Kodak Cine Special Operating Instructions

s p

-KODAK

THE

CINE-KODAK

SPEC

EASTMAN

ROCHESTER,

KODAK

NEW

•

AL

COMPANY

YORK

TAB

L E

o F

CONTENTS

LOADING CINE-KODAK SPECIAL. 5

Interchanging

Chambers. . . . .

A perture Cover . Threading the Film.

Film Meters . . . . . . . . . . .

Unloading. .

HAND-HELD OPERATION.

Condensed Instructions for Average Filming.

General Inform

Turret Hea Camera Speeds .

Variable Shutter . . . . . . . . . .

Masks.

OPERATION CINE-KODAK TRIPOD . .

THE

the

Film

..

. . .

...

ation. Holding the Camera Steady. Finder. Exposure Focus. Miscellaneous Notes. Important Rules

.............

........

d.

. . . . . . . . . . . . .

ON

THE

. .

10 11 17 18

19

20

23 23 23 25

27

28

. .

28 29 35 36 37

41

Reflex Finder. . . . . .

Fades . . . . . . . . . . . . . . .

Dissolves.

5

Single Frames.

Frame Counter. . . . . . . . .

Double Exposure. Running Down Hand Cranking. .

FILMS, FILTERS AND ARTIFICIAL LIGHTS.

SPECIAL EFFECTS AND TRICKS.

CARE

OFTHE

CINE-KODAK SPECIAL.

Cleaning the Cleaning the Lenses. . Cleaning Oiling the Camera. .

TITLE SER VICE, DUPLICATES AND COPIES.

TABLES

Exposure .. Field

Sizes

the

..

the

Motor.

Gate.

.

Reflex Finder.

42 45 46 49

..

50 52 54 55

56

61

70 70 71 71 71

74

76 76 80

1

!

-'

CINE

KODAK

SPECIAL

I

"

I

,-

TH

E

CINE-KoDAK sibilities for from

certain retains serious

technique.

matic, chrome Films.

addition best for general lens for

I-inch effects can be obtained. These lenses making big game object . These

from

very near operations,

ment

instructorsmethod Special but

the

workers

The

Cine-Kodak

Super Sensitive

A

great

to

including a larger

lens. Several long-focus lenses are available, so

motion

and

intermediate

Members

for

photographing

It

is

the

of

they

grea tly widens

SPECIAL

making

limitations

16 mm. film economy

who

variety of

the

I-inch

work,

pictures

simi

lar

telephoto

distances

the

subject; such as pictures

dental

of

movie

camera for doctors, physicists, biologists, engineers,

in

short,

disseminating

have a photographic

is

an

instrument

motion

wish

Special uses st;tndard 16 mm. Cine-Kodak Panchro-

lenses can be used on

f.1.9

subjects

work

clubs

the

pictures.

of

the

simple

and

convenience.

to

go

beyond

Panchromatic,

lens

the

camera can be equipped

area

than

of

ath

letic

where

lenses also

when

and

similar

will

scenarios

all

those

knowledge

scope

of

Cine-Kodak Safety, and Koda-

which

can be

will

games from

it

is

permit

it

is inconvenient to place the camera

subjects.

find

this

that

include

seeking an inexpensive and

or

instrument

the

work

that

creates

It

frees

home

movie

the

Cine-Kodak Special.

is

regularly

obtained

be found very desirable for

the

not

possible to

obtaining

of

camera an unequalled

the

of

preserving records.

that

they

are doing.

wholly

the

advanced

camera, and

It

is

average movie

supplied and is

with

grandstand,

insects, birds, surgical

most

not

new

the

camera for

a wide-angle

the

standard

that

telephoto

get

close to

close-up effects

difficult effects.

only

simplifies

pos-

workers

yet

making

In

the

hunting

the

instru-

athletic

elastic

In

the

[ Cine-Kodak Special with

with I-inch

f.l.9

lens

100-foot

and

3-inch

film

chamber in position,

fA.S

telephoto lens on turret.

and

Cine-Kodak Special with with 1-inch

f.1

.9 lens

200-foot

and

6-inch

film chamber

fA.S

telephoto lens on turret.

in

position,

and

LOADING

/

THE

CINE-KODAK

INTERCHANGING

THE

Cine-Kodak Special consists

chamber.

Figure 1 shows

shows

it

with quickly interchangeable. This feature is invaluable one chamber loaded with

Super Sensitive Panchromatic, and

Film.

If

an unusual

will

By

Cine

not have

hand

-Kodak

or

you exposed. Also,

considerable time, such

for this use exclusively.

minutes of uninterrupted action can be filmed . chamber invaluable for surgical operations,

events, etc.

Kodachrome, and Kodachrome Type A can be lOa-foot, bers. Cine-Kodak Safety

the

camera

the 200-foot film chamber. These film chambers are

with

regular Cine-Kodak Panchromatic,

opportunity

to

wait

until

you

may be

as

animation,

cranking

200-foot lengths for use

or

by using

Panchromatic, Super Sensitive

Film

SPECIAL

THE

FILM

of

twO units;

with

the

lOa-foot film chamber; Figure 2

arises for good pictures in Kodachrome,

the

rest

making

a special sequence

yet

the

Electric

in

lOa-foot or

is supplied

CHAMBERS

the

camera and

another

of

the

black-and-white film is

not

want

Motor

This many

Panchromati

obtained

in

loa-foot rolls, only.

as

you

with

Kodachrome

that

to

tie

up

Drive, over

makes

the

types of a

lOa-foot

the

film

may keep

another

requires

the

camera

eight

200-foot

thletic

c, regular

in

SO-foot,

film cham-

5

FIGURES

Removing the Chamber

3,

4,

and 5 show

graphica

lly

how

this is done:

Fig.

Push aperture cover

(Make

sure

expo

sure button ;5

3

button

6

to CLOSED.

OUT.)

<

L

Raise chamber release until

it

snaps

out.

Disengage chamber

as

indicated

7

by

swinging

arrows, then lift it

it

down

off

.

FIGURES

Replacing the Chamber

6,

7, 8 and 9

show

the

method

of

doing this :

Fig. 6

Drive couplings are shown which must

Pins

engage

holes automatically.

8

be

engaged.

Fig

. 7

Drive couplings engaged.

Push

chamber in direction

Push

L

of

arrows.

Push

in

Fig.

9

aperture cover button to OPEN.

9

and

down

on chamber release.

Fig.

10

APERTURE

BUTTON

COYER

APERTURE

TH

E APERTURE COVER BUTTON (Figure 10) closes chamber so chamber is removed from

You

cannot

button

is

at

the

that

no film is fogged

run the camera

CLOSED.

