medium of an "exceptionally high quality", further cementing it as the standard.659 Edison and Eastman's form of business manipulation was ruled unlawful in 1914, but by this time the technology had become the established standard.657 In 1917, the new Society of Motion Picture Engineers (SMPE) "acknowledged the de facto status of 35mm as the industry’s dominant film gauge, adopting it as an engineering standard".659 Innovations in sound When film editing was done by physically cutting the film, editing the picture could only been done on the frame line. However, the sound was stored for the whole frame between each of the four sprocket holes, and so the sound editors could "cut on any arbitrary set of holes, and thus get -frame edit resolution. With this technique, an audio edit could be accurate to within 10.41 ms."1–2 A limitation of analog optical recording was the audio frequency would cut off, in a well-maintained theater, at around 12kHz.4 Studios would often record audio on the transparent film strips, but with magnetic tape on one edge; recording audio on full 35 mm magnetic tape was more expensive.5 Three different digital soundtrack systems for 35 mm cinema release prints were introduced during the 1990s. They are: Dolby Digital, which is stored between the perforations on the sound side; SDDS, stored in two redundant strips along the outside edges (beyond the perforations); and DTS, in which sound data is stored on separate compact discs synchronized by a timecode track on the film just to the right of the analog soundtrack and left of the frame. Because these soundtrack systems appear on different parts of the film, one movie can contain all of them, allowing broad distribution without regard for the sound system installed at individual theatres. The analogue optical track technology has also changed: in the early years of the 21st century, distributors changed to using cyan dye optical soundtracks instead of applicated tracks, which use environmentally unfriendly chemicals to retain a silver (black-and-white) soundtrack. Because traditional incandescent exciter lamps produce copious amounts of infrared light, and cyan tracks do not absorb infrared light, this change has required theaters to replace the incandescent exciter lamp with a complementary colored red LED or laser. These LED or laser exciters are backwards-compatible with older tracks. The film Anything Else (2003) was the first to be released with only cyan tracks. To facilitate this changeover, intermediate prints known