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THE EVOLUTION OF THE MOTION
PICTURE PROFESSIONAL
CAMERA
Joseph A. Dubray*
SINCE the time when researchers discovered the means by which the analysis and synthesis of movements were made possible through the agency of photography, the motion picture camera has undergone a series of improvements, many of which may be classed as inventions in the proper sense of the word.
Much has been written of the early experiments made by a handful of inventors and their efforts to apply scientifically sound principles to the insufficient means they had at their disposal for the practical realization of the photographic analysis and synthesis of motion.
These experiments involved at first the use of glass plates or paper ribbons coated with photographic emulsions of slow speed. They involved the viewing of the pictures thus obtained through peephole apparatus or through crude contrivances which permitted only one or very few persons to view them.
These crude apparatus and insufficient results were, however, the forerunners of the motion pictures of today.
Rapid photographic emulsions and the use of celluloid for their support marked two steps which laid the foundation to the new art.
The sensitiveness of the emulsion permitted the taking of instantaneous exposure while the transparency, flexibility and lightness of celluloid permitted the preparation of rolls of film of sufficient length to allow the taking of numerous pictures in rapid succession with less encumbrance of weight and unwieldy mass.
Once these essentials became available, the motion picture camera was devised upon principles which, on the main, remain unaltered to this day.
Motion Picture photography varies from Still Picture photography in that a considerable number of images of the same subject are taken instead of a single one.
These photographic records are taken in rapid succession in order to answer the conditions imposed by the phenomenon of persistence of vision upon which the whole structure of motion pictures is based.
The series of photographic images which comprise a motion picture film require, of necessity, the most accurate registration of the film at the aperture of the camera, so that when projected with considerable magnification, they will perfectly superpose each other on the screen.
♦Technical Editor, The American Cinematographer, and Director of Technical Service, Bell ft Howell Company.
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