(0

VER

aperture

the

of

the

when

camera.

when

The chamber cannot be removed

the

button

If

of

the Cine-Kodak Special chamber removed, page

you

54.

at

wish

OPEN

.

to

operate the mechanism

with

see

instructions

the

film

this

wi

film

the

th

on

FINGER·NAIL

NOTCH

Fig.

11

10

l v

THREADING

THE

FILM

LOAD

Rotate

word

in

subdued

light

DOOR LOCK a

OPF;N. Open

100-Foot

or

in

half

the

DOOR

the

turn to

Film

shade

with

Chamber

of

the body.

the

left and push

the finger-nail inserted in the

it

NOTCH provided (Figure 11). The door should be opened will

go so

that

the

FILM

TENSION

METER

LEVER

ARM

Fig.

12

will

clear the spool, Figure 12.

FILM

METER

ARM

down to the

as

far

as

it

With

the camera is supplied a 50-foot spool, a lOO-foot spool, and

with

some dummy film

After

pushing

the

12, remove

Open

the

spools. .

SPROCKET CLAMP by pushing in and down on

which

TENSION LEVER in direction

RELEASE (Figure 13, page 12

After removing spool

of

unexposed film from carton and metal con-

to practice threading. Save

of

the

).

11

the

arrow

the

spools. in

Fig.

CLAMP

GATE

TENSION

LEVER

SPROCKET

T

AKE·UP

SPINDLE

,

~\;rI--

CLAMP

Fig.

13

..

GUIDES

SPROCKET

KNOB

STUD

SPROCKET

CLAMP

Fig. 14

12

SPROCKET

tainer, unroll

down, on SUPPLY SPINDLE (Figure 13).

Note

path

of

about

two

that

lines and arrows on

the

film;

two

feet

of

the arrows

film. Place the spool,

the

inside

of

the chamber indicate

show

the direction in

with

square hole

the

which

the

spools turn.

Thread the film under the

(Figure 13). Leave a

the film sideways

sure

the gate seats itself, indicating

into

The camera should

Following under the the sprocket

the

lower

SPROCKET again, as

teeth

which

SPROCKET and up between the GUIDES

free

loop

as

the GATE,

now

appear

loop

line, thread film under the STUD, and

already enga

indicated by upper

starting

that

as

in

Figure 14.

at

the film lies in

in

Figure 13.

ge

the film coming from

loop

the

top

of the

Fit

the perforations over

line and push

the

gate. Make

film track.

the

supply spool.

SPROCKET CLAMP by pushing upward until a click is heard.

Close

Attach inserting dicated by

Be

the empty spool, square hole down, on the

the

end

of

the film to the core

it

in

the slot. Give the spool a few turns in

the

arrow

A (Figure 14)

to

of

make

sure TENSION LEVER is pushed down

the empty take-up spool, by

the

direction in-

sure

film is securely attached.

as

in Figure 13, then place

TAKE-UP

SPINDLE

(Figure 14). The TENSION LEVER can be released by pushing the

if

lug near the hinge;

perform

it

automatically.

The camera

should

Run the camera a second its

path

and

that

the loops are maintained . Directions for running the

camera are given on page

this operation is forgotten, the door

now

appear

or

20

as

in Figure 14.

two

to

see

that

.

If

the upper loop increases, pull the film

down until the loop size is correct. Repeat

If

the film chamber is

in the preceding paragraph by

wise, in

the

direction

Close camera door.

not fully closed

Push the it a half

turn to the

or

DOOR LOCK

of

If

the

spools are

right.

not

on the camera, give

turning

the

arrow

it

does

not

up

to CLOSE (Figure 11, page 10) and give

the

(Figure 14).

close easily, the sprocket clamp is

not

seated properly.

the

film runs

trial

the

smoothly

run.

trial

run described

SPROCKET KNOB clock-

will

in

13

CLAMP

RELEASES

ROCKET

SP

CLAM

Fig.

14

16

PS

TENSION

\'

LEVER

Running

WITH

the

film chamber on set SHUTTER LEVER page 4)

not

at

32

or

ure 28, page 32), run

at

64.

Looking

the

camera by pressing the EXPOSURE BUTTON (Figure 1, page 4). Stop perforations

Set the

lengths

that

CAMERA

or

at

50

are punched in

FILM

for 50-foot lengths

200-f

off

Leacler

the

camera, remove the lens (see page 32),

OPEN

and set SPEED

DIAL

at

16

directly into the LENS SOCKET (Fig-

the

camera immediately

the

film

at

METER, Figure

of

film.

oot

Film

Chamber

the

1,

end

page

of

4,

when the

at

leader.

a for lOa-foot

(Figure 1,

you see

the

ROTATE

DOOR LOCK a

half

turn

to

the

right

and remove DOOR

(Figure 15).

with

In this chamber are three spools and some dummy film

to practice

Remove open and away from the sprocket.

threading

the

SPROCKET CLAMPS by pushing the CLAMP RELEASES

. Save the spools.

spools,

holding

The

FILM

chamber

METER

will

now

ARM

appear

to

the

as

which

right;

in Figure 16.

After removing the film from the carton and metal container, unroll about

two

and one-half feet

SPINDLE,

Thread the sprocket

Following GATE, in

the film channel

Following engaging

square hole down.

the

film over

film perforations. Close

until it

starting

clicks.

the

upper loop line, slide the film sideways

at

the

of

the

lower

the

teeth

and closing

The TENSION LEVER (Figure 16) should stud marked

with

the size

of

film and place

the

top

of

the sprocket, engaging the

the

clamp by

top

(Figure 17, page 16).

the gate,

loop

and

line,

the

of

spool used.

IS

that

thread

clamp

the

spool on the SUPPLY

pushing

Be

sure the film

loop does

not

the film under

as

before. be

placed to the left

teeth

it

towards

into

is

touch casting.

the

sprocket,

of

and

in

with

the

seated

the

GATE

SPROCKET

KNOB

SPROCKET SPROCKET

Attach

inserting

the end

it

in the slot. Give the spool a few turns in the direction in-

dicated by the

of

arrow

CLAMPS

Fig. 17

the

film

to

the core

B,

Figure 17, and pull firmly attached. Place the spool on 16, page 14), square hole

The

threaded chamber should

A

short

trial run should

and the loops maintained,

down.

now

be

given

as

described for the lOO-foot chamber.

Close the chamber by replacing the LOCK not

a

half

turn

close easily,

to

the left (Figure IS, page 14).

the

sprocket clamps

proper positions.

the

Run off

described for

leader and set

the

lOO-foot chamber.

