MOS (filmmaking)

The abbreviation MOS referred to in the film industry, the recording without sound. The abbreviation is used both as a reference to the procedure itself as well as the categorization of film cameras.

Term origin

The meaning of the acronym MOS is not completely clear. It tells often, the name goes back to one in the 1930s from Germany immigrated to Hollywood director who ( ie those without recording an original sound ) like " with no sound " ansagte because rudimentary knowledge of English dumb takes. Possibly MOS sets but also unpretentious from engine or motor Only Sync Only shot together.

Use

Movie recording

The designation is an indication that a scene is recorded without sound. This will result in a corresponding field on the film door ( which therefore correctly "Synchronous flap " is and traditionally falls within the remit of the Tondepartments ) noted, so that the cutter on average know that there are at the scene no original sound track. In MOS recordings, the flap must therefore not be beaten; it is then sufficient to keep them in the picture.

Clarification: For video cameras, no sound is different from video cameras, recorded. This must be recorded via an external audio recording device, which makes identification by Filmklappe necessary to assign the appropriate settings sound recordings. There was briefly complicated -to-use systems ( such as the Commag system or the Arriflex BL16Q ), although they have recorded the sound directly into the film camera, however, have proven to be impractical in detail.

MOS cameras

MOS cameras are too loud because of their manner of construction, so that simultaneous recordings are not useful. The opposite of MOS cameras are SyncSound cameras, which reached through a quieter film transport, a sound insulating housing construction and in newer models also sound- denser lens mounts ( PL mount ) an extremely low noise level, so that recordings even close to the camera are possible without record the operating noise.

In the first decades of cinematography, there was practically only the MOS cameras, which had in large and heavy sound insulated (so-called blimps ) are installed to reduce the intrinsic noise of the camera. Working with blimps was not uncommon until well into the 1970s. Often films were also shot entirely in MOS and then dubbed. SyncSound cameras are now but at least as easily as older MOS cameras.

However, MOS cameras are still produced and used in areas where original sound does not play a major role. These include, for example, music videos, the sound of which as a rule is already complete; advertising; Special effects such as Time Lapse and Slow Motion (also quietly SyncSound cameras are in slow motion because of the increased film transport speed too loud for quote); Underwater photographs; Landscapes; may continue in the dangerous scenes, as in staged accident scenes where the camera is positioned very close to the danger area (sacrificial camera). Current MOS cameras are lighter and smaller, which makes them attractive for Steadicamaufnahmen. In general, they are not as expensive as the same old SyncSound cameras also by far.

Current MOS cameras are in the 35-mm segment such as the Arriflex 435 and 235 The latter is characterized by a very small size and light weight. In the 16- mm segment, there are virtually no new MOS cameras more. There started by Eclair NPR selbstgeblimpten the development of film cameras, which was Arri with the BL16, and later continued with the SR series. Formerly worked in this format almost exclusively with the MOS Camera Arriflex 16ST, which is still used because of their robustness and variety of accessories partially today. Currently available 16- mm - MOS cameras are the cameras Bolex H16 which are still manufactured and sold in the old design and because of their modifiability on Super 16 are interesting even today. A truly newly developed MOS camera is the Ikonoskop A-Cam from.

• Camera technology