تاريخ الكاميرا السينمائية _١_ من ٣٥ الى ٨ ملم .. مجلة فن التصوير اللبنانية _ ع١٨

The history of the cinematic camera _1_ from 35 to 8 mm

After talking about the mechanics of working with a cinema camera, here we review the history of the home cinema camera, starting from shooting with 35 mm films, all the way to Super 8 films. And in two consecutive episodes.

The cinematic camera is a civilizational achievement that has a long history. It dates back initially to the beginning of the current century.
Where it witnessed rapid development processes in the form of successive leaps, and the presence of the cinematic camera was never limited to professionals, but was always within the reach of amateurs, and even before 1923, which is considered the date of the birth of the home cinema camera, a citizen with a moderate theoretical level could own a cinematic camera With its own films, and a suitable projector, in that period, cinema was on the way to solidification. The relationship of these people with the camera, although it was not cheap, but it was abundantly available and the common cameras were huge, and it was not easy to move them from one location to another 35 mm cameras and film reels 1.5 inches wide, and the ability to install film that would run at 90 feet per minute, in addition to a special affinity for confronting the dangers of fire, because the old cinema films were made on a base of nitrite, (*) which is explosive.
And ignition and often for no apparent reason.
One of the most important developments that took place in 1923 was the resolution of this ignition node, when cameras turned into safer and economic devices, as a new basis was adopted for the film. Cellulose spunite, *) It is a non-flammable material even when exposed to direct fire, as it is exposed to melting only without ignition. On this basis, the film was called the safe film. . At that time, the process of reflection became the dominant one. Instead of endorsing the film as a negative, it became possible to print it as a positive one, as it became possible to reflect the negative image on the main film for display as a positive one.
To complete the leap in this regard, the Cine Kodak.A cinematic camera appeared to accommodate 16 mm film, a new achievement in the field of home cinema.
The first home camera was the size of a man's head, and its film moved with a nomadic (*) arm with a note. Move the arm two revolutions per second, written on the side of the camera. And because the camera must vibrate with the movement of the arm, the tripod was a necessary part of the parts of the camera permanently, which led to the problem of bulkiness. from here . By the end of the twenties, thinking focused on reducing the standards of the home cinema camera, adding to it a motor that works with a mechanism that eliminates the need to move the arm manually.
Thus, it became possible to carry the camera and move it around
And use it without the need for a three-legged base. In 1928, the film appeared, the 16 mm film code Acalar, completing the course that would make amateur films acceptable and relatively common.

8 mm .. the new achievement Although home cinema cameras have made many rapid leaps during the required years and at the forefront of these few factors, there were still several factors that hindered their launch globally in the form of the size complex that prevents them from moving here and there, and in addition to that, the price of film 16 mm, which is relatively cheaper than 35 mm film, was not as cheap as desired, which made home cinema cameras a matter of luxury, especially in light of the deteriorating economic conditions. Thus, an 8 mm camera appeared in 1932, but the prevailing conviction that emerged with it was that the 8 mm image frame is smaller. Far from giving respectable results since conviction still prevails today.
Especially for those who haven't seen it
Enough on the developments that have been reached during the long years, in which these cameras were placed in the hands of people.
Nevertheless, the first 8 mm cameras, which were embodied in the (20 Cine - Kodak B. Model) model, are the right step on the road to home cameras, as they are the size of an ordinary book, with a viewfinder topped with an appropriate strap that can be folded to become flat. The film was fed relatively simply around a large sprocket wheel, through the inlet, then looped around the bottom of the sprocket itself and then back to the pickup (*)
Cameras drive in all tourist areas for 8 mm films, so they were 16 mm wide, and packaged 35 feet long. With the beginning of filming, half of the film is exposed to light, and when the language is finished, the film is stretched again through the camera, so that the other half is exposed to light. Thus, the laboratory was working on cutting the two strips to deliver the film to Its owner is 50 feet tall. With the development introduced by Kodak, in 1935, on amateur color films produced by Kodachrome, the world quickly became accustomed to the buzzing of sound and a major problem appeared with language feed cameras (*).

Films tightly wrapped around their spools, like props, sometimes seemed to lead, by themselves, to damage the image, and even when we dealt with it accurately and carefully, there was no escape from the appearance of yellow and red light flashes during the movie presentation, as a result of attaching the two strips together when converting them. 25 to 50 feet.

In 1936, films appeared that would not take their proper place inside the camera again, in their packaged location inside a compartment. They are the same as the previous films, but packed in cartridges (*) or chambers (*), and they were initially limited to 16 mm films, but they were returned and applied in 1940 to Movies 8 dream. As for the problem with these cartridges, it was that they were made of metal, so they were sold again to the companies that fill them without making sure of their complete safety. Hence these cartridges lost their popularity.

horoscope camera

The thirties and forties witnessed a great growth in the popularity of zodiac cameras (*), which was the reason for the exclusion of two or three different lenses, allowing the photographer the possibility of photographing with a lens, telephoto,
And a normal lens, and a wide-angle lens, and the benefit here was great, as it is enough to rotate the tower and calculate a pause, F, to put it in its position, then secure the focus and take this picture, given that the subject will not walk away at this time. There is no doubt that this improvement was made to avoid running Towards the subject or away from it to take the dimensions that we want with one regular lens.
And because the reel-feed cameras were of the type that could be relied upon more, these remained more grassy, ​​but the projection feed (*) began to emit, so the gear wheel slipped, and people thought at the time that the image would lose its stability, but that did not happen.

The real problem that occurred despite the exposure scales etched on many cameras was that the camera was usually set up by too many when stopped. F. Incorrect, due to the different degrees of sensitivity between the different films. The scale that appears is a pause. F. Correct for one movie might show an incorrect pause for another as well as people forget to rotate the little ring to switch the pause
on the lens.
The solution to this dilemma came between 1950 and 1960
With the advent of the electric eye, or automatic exposure, where the pause was read through a small window in the camera, and despite the occurrence of some fallacies or the eye being deceived by an incorrect reading, this does not mean at all that the electric eye was useless.