CAMERA

16

of

the empty take-up spool by

the

film

to

make sure

the

TAKE-UP SPINDLE (Figure

appear

to

as

see

if

the threading is correct

DOOR and

or

the

spools are

FILM

METER (Figure 18)

in Figure

rotating

If

17

the

not

..

door

it

DOOR

does

in

their

is

as

FILM· METERS

T

HE

Cine-Kodak Special has

the

and one for COUNTER calibrated from 0

to

the

foot,

the

camera.

ti

ple exposure

see

pages

CHAMBER FILM

camera proper,

the

frame counter ties

It

is particularly useful in single frame, double, and mul-

work,

50

and 51.

METER

two

film meters; one for

see

Figure

to

40.

As there are fort y 16 mm. frames

in

with

the

film chamber

18.

There is also a

FRAME

mechanical film meter on

Fig. 18

CHAMBER

of

ence

the indicate latter

is on

CAMERA

and requires

FILM

supply roll

the

amount

or

off FILM setting

accurate measure

feet exposed.

CHANGING

another

FILM CH

loaded chamber, be sure

METER. This

of

film an d requires no

of

unexposed film in

the

camera.

METER. Th

with

each roll

of

the

film in

is is geared

of film.

ind

ividu

AMBERS: When replacing

to

reset

17

meter operates on

setting

. Its purpose is

the

chamber,

to

the

camera mechanism

Its

purpose is

al

fee

t,

and gives

the film

the

Camer

a

Film

the

circumfer-

whether

to

provide an

the

number

chamber

Meter

to

the

of

with

agree

with

the amount tracting the figure given on the depending upon the roll used and the figure on the chamber shows chamber, the required, the Camera metal side

of

When again using

after the Camera

of

film already exposed,

Chamber

of

film

in

the chamber.

Camera Film Meter should

Film

Meter reading should be marked on the dull

the film chamber

this

chamber, erase

Film

Meter has been reset

when

which

Film

is determined by sub-

Meter from

If

60

feet remaining

be

set

at

40

it

is removed from

the

notation

from the dull metal,

to

agree.

a 200-foot spool is

feet.

UNLOADING

WHEN 0, you have exposed all

must be the chamber door.

and remove in light

plainly return the exposed roll nearest laboratOry for finishing, for charge.

in

is ruined.

from the processing laboratory, must

the

CHAMBER

In order to unload

wound

CHAMBER

Open

the

around

chamber door, pull down

the

full spool from

its metal container.

or in the shade

The

film

is

now

in· the space provided on the back

If

you mail the film direct, tie a

not

seal

it

in any

When returning the exposed film for development,

the metal spool container before placing

not

done the film is liable to unwind and

FILM

METER

the

usable

length

the

camera in

the

roll

of

film. To do this, run

FILM

METER shows

the

take-up spindle. Quickly replace

To

prevent edge fog, unload only in subdued

of

the body.

ready for development.

of

film

to

your dealer,

way

.

(Figure 18, page 17) points to

of

film.

daylight,

EMPTY,

the

tension lever

which

it

the protective trailer

before opening the

Print

your name and address

of

the

yellow

who

will

we make no additional

string

around

be

in

the

yellow carton.

it

will

then be fogged and

We cannot emphasize too strongly the importance name and address on the yellow cartOn. This is the only we can tell to

The open sided spool

the

Cine-Kodak Special.

whom

the film belongs.

or

reel on

which

the finished picture is returned

not

be

used

as

a take-up spool in

SO,

100

If

accuracy is

the

camera.

the

camera until

as

when

loading,

carton. Then send

it

the

carton; do

sure to replace

of

placing your

way

by

or

200

in

the

it

to

our

If

this

which

it

18

HAND-HELD OPERATION

IT

IS

well

known camera on a even

the

simplest pictures

While

the

by

using a features; namely, a

turret, v.ariable

spring

tripod,

motor

that

rigid

support;

full

versatility

as a

interchangeable

speed,

with

audible signals.

the

finest and with

of

the

hand-held

variable

motion

when

the

Cine-Kodak Special is

instrument

chambers,

pictures are made

convenient

use

of

the

interchangeable

shutter,

masks, and

tripod.

it

is advisable

only

presents

with

the

to

make

attainable

many

unique

lenses on

long-running

Versatility

VERSATILITY

increasing trol

over

which

The Special as a simplified camera, requires

If

you

to

expose structions Information, mentals

in a motion

the

number

the

way

film is

the

frames are exposed.

but

two adjustments for

have

not

extensively used a movie camera before,

at

least

one

for Average

pages

23

in

your

mind

picture

of

adjustments,

drawn

instructions

roll

of

Filming

to

28.

before

versus

through

such

each

film folloyving on

This

attempting

Simplicity

camera can be accomplished

as

scene

page

will

19

giving

the

camera and

in

how

Cine-Kodak

...

diaphragm

only

20

and

reading

help

to

advanced

operator

to

use

establish

cinematography.

greater

the

Cine-Kodak

Model

and distance.

we

the

Condensed In-

over

the

only

con-

manner

K,

which

urge

General

funda-

by

in

you

CONDENSED

-Refer

INSTRUCTIONS

to Figures 19

Fig.

19

FOR A VERAGE

and

20-

FILMING

WINDING

by turning arrow,

that

the EXPOSURE BUTTON is out.

While winding, a bell signals

(about

winding after the bell rings, turn the

the motor stop. Also, a bell signals

(about seven seconds of

film; and

complete

THE

MOTOR:

MOTOR

until

three turns before the stop is reached).

3 feet

of

it

winding

CRANK counter-clockwise, in the direction

the

spring is

film

will

at

speed 16). The

requires about

.

Wind the

wound

be carried

38

motor

tight

when

cr

ank slowly

when

through

motor

turns

20

of

the Cine-Kodak Special

of

the

. Before winding, make sure

the

camera is nearly

If

you wish to continue

to

avoid undue strain

the

motor

is nearly

after signal, requiring abou t

has a

total

run

of

the MOTOR CRANK for a

run

over

wound

down

38

feet

on

ADJUSTING

I-inch

f.1.9 lens tention telephoto ing these lenses instructions

For

simplified

set

the:

SPEED SHUTTER

THE

or

is given

to

effects can be

to

on

page 32.

DIAL

LEVER

turret,

operation,

OPEN.

With

the

speed and fixed, exposure confined to leaving

to

ing phragm

but

make

before

each scene; namely, dia-

and distance:

DIAPHRAGM:

that

is

the

EXPOSURE

included

DISTANCE:

the

diaphragm,

two

adjustments

photograph-

with

control

Rotate corresponding index line.

