Movie camera
A photosensitive surface was drawn slowly past the aperture diaphragm of the camera by a clockwork mechanism to enable continuous recording over a 12- or 24-hour period.
Ronalds applied his cameras to trace the ongoing variations of scientific instruments and they were used in observatories around the world for over a century.
[5] In 1876, Wordsworth Donisthorpe proposed a camera to take a series of pictures on glass plates, to be printed on a roll of paper film.
After much trial and error, he was finally able to develop a single-lens camera in 1888, which he used to shoot sequences of moving pictures on paper film, including the Roundhay Garden Scene and Leeds Bridge.
The shutters were automatically triggered when the wheel of a cart or the breast or legs of a horse tripped wires connected to an electromagnetic circuit.
In 1887, he began to experiment with the use of paper film, made transparent through oiling, to record motion pictures.
In 1889, Friese-Greene took out a patent for a moving picture camera that was capable of taking up to ten photographs per second.
William Kennedy Laurie Dickson, a Scottish inventor and employee of Edison, designed the Kinetograph Camera in 1891.
To govern the intermittent movement of the film in the camera, allowing the strip to stop long enough so each frame could be fully exposed and then advancing it quickly (in about 1/460 of a second) to the next frame, the sprocket wheel that engaged the strip was driven by an escapement disc mechanism—the first practical system for the high-speed stop-and-go film movement that would be the foundation for the next century of cinematography.
In 1894, the Polish inventor Kazimierz Prószyński constructed a projector and camera in one, an invention he called the Pleograph.
[9][10][11][12][13] Due to the work of Le Prince, Friese-Greene, Edison, and the Lumière brothers, the movie camera had become a practical reality by the mid-1890s.
The first firms were soon established for the manufacture of movie camera, including Birt Acres, Eugene Augustin Lauste, Dickson, Pathé frères, Prestwich, Newman & Guardia, de Bedts, Gaumont-Démény, Schneider, Schimpf, Akeley, Debrie, Bell & Howell, Leonard-Mitchell, Ertel, Ernemann, Eclair, Stachow, Universal, Institute, Wall, Lytax, and many others.
This made it possible to film with the Aeroscope in difficult circumstances including from the air and for military purposes.
With it, three colour separation originals are obtained behind a purple, a green, and a red light filter, the latter being part of one of the three different raw materials in use.
In 1923, Eastman Kodak introduced a 16mm film stock, principally as a lower-cost alternative to 35 mm and several camera makers launched models to take advantage of the new market of amateur movie-makers.
The requirements for film tensioning, take-up, intermittent motion, loops, and rack positioning are almost identical.
Later equipment often had done much to minimize these shortcomings, although access to the film movement block by both sides is precluded by basic motor and electronic design necessities.
Aaton cameras have a system called AatonCode that can "jam sync" with a timecode-based audio recorder and prints a digital timecode directly on the edge of the film itself.
In the case of no better alternative, a handclap can work if done clearly and properly, but often a quick tap on the microphone (provided it is in the frame for this gesture) is preferred.
With the advent of digital cameras, synchronization became a redundant term, as both visual and audio is simultaneously captured electronically.
[19][20] While a basic model might have a single fixed aperture/focus lens, a better version might have three or four lenses of differing apertures and focal lengths on a rotating turret.
A good quality camera might come with a variety of interchangeable, focusable lenses or possibly a single zoom lens.
