Home Movies (1954)

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WHAT CAMERA? • Continued from Poge 81 The Filmo 70-H is basically the same as the 70-DE. but widened in scope by the addition of a shutter stabilizer. \ eeder footage counter, external magazines and electric motor provisions (with 12-Volt DC. 24-Yolt DC. and 115-Volt AC-DC universal motors operating at 8 frames to 64 frames per second, and or a 115-\olt 60 cycle synchronous motor for 24 frames per second sound work). The electric motor and external magazines increase the capacity to 40 feet, permitting the user to run entire length of film without stopping. Bell & Howell's "Specialist"" I Filmo 70-J I is designed to meet the special requirements of the professional cameraman, ideally suited to any task, be it studio or location shots, silent or double system sound, titling, fast and slow motion, micro-photography, etc. It comes equipped with a rack-over, which enables the operator to focus and compose his shots directly on a ground glass through the taking lens, a four-lens turret, upright image studio type view finder, matter box — besides all the other features incorporated in the Model 70-H. The entire outfit weighs less than 45 pounds. The versatility of this camera has made it a favorite among professionals. The new German-made "Arriflex 16" is a departure from the ordinary 16mm camera, rapidly moving up among the favorites. This new camera incorporates all the advantages which gained world-wide reputation for the famous Arriflex 35. The Arriflex features a mirror reflex system, which permits viewing and focusing through the taking lens even while the camera is running. An ingenious optical system produces a well-defined finder image, showing every detail of the picture without any parrallax w hatever, uninverted and right side up. ten time magnified. The Arriflex 16 is equipped with a three-lens turret, an 8Volt DC motor, forward and reverse switch, and accepts standard 100-foot spools. \S ith accessory magazines 200-foot and 400-foot loads can also be used. The turret is so constructed that the optical axis of the three lenses diverge from each other, which permits wide angle lenses to be mounted next to the telephoto lenses without having the latter cut into the field of the former. Because of its compact design and light weight l camera 6*4 pounds, battery 4\o pounds l the Arriflex 16 is ideal for all types of professional requirements. Another camera with the same unique feature of allowing direct through-the-lens viewing while the camera is running, is the new French Eclair "Camerette"" (known in France as "Camef lex" i . What makes this camera even more unique is the fact that it is designed to take both 35 and 16mm film, using interchangeable magazines. The Camerette is bv far the most versatile motion picture camera ever conceived. The photographer can shoot a film in both and 16 and 35mm without disturbing his set-up. The same lenses are used for both film widths, thus affording the advantage of 35mm camera lenses for photographing 16mm film. The turret is of the divergent type, just like the Arriflex. Equipped with 400-foot magazines, it weighs only 14 pounds. If necessary, it can be hand-held, as the whole design is such that the camera rests against the operator firmly when hand-held, assuring extreme steadiness. If you plan to shoot your productions with synchronous sound, then there are two methods — the single system and the double system. The single system uses a camera with a built-in recording unit, so to speak, i.e. the sound-track is photographed along one edge of single-perforated picture film in place of one row of sprocket holes, by a "galvanometer"" which is an instrument having a tiny mirror and electric coils for moving this mirror in accordance with the soundwaves being picked up bv the microphone and amplifier. As this mirror swings back and forth, a beam of light is reflected from it onto the moving film, and the steadv flow of the film causes the vibrating beam of light to take the shape of sound waves in photographic form on the sound track. W hen the film is returned from the laboratory after reversal processing, it will play on any 16mm sound projector perfectly lip-synchronized. The "Auricon Pro"" is a sound-onfilm camera, designed in Hollvwood. which has fulfilled the greatest expectations in the field of newsreel. screen tests, television commercials, industrials, documentary films and productions of all types requiring sound at minimum cost. Because the AuriconPro is a sound recording instrument as well as a picture-tking camera, it is "self-blimped" — and built to run film without camera noise, and this is accomplished to a startling degree. The camera is furnished with magazines which allow 200-foot i5io min. or continuous recording I daylight loading spools to be handled in bright sunlight without fogging. The camera is driven by a 115-\olt AC synchronous motor, but a portable power supply is employed to drive the camera where power-line current is not available. The Auricon weighs 24 pounds complete. The Auricon "Super 1200"" is the "big job'" with a capacity of 1200 feet of film — 33 minutes of continuous recording. It has a variable shutter, ground glass focusing throug the camera lens, two independent finder systems in addition to ground glass reflex focusing; one finder for studio use. the other for tele-photo work. The Super 1200 is used extensively for T\ -shows, kinescope recordings, football games, horse races, polo matches, etc. filling a great need of good commercial sound-on-film pictures. "Cine-Voice"", a Junior model, light in weight and inexpensive — also manufactured by Berendt-Bach in Hollywood, makers of the Auricon. — is becoming a popular camera with advanced amateurs, lecturers and teachers. The double system of shooting sound films is by using the camera only as a picture-camera and the sound recording system as a separate unit, thereby allowing more control over quality of both products. The Auricon camera can. of course, also be used shooting negative film and with a separate sound recording, later be made into one composite print. The Maurer was the first real professional camera in the Hollywood studio tradition to break the severe bottle-neck in the new 16mm industry. There had been a crying need for a camera of this caliber for quite some time, so here was one to remedy the situation. Maurer-owners soon become the envy of the trade. Among the features are an extremely critical highpower microscopic focusing system, and an intermittent movement that provides accurate registration with a pull-down claw which registers the film at the end of the pull-down stroke. Other features include a rack-over mechanism for viewing through the taking lens, gear-driven magazines and a viewfinder which gives an erected and laterally corrected image 214 x 3 inches in size. The Maurer also has 235 degrees maximum shutter opening, giving exposure of 1 35 second at sound speed, or almost \o ^ens 5toP additional exposure than is obtained with conventional 170 degree shutters. Automatic fades or lap dissolves of 40 frames or 64 frames can be made bv means of a lever on the rear cover of the camera. Then comes THE KING of them all — the Mitchell camera. This camera cannot be compared with any existing 16mm camera. It is not a mass produced — assembly-line camera — for it is induvidually built, designed and engineered in Hollywood. It definitelv meets all the high standards of profesisonal cinematographers. All the technical achievements of the 35mm motion picture has been transferred to the 16mm screen. And this is not surprising, since the Mitchell 35mm is 82