This

CAMERA:

the

IS mm. f.2.7 wide-angle lens.

holding

obtained

For

hand-held

the

camera steady,

with

the

2-inchf.3.S

see

at

16. at

shutter

is

Set

the

DIAPHRAGM

the

description

GUIDE.

of

the

For

Kodachrome

prevailing

it.

the

FOCUSING

to

the

distance from camera

operation

is called

focusiny,.

operation

satisfactory

POINTER

Film

COLLAR

to

use only

If

particular

hand-held

lens.

For

attach-

at

the

figure

ligh t condition

use

the

guide

until

the

figure

subject is

at

the

at-

on _

the

21

I

If

Fig. 21

.-

POSITION

vertical position (Figure 22, page Figure 21,

MAKING

With BUTTON wish

FOR

OPERATING:

with

the

right

THE EXPOSURE: Hold the

the first

to

terminate

or

second finger

(Fig

ure 19, page 20)

the

scene. Unless you are

Raise the

24

).

hand bracing

of

the

all

the way in,

FINDER

Hold

the

camera against the face.

camera

steady.

and

the camera

SIGHT

as

left hand, push the EXPOSURE

holding

it

there

photographing

tinued action, a ten-second exposure is effective for average scenes .

The

EXPOSURE BUTTON can be locked in running position by pushing ordinary

it

in and down .

hand

work

it

To

unlock, push

is

not

desirable

22

button

to

have the

up, then release. For

button

locked.

to the

shown

until

long

in

you

con-

GENERAL

Holding the

A

FUNDAMENTAL

We

cannot

of

holding the Cine-Kodak steady. Remember, the best pictures are made on

a tripod- so better your pictures

principle

too

often repeat,

that

the

more nearly you approach tripod rigidity,

will

be.

INFORM

Camera

of

all cinematography is camera steadiness.

nor

too

A

TlON

Steady

firmly emphasize, the importance

Audible Shutter Warning

WHEN

the Cine-Kodak Special is

CLOSED, a loud buzzing noise

that

the

shutter pictures back operation, shutter,

still closed.

necessary to

shutter, and

to

exposure, the audib le signal should be.

without

it

photograph

When

the

is closed and

further adjustment. After a

or

any manipulation

may happen

If

this occurs,

wind

start

the

film is being

that

the

film back

again. Thus there need be no film wastage

desired scene.

wound

run

with

the SHUTTER LEVER

will

be heard. This serves

that

no

attempt

the next scene is started

the

audible signal is heard. to

the

backward for a

will

be

heard

which

last

starting

if

the

should "fade-out,"

involves closing

lap

dissol

shutter

as a warning

be

made to

a winding-

with

the

It

point,

ve

or a double

is closed

shutter

is then

open

or

failure

Finder

THE

eye-level finder consists

attached to the

15

mm. f.2.7 wide-angle lens and telephoto lenses; and the

the

located on

In the

SIGHT and not used lenses. finders on the regular lens. .

to

the camera lens,

The

When

the

correct for parallax. Since

mount

the

top

of

there is a small lens. This lens should be pushed

with

the finder attached to

lens

of

the

eye-level finder is used for making close-ups,

it

"sees" a slightly

of

two

of

the

I-inch f.1.9 lens and

the camera,

sight

should be pushed up and used

l-inchf.1.

the

parts;

the

FINDER

to

the

rear (see Figure 22, page 24).

the

adapter for the telephoto

9 lens and

finder necessarily is separated from

the

15

different view

to

mm.

proper,

the

adapters for

/.2.7

wide-angle

it

is necessary

or

field

which

with

SIGHT

than

the

at

take

the

as

it

is

down

the

is

23

recorded on the film.

the

medium scenes

parallax

close-ups.

As

shown in

eye-level

To

the

finder lens

when

finder lens of

finder.

compensate for parallax,

of

the

subject is 6-or

the

adapter

4 ft. and 2 ft., and

with

masks

pointers

This

error is called parallax.

is negligible,

As

seen in

reflex

"6

FT."

I-inch f.1. 9 lens.

finder.

They

and

but

it

becomes noticeable in

"2

FT."

show

the

2-feet, respectively, from the camera .

for the the that

15

mm.

adapter used

accomplish

24

f.2.7

wide-angle lens is marked:

with

the

telephoto

the

same purpose.

For

As

recorded

on film.

distant

and

lines are etched on

top

of

the

picture

The

lens

es

has

When using

of

side front

the

of

the

2oo-foot film chamber,

film chamber, and there is a PERISCOPIC

the chamber

which

must be swung Figure 15, page 14, and used the adapter .

CAMERA

SHUTTER:

THE

runs

is

too

density

through

of

the finished film depends upon the exposure given

the camera. Too much exposure produces a picture

light;

insufficient exposure gives a picture

the

with

the regular finder on

Exposure

SPEED:

FIXED OPEN

SIGHT

into

AT

is located on the

FINDER

position

16

that

is

as

shown

the

lens

too dark.

on the

in or

as

it

that

DIAPHRAGM

POINTER

EXPOSURE

GUIDE

Exposure can

the

shutter

lens.

SPEED and SHUTTER control the duration

DIAPHR

AGM

With

the camera SPEED

OPEN, the exposure is

be

varied

either

opening, or by altering the size

controls the brightness

DIAL

at

of

standard duration. This simplifies exposure,

25

by changing

of

the the of

of

the image on the film.

16, and

the

SHUTTER LEVER

camera speed,

diaphragm

exposure,

while

in

or the the

at

Jeaving the

DIAPHRAGM

as

the only exposure control

(Figure

23,

page 25).

The table camera give the proper diaphragm settings for the regular Cin e-Kodak Panchromatic is

set

on

page 76

Film

when the camera is run

at

OPEN.

and

the

EXPOSURE

at

GUIDE

normal speed

(I6)

on

the front

and

when the shutter

of

the

CAMERA page

25)

CAMERA

speed is controlled by turning the SPEED DIAL (Figure 23,

until

the

index line is

SPEED:

SHUTTER:

at

VARIED

OPEN

the

dot

nearest to

the

dicating the desired speed.

Camera speed controls the speed

ing

the camera speed alters the exposure, necessitating changed diaphragm camera speed long exposure

to rectify

as

an exposure control

where

the

lighting

exposure.

done you sacrifice normal action, so you must

slowly to avoid rapid, jerky motion pictures.

