longer needed to be connected to the sound recorder with a cable. The camera speed was controlled by one oscillator, and a second oscillator in the recorder generated the Pilotone. This method was developed in the 1960s by pioneering filmmaker Richard Leacock. It was called Direct Cinema. Filmmakers abandoned the studio and went out on location to film, often with hand-held cameras. In 1972, Bell & Howell brought out a consumer version of a double-system Super-8 sound filmmaking system called "Filmosound". A compact cassette recorder was attached to the camera with a cable that transmitted a single pulse to the recorder every time a new frame of film was exposed in the camera. On playback, the cassette recorder pulse was used to control the projector speed. At that time, Ricky Leacock, a professor in the MIT architecture department film section, developed a Super-8 film production system with a crystal-controlled camera, a crystal-generated Pilotone cassette recorder, a sprocketed magnetic film recorder, a flatbed editing table, and a projector. The MIT/Leacock System was funded with a $300,000 grant from the founder of Polaroid, Edwin Land. In 1973, the one-pulse-per-frame technique was used to control recording directly onto sprocketed magnetic film in the Super8 Sound Recorder. The Super8 Sound Recorder could also "resolve" sound that had been recorded onto cassette tape with this new "digital" sync pulse. Today, digital video cameras and digital sound recorders synchronize electronically, being used for double-system video production. Pioneering films On the Bowery by Lionel Rogosin (1956) Chronicle of a Summer by Jean Rouch (1958) Les Raquetteurs by Michel Brault and Gilles Groulx (1958) Sync sound in Asia In Hong Kong, sync sound was not widely used until the 1990s, as the generally noisy environment and lower production budgets made such a method impractical. Indian films shot using sync sound include the first Indian talkie Alam Ara released in 1931 and art house films such as Satyajit Ray's Pather Panchali. The then popular Mitchell camera, which could be operated silently made it possible to shoot in sync sound. However, due to the change of shooting environments from studios to locations, as well as the surging popularity of the more portable but noisy Arri 2c camera, shooting with sync sound became less common during the mid 60s. Thus, most Indian films, including Bollywood films, shot after the 1960s do not use sync sound and for that very reason the