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EVOLUTION OF PROFESSIONAL CAMERA
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ing a mechanical differential movement. In American cameras and in some European ones, the take-up was secured through a metallic spring belt actioned by a pulley as an integral part of the camera mechanism. The belt would skip and slide over the magazine takeup pulley, whenever the latter would present sufficient resistance due to its rotating at a slower speed than the pulley driving the belt. Again, sound pictures, and the necessity of eliminating all mechanical
Fig. 21 Mitchell Camera, with High-Spted Movement as used in Sound Pictures. This is the Grandeur (70mm.) Model, which, except for width, is identical with the 35mm. model.
noises in operating the camera, brought about a radical departure from what was theretofore considered an essential principle of film take-up. Metallic spring belts were replaced by noiseless fabric belts, the tension of which is controlled by especially designed belt tension equalizers.
Generalities
No other adage is, perhaps, as true as the old "Necessity is the mother of Invention." Soon after Motion Pictures emerged from their swaddling clothes and made an attempt of entertaining audiences with more elaborate presentations than 25 or 30 feet of a train puffing into a station, or a few feet of a parade, and after Melies had given the world proof that the motion picture was the greatest Mystificator and Magician in the world, the cinema indulged in a long and successful career of comical productions which demanded effects which were designated with the appellations of "Fade-in" and "Fade-outs", "lap-dissolves", "double", or "multiple-exposures", "split screens", "stop-motion" and the like.
These few years which are recalled by many only as the "pie throwing" era of motion pictures and which are looked upon with