When

the

camera speed is increased, each frame on the film remains behind the lens for a shorter decide to use speed Therefore, to give

much

light

pass

the EXPOSURE

recommended, open

R U L

E:

For each step increase in camera speed, increase the size

32

instead

the

through

GUIDE

up

to

film sufficient exposure, you must

the lens by using one diaphragm larger recommends for normal speed (16);

f.8.

of

the action on the screen. Chang-

Probably

will

the

only time you

be

when

using speed 8 to pro-

conditions are very ppor. When this is

warn

the subject

time; thus, exposure is decreased.

of

speed 16, you

cut

the duration

let

diaphragm opening by one stop.

Similarly, for each step

decrease

in camera speed,

decrease

the

diaphragm opening by one stop.

See

page

35

for a more comprehensive description of camera speeds.

One

of

the

uses

of

the variable

shutter

is

that

of

an

extra

control. This is explained more fully on page 36.

figure in-

will

to

move

If

you

in

half.

twice

than

if

f.ll

of

size

of

exposure

use

as

is

the

26

SHARPNESS

outlines are by

moving

Special

the INDEX

REFLEX FINDER

lens not is used,

this

figure

wide

in

that

or

definition refers

sharp,

it

to

and from

is

accomplished

showing

LINE

(Figure

F

ig

24

open,

focused a t 6 feet,

range

the

depth

the

picture

the

will

increases so

sharp.

poor

light

When

care

must

With

the

I-inch

feet. Even

be

taken

smaller openings

f.1.9 lens can be used as a "fixed-focus" lens

with

conditions

in

estimating

these small openings, however,

accurately for close-ups.

than

for far.

Focus

to

the

outlines

is

in

good focus. A camera lens

the

film. On

by

rotating

distance in feet from camera

24).

has a depth

be blurred.

But

that

objects from

compel distances

(f.S.6

and smaller),

Depth

of

focus is

of

the

lenses for

the

FOCUSING

Another

ing

the

is

to

use

ER

and

This

obviates

distances. Use

is

finder

DEPTH

the

lens

distance, objects nearer and distance,

focus.

This

depth of

sharpness.

This smaller For

example,

from S

when

the

smallest

2~

the

use

of a large

to

avoid out-of-focus pictures.

depth

it

much

less for near distances

image. When

the

COLLAR

to

subject is

method

Cine-Kodak

the

REFLEX

to

focus visually.

th~se

is

focused

Cine-Kodak

until

at

the

of

focus-

Special

FIND-

estimating

of

the

reflex

described on page 42.

OF

FOCUS:

is

focused on a given

When

somewhat

farther

will

focus

depth

the

to

feet

than

that

be

in

good

range

is

called

or

range

is greater

diaphragm

the

I-inch

used.

f. 1.9

7 feet. Objects

opening

to

(f.16)

infinity are

of

the

diaphragm,

is so

great

that

when

set

on

2S

is necessary

to

focus

27

Another

of

short

lepgth

focusing, even

factor affecting

focal

length

have greater

have less depth.

when

the

depth

The

smaller diaphragms are used.

Miscellaneous Notes

TEN in

which

For

SECONDS

or

about

four feet

the

action is

not

good composition, do

changing

not

exactly in half.

making a distant

When

nearby object

Be

careful

in

not

the

to

view,

foreground.

get

a drop

of

blurred picture.

When

making

It

is sometimes necessary

Kodak

horizontally

large buildings, etc.

and move

The

slow panoram is

is

to

be followed and

camera should be so moved

an exposure, do

to

or

vertically

To

panoram successfully,

it

very slowly and evenly. You can

not

used, however,

shown

as

in

to

finder.

Important Rules

1. Never try

noise closed.

2.

You cannot run

3.

Hold

4. Focus

5. Set

6.

When camera speed is changed, open higher

7.

Panoram very slowly object.

S.

When using

open

exposure

to

will

the

camera steady.

the

shutter

speed.

to

obtain

before

take

a picture

be heard

the

camera

lens and set

at

OPEN

the

reflex finder,

the

brightest

taking

with

if

exposures are attempted

the

diaphragm

and camera speed

and

evenly, except

pictures.

is

the

focal

length

depth,

telephoto

of

film are usually sufficient for scenes

allow

the

water

not

panoram;

while

while lenses require very accurate

in

character.

the

horizon

best effect is obtained

on

the

tip

the

camera sideways .

that

photographing

hardly

when

action, such

keep

the

subject in

the

shutter

with

aperture cover closed.

before each

at

diaphragm

when

it

is desirable

image. Be sure

of

the

lens. Lenses

lenses

to

of

cut

the

by

lens

as

it

will

is,

to

move

landscapes,

hold

the

camera steady

panoram

too

there is a subject

as

races, etc. Here,

the

center

closed. A

16

for average scenes.

with

scene

one

loud

the

.

stop

following a

to

use

to

the

reset the lens for proper

long

having

the

slowly.

buzzing

for each

moving

lens

focal

picture

cause a

Cine-

that

the

of

the

shutter

wide

a

.

28

THE

TURRET HEAD,

have

two

lenses

TURRET

which

acts as a lens holder, enables the user

of

different focal lengths

HEAD

instantly

to

available.

Figure The· turret

itself and

the camera.

In

rotating

front

of

the

25

shows the TURRET

is turned

rotating

the

aperture,

it

until

turret

the

by

it

turret

Fig.

25

HEAD

grasping

the

will

either

desired lens is on

be noted

snaps

29

turned

that

into

at

of

the

when

position.

an angle .

lenses

or

film

chamber side of

eithe

r lens comes

the

turret

in

Fig.

26-

The

eight

lenses and two adapters regularly

available

3D

For

use with the Cine-Kodak Special.

Lenses

Special.

with

on

great

Position

15 mm. f.2.7

wide-angle

I-inch f.1.9 272-inch f.2.7

2-inch

2Yz-inch f.2.7

3-inch f.4.5

4-inch f.2.7 2-inch f.3.5

4Yz-inch f.4.5

6-inch f.4.5

NOTE:

of

various focal

Figure

this

the

turret

focal l

Lens in Taking

n.5

If

lenses are racked

mounts are used, interferences not indicated in the above table may occur.

26

shows

camera.

