnegut, Marjorie Kinnan R ...
* Eyman, Scott (1997), ''The Speed of Sound: Hollywood and the Talkie Revolution, 1926-1930'', Simon & Schuster, NYC. * Liebman, Roy (2003), ''Vitaphone Films: A Catalogue of the Features and Shorts'', McFarland & Company. * Thrasher, Frederic (ed.) (1946) ''Okay for Sound: How the Screen Found its Voice'', Duell, Sloan & Pearce, New York **Warner Bros.' story. * Warner-Sperling, Cass; Millner, Cork; and Warner, Jack (1999). ''Hollywood Be Thy Name: The Warner Brothers Story'', University Press of Kentucky.


External links


Blog describing the history of the Vitaphone Process in detailCollection of Vitaphone Soundtracks
{{Authority control History of film Film sound production Film and video technology Motion picture film formats Warner Bros.