Sentence examples for synchronised sound from inspiring English sources

Even so, Warner Brothers only released "The Jazz Singer", the first feature-length movie to have synchronised sound, after one of the Warner brothers had been tricked into attending a demonstration of the Vitaphone sound-on-disc system.

Beginning in 1922, the research branch of Western Electric began working intensively on recording technology for both sound-on-disc and sound-on film synchronised sound systems for motion-pictures.

In 1928, soon after the birth of synchronised sound, word reached senior MGM employees that there was a mouse in their midst.

Like all cinematic developments hailed as leaps towards verisimilitude, the advent of synchronised sound at the end of the 1920s in fact opened up a whole new dimension of illusion.

Indeed, though film production in Thailand reached an all-time high of more than 200 features a year in the mid-70s, most of them were made with a kind of haplessly self-engendered expiration date: shot without synchronised sound on 16mm colour reversal stock, there was never an original negative to hold on to, let alone archive.

Full of surprises, including two racy "making eyes" scenes that had the Queen Elizabeth Hall audience all aflutter, it lives up to Michael Powell's description of the "fluent, expressive, visual story-telling" of late silent cinema that had been cut short by the introduction of synchronised sound.

Everyone talks about the moment when I run down the platform crying: "Daddy, my daddy!" I was supposed to post-synchronise the sound after filming; but because I was out of breath, and the steam from the train was hissing, it was impossible to capture it in the studio.

However, technical issues with the computer device synchronising the sound and picture forced the studio to postpone the screening by a day.

"In the 1920s," Glass says, "before sound got synchronised with film, it looked like music and film could go off in different directions together.

It was only academic researchers that could create and manipulate complex digital sounds, build synchronised layers of music and make microscopic changes.

Loach's producer Rebecca O'Brien said she thinks Jimmy's Hall could be the last ever feature film made in the traditional way – "shot on film, edited on film" – but possible disaster struck this time last week when, she said, they realised they needed some 25 rolls of "edge numbering" tape – vital for synchronising picture and sound when they are two separate, physical tracks.