Certain

because

ength

is

Turret Accommodation of Lenses

Accomp·anying Lens

f.1.9

I-inch 2-inch f.3. 5 or 3-inch f.4.5

inch

272-

f.2.7,4-inchf.2.7

472-inch f.4.5 or 6-inch f.4.5

15

mm. f.2.7, 2-inch f.3.5

3-inch f.4.5

f.4.5

4-inchf.2.7 or 6-inchf.4.5

All lenses

15

mm. f.2.7,

2-inch f.3.5 or 3-inch f.4.5 4-inch f.2.7, 4Yz-inch f.4.5

or

6-inch f.4 .5 All lenses 15

mm. {.2.7, I-inch f.1.9,

2Yz-inch f.2.7 , 4-inch {.2.7 4Yz-inch f.4.5 or 6-inch f.4.5

lengths

the eight

pairs

of

their

mounted

on Turret

or

I-inch f.1.9,

or 3-inch f.4.5

out

beyond

are

lenses

of

lenses

great

diameters. Also,

with a shorter

Satis-

factOry

X X All

or

X

472-inch

X

the

marked focusing range, also

availa

ble for

regularly

cannot

be

lens,

fil

ters interfere opticall y

Lens mounts interfere opticall y

All filters

Lens mounts interfere opticall y 4-inchf.2.7 and

mounts interfere physically

2-inchf.3.5lens

when out

for close-ups

Lens mounts interfere physically

Lens mounts interfere phys

the

Cine-Kodak

available

mounted

when

the

diameter and

Interference

interf

ere optically

6-inchf.4.5lens

if

for use

together

a lens

is racked

ically

large filter

of

31

length lens and will

of

will

block

the

former is so great

show

the using a small accommodations

Fig.

27

in

the

picture. Furthermore, filters on

view.

This

can be noticed

diaphragm. The

of

the

various lenses used on the Cine-Kodak Special.

as

table

to

block

LENS

SOCKET

on

the

in

the

page

"view"

reflex finder,

31

gives

Fig.

28

of

the

idle lenses

the

shorter

when turret

HOW

tive cap and p

TO REMOVE

lug

before

turret, push the LOCK

an angle,

To SOCKET in STUDS push into

The plied

as

shown

attach

a lens, place

in

Figure 28. Press

it

back

in Figure

the

turret

to

the

vertical position.

place.

15

mm. f.2.7 wide-angle lens and

in

individual mounts

AND

ATTACH LENSES: Remove

attaching

up

and

to

the

lenses.

left, so

To

remove a lens from

that

27.

the

lens or suitable lens adapter over

with

the

two

holes in

the

PLATE

with

firmly against

Make

sure

the

telephoto len

focusing and aperture collars,

32

the

that

PLATE

the

LOCK snaps

ses

the

will

the

over

turret

are sup-

protec-

the

be

LENS

the

and

but

at

without

attached adapter can be used

front finders

to

the

Cine-Kodak Special by means

showing

with

their

individual fields. These lenses are

the

2-inch, 2Yz-inch, 3-inch, 4-inch, 4Yz-inch, and 6-inch lenses . A special adapter is needed wide-angle lens, because

The

adapter used

the

for any three adapter is

2-inch lens, and hinged masks

of

the

2Yz-, 3-, 4-, 4Yz- and 6-inch

attached telephoto lenses may be securely seated lens

into a slot

in

instructions are included

LENS SPEED:

largest

diaphragm

The

has a large diameter in relation

"f." number,

relative speeds,

USES

OF

pends upon

With

the camera

Since withdraw focal

length

lenses

of

the

VARIOUS

the

anyone

away

it

is

often

from

. Lenses

lon

g focal

the

came

lens,

the

Unsteady screen results caused focal

length

4-inch,

In general,

15

MM.

of the len

4Yz-inch and 6-inch telephoto lenses.

the

1.2.1

WIDE-ANGLE LENS:

confined quarters. Valuable for graphing

1-INCH,

for general

buildings, where trees

1.1.9 LENS: This is

work.

it

requires a different lens

with

the

six telephoto lenses has a glass view finder

to

the

turret

head

as

the

adapter and

"speed"

diameter

"faster"

with

the

tightening

each lens.

of

a lens

is

to

its focal length. Thus, a

to

its focal length.

lens . When

numbers must be squared.

LENSES:

ra

distance and

the

size

from

or

closer

not

convenient nor even possible subject, of

short

length, a narrow

s.

uses

of

the

The

magnification

the

of

the

image can be changed

to

the subject.

it

is necessary

focal

length

angle.

by

camera movement increase

Always

use

a trip

various lenses are:

interior

obstruct

the lens

indicate

telephoto described above, any of the six in

it

designated by the

comparing'

focal

take

od

For

work

the

regul

arly

of

an adapter. One

with

the

IS

mm.

f.2.7

in

the

finder.

the

fields covered by

lenses. When

by sliding the lug on

its

rotating

collar.

ratio

"fast"

The

smaller

I"

of

the image de-

length

to

of

the

lens.

by

to

approach

use a lens

in a

wide

with the 2Yz-inch, 3-inch,

of

angle

the

Full

of

its

lens

the

values for

moving

or

different

of

view;

with

the

including a large area in

. Also useful in

photo-

view.

supplied

as

it

is best

33

2

-I N CH,'.

good

3 . 5 LEN

telephoto

care is exercised

S:

effects,

in

holding the

The

yet

focal

not

length

too

long

camera

of

for

steady.

this

lens is sufficient

hand-held

use

when

to

give

extreme

2%-INCH,

be

obtained;

under

3-1

NCH

an

ideal followed inch than

4-INCH

With close range.

by

972 feet,

lenses are very useful

"candid"

CLOSE

mit, magnification send for

'.2.7

LENS:

its

largest

very

poor

light

'.4.5

TELEPH

combination

by

"close-ups"

for

lens is useful for the

272-inch lens,

'.2.7,

these

4%-

long

focus lenses

At a distance

the

field

RANGE

write

close-ups

for

of

WORK:

instructions

With

opening

conditions

OTO

turret

without

athletic

yet

is

AND

quite

of

the

6-inch lens is

in

filming

people

To

on

particulars

this

(f.2.7)

.

LENS:

use,

permitting

changing

events also.

not

bulky

6-INCH

distant

100 feet

natural

at

a distance.

work

adjusting

on

sion tubes.

FOCUSING TELEPHOTO LENSES:

focusing these lenses, because

reflex finder as described

EXPOSURE

the

3-, 472- and 6-inch

j.3

.5.

the

camera,

Days

or

by

76) of

speed which light

conditions.

Follow

in

Deep Shade

setting

8.

The

makes

WITH

TELEPHOTO LENSES:

the

exposure

substituting

the

diaphragm

largest

it

possible

the

depth

on

page

42.

telephoto

table

lenses is

on

j.4.5 for j.3.5. Pictures can be made

(requiring

j.2.8

at

diaphragm

to

use

on

the

lens excellent

permits

This

lens

telephoto

with

making

the

medium

camera

It

gives a

when

mounted

'.4.5

TELEPHOTO LENSES:

objects

the

field

about

history

closer

than

the

auxiliary

Extreme

of

foclls

j.4.5,

page 76

in

the

j.4.5

or

the

272- and 4-inch lenses is

normal

appear

of

the

472

subjects

the

focusing scales per-

lenses.

lenses and lens exten-

care

is

so limited. Use

The

largest

on

the

or

the

exposure

j.3.5 and using a camera

speed

effects can

exposures

j.1.9lens

shots

of

subjects

position.

The

larger

on

the

turret.

to

be

at

4-inch lens is 7

by

6 feet. These

or

for

taking

For

even

greater

must

be llsed

diaphragm

2-inch lens

exposure

guide

on

table

on page

(16)

under

make

3-

image

very

in

the

on

it

is

on

Dark

j.2

.7

poor

34

FOR

correct exposure,

camera speed. For phragm opening

It

is

not

marked

When

motion

and projected

each

one

stop.

as

it

pictures are

at

the action appears normal. speed

of

taking

and projecting

CAMERA

be

sure

to change the diaphragm when you change the

full

step increase in camera speed, increase the dia-

The

dot

is

not

a full step.

taken

same speed.

The

standard

home

SPEEDS

between speeds 16 and 32 is speed

the

movies is 16 frames per second.

By means ture on the Cineaction slowed up for comic effects. Camera speed controlled shown dial

at

frames are

times

Suppose ball

to

the

normal number

speed,

four seconds instead

Therefore,

down

Another pictures can be made under the

provided

of

the

variable speed fea-

Kodak

of

the

original subject can be

down

for analysis

by

the

in Figure

29.

64, for instance,

taken

every second,

as

many

as

normally.

it

takes one second for a

drop from a certain

the

64 frames require four seconds. In

the

camera is speeded

to

make

the

use

of

Special,

or

SPEED

By

setting

64

individual

height.

of

frames

of

one,

and

action

fast.

the

speed control is

speeded

DIAL

or

four

will

the

light

size larger

and speed

the

subject is near a

than

the

largest

8,

pictures can be made indoors even on dull days,

window.

the

is

the

If

photographed be exposed. Projected

effect is slow motion .

up

to

make

to

prolong

conditions necessitating a

diaphragm

When slow motion pictures are desired, use speed upon

the

amount comic rapid action pictures light

is unfavorable.

you

want

the

action slowed down. Use speed 8 for

or

for prolonging

short,

the

F'

Ig.29

at

speed

64,

4 times

at

normal

the

ball will

drop

action slow,' slowed

the

exposure

so

diaphragm

opening.

32

or

exposure

With

64, depending

when

24.

in

that

the

35

THE

shutter

EXPLA

has an opening is

not when stationary wise,

the

shutter

while

Since

the

cycle is required for pulling about shutter

Figure

pearance self

when

LEVER is

opening is controlled

NATION:

allowing

moving

the

film is in

position. Like-

the

solid

portion

covers

it

is in motion.

about

so

per cent

down

so

per cent

must be solid.

31

shows

of

the

shutter

the

SHUTTER

at

CLOSED,

the

VARIABLE

The

shutter, a disk

light

film,

or

the

of

the

film

of

film,

of

the

ap-

it-

at

SHUTTER

by

the

that

to

pass

SHUTTER LEVER, Figure 30.

rotates between lens and film,

only

when

the

intermittent

Fig.

30

claw

Fig.

31

CLOSED

'I

.·OP

'I,·OPEN

OPEN

U

EN

-OPEN, at

The

speed

of

posure.

USES:

size

For

Yii-OPEN and

of

the

rotation

the

sake prefer to control exposure the

camera speed, eliminating by always using when

making Operation on many

pictures

fades

the

these are listed on

AS

AN

EXTRA

may

be very unusual conditions where

so intense

that

even

36

at

OPEN.

shutter

determines

it

at

opening

of

simplicity, most users

with

the

OPEN

or

dissolves described under

as

well

the

duration

the

diaphragm

the

variable

position, except

shutter

Cine-Kodak Tripod, page 41.

variable the

EXPOSURE

shutter

following

the

smallest

will

page.

CONTROL:

the

diaphragm

be helpful;

light

as

the

of

ex-

will

and

For

There

open-

is

ing

will

by

using a filter,

both.

For

example,

to

make

the

sun, and overexposure diaphragm,J.16,

74'-OPEN,

ing,

FOR

SHARP

(races, waterfalls,

1\

I reduced

(64) and smallest

FOR

BLURRED

stances, background out-of-focus. This can be done in

the

opening

A

SET

Those can be used

give overexposure.

by

using a smaller

it

is desired

them

appear

if

the

outline

will

result

the

will

be required

IMAGES:

etc.)

shutter

to

a minimum, necessitating good

BACKGROUNDS:

to

emphasize

lens

to

decrease

to

avoid overexposure.

The

to

photograph

to

move very rapidly.

of

the

at

this

CK-3 color filter, and

Sharp images

can be obtained

opening

the

subject in

the

depth

MASKS

of masks

that

is

supplied produce various picture shapes, with

the

with

camera hand-held. A

exposure can be further reduced

shutter

sun can be seen

slow

camera speed. Here,

to

cut

C74'-OPEN).

It

of

the

opening,

clouds

If

the

down

the

of

rapidly

by

using fastest camera speed

light

may

be desired, in certain in-

the

foreground

by

using a larger

focus and reducing

Cine-Kodak Special (Figure 32).

the

short

.......

or

by combining

at

8 frames per second

the

camera is pointed through

smallest

exposure.

The

and a fast lens.

oval and round masks,

plug

the

shutter

moving

exposure time is

by

throwing

diaphragm

the

is supplied

tect

the

either

at

clouds,

smallest

open-

objects

the

shutter

to

pro-

MASK

.

4

~

..

tf'

!"

.

~

Insert

the

plug

front

of

the

camera. When inserted backwards,

reflex finder.

Keep

the

plug

~

.

~~

~

Fig.

32

with

the

small depression

in

the

mask slot,

@

~

whether

37

::r;';;~!U;~I~:

might

light

shines di-

rectly

mask slot.

in

the

top

towards

it

interferes

the

film chamber is on or

occur

into

with

if

the

the the

off the camera,

to

fogging the film.

To use a mask,

with

the

front

of

the camera, and push

it

into

the MASK SLOT

(Figures

as

of the

33

and 34),

it

will

go,

as

Keep the

the

picture

important

scene in the center

to

prevent obscur-

ingthesubjectwith

The subject sufficient to

light

make the shape

hold

facing the

in

Figure

themask.

should

colored areas,

of

mask clear.

The half-masks are for

see

double exposures

page

Keep the masks covered

prevent rusting.

avoid

it

as

far

35.

parts

of

have

the

52.

MASK

SLOT

with

a

thin

film

Fig.

33

of

Cine-Kodak Oil to

1/

38

Effect

when

using

oval

mask.

I

)

Fig

. 34

Effect

when using round mask.

Fig.

35

39

I

OPERATION

/

CINE-KODAK

To

MAKE

full use

must be

combined

.'

, site page) shows

,\

use, Figure tended,

be used primarily

material telescoping legs can be extended and then

rigidly

with

37

with

the

Although

the

with

many

to

for

the exacting tasks imposed upon is designed

the

ing removing

The

to

match

ON

TRIPOD

of

the

Cine-Kodak Special's versatility, the camera

held.

The

Cine-Kodak Tripod has excellent

compactness and

the

tripod and camera in

shows

provide a

the

tripod

camera mounted on it.

Cine-Kodak

cameras,

support

Cine-Kodak Special and

to

permit interchang-

film chambers

the

camera.

tripod head can be pan or-

amed horizontally, vertically, and diagonally

speed, locked in any position for double exposure other sential. down it

Kodak

the

Cine-Kodak Special

light

fully ex-

Tripod

it

is designed

suitable

it.

without

at

yet

can be

work

where accurate registration is es-

The

(Figure 38),

in

the

reverse position on

The

top

sections

Tripod

41

may

and

THE

weight.

the

It

any

camera can be pointed

are covered

Figure

or

straight

of

the

(Figure

tightened

36

Fig.

37

up by

the

platform.

legs

of

with

39, page 42).

at

any

rigidity

(on oppo-

straight

mounting

the

Cine-

a durable

The

point

by

Fig.36

giving

them a

turn

. ETCHED LINES

all three legs equally.

Fig.

(Figure

39

39) facilitate

ETCHED

LINE

lengthening

CINE-KODAK

Truck

the highly S\lre

polished floors. A toe brake locks

of

the toe and

action- forward, backward,

TRIPOD

camera and

the

TRUCK:

tripod

will

Mounted

stand

brake is released so

to

either

assembled sections.

THE cause

REFLEX

it

FINDER,

Figure 40, is valuable for exacting

shows an actual image formed

FINDER

fore, free from parallax, described on pages focus visually.

REFLE FINDER

To

use

direction

It

is absolutely necessary for extreme

Fig.

40

the

reflex finder, push

of

the

arrow,

the

Figure 41,

REFLEX

until

on the Cine-Kodak Tripod

firmly fixed on even

it

in

side.

by

position;

that

the

It

is made

the

camera lens.

23

and 24;

another

camera can

in

It

it

also

"close-up"

.

Fig.

41

FINDER

it

catches, and then let

BUTTON in the

the

follow

two

easily

work

is, there-

shows

work.

go

. This

most

pres-

be-

the

42

uncovers reflects of

the

reflex finder,

lens

of

finder, places a 45°

image

to

a ground-glass. When using

the

eye

the

magnifier.

should

mirror

be

not

behind

more

the

camera lens, and

the

sliding magnifier

than

two

The

the

light

lens

to

The reflex ftndercannot

be

used while' the 'camera

is

running:.;'N 0.v

it

open

< ".<'-" \

WHen

-

S;tar~ed,

is covered and ror

drops

matically; the finder

Example

COMPOSING:

to

obviate

the

lens

FOCUSING:

there is ample the

focusing scale.

When vantage lacking

of a "close-up"

finder

The

parallax

diaphragm

The

depth

of

to

focus visually

(1)

when

where the reflex

is

required.

field can be determined before

correction for" close-ups ...

to

its largest

simplest, quickest

of

focus, is

focus is

the

subject is very close, and (2)

stop

while

composing and focusing.

method

by

estimating

at

a minimum, however,

with

the

reflex finder. Average

cannot the

camera is started.

making

If

the

image is dim, open

of

focusing, whenever

the

distance and

it

telephoto lenses.

To

focus visually,

the focusing collar

open

the lens diaphragm

until

the

image on

to

its

largest opening.

the

ground-glass is critically

sharp. Then set the diaphragm as required for exposure.

When focusing visually, focus several times of

the

finder image

to

attain

that

it

is extremely

the

sharpest image possible,' choose a

will

show

important

fine detail, such as

to

fabric, etc.

inches from

mirror

path

blocks

from

film, therefore:

er

hold

the

camera is

the

reflex finder

the

mir-

down

auto-

be closed

the

until

exposure

setting

is a

great

depth

when

using

Turn

go

through

portion

hair,

weave in

ad-

is

the

43

-[

A "Facie-in."

A "Facie-out."

44

REFLEX

framing subjects

fier position camera; subject on Cine-Kodak Specials fitted

FINDER

can be

attached

the

it

is especially recommended for use

at

a large aperture

IMAGE

with

to

MAGNIFIER:

the

reflex finder, the Reflex Finder Image Magni-

the

Cine-Kodak Special.

reflex finder image can be viewed from

or

with

telephoto lenses.

with

lOO-foot film chambers.

FADES

AT

THE

beginning and end "fade-out" should be

serve

in

keeping

to

group

should be very slow, containing rapid action should be quite fast.

with

while

of

a series

scenes

the

tempo

those on

of

one sequence.

of

athletic

To

simplify focusing and

With

the

magnifier

the

back

when

working

It

"shots,"

the

The

the

scene; fades on a sunset

events and

close

can be used only

"fade-in"

speed

other

of

scenes

in

the

to

and

fades

a

Fig

.

42

MAKING A "FADE-IN:"

Push in starts, Figure 42. While Therefore,

the

MAKINGA

tion by

the

slowly

shutter

pushing

exposure

move

the

speed

of

is opened.

"FADE-OUT:"

it

in and down. Remove

button

the

Set

the

SHUTTER LEVER

in

the

usual way.

SHUTTER LEVER

lever is being moved,

"fade-in"

Lock

depends upon

the

exposure

the

45

finger from

The

to

OPEN,

the

button

Fig. 43

at

CLOSED.

instant

as

the

shown

"fade-in"

the

speed

in running posi-

it,

so

motor

occurs.

at

which

that

in

the

SHUTTER scene reaches slowly 43, page

When wards in

the X-OPEN

move

45.

moving

the

front

LEVER

can

the

point

the

SHUTTER LEVER

The

motor

the

of

the

and

lever for fades oftener

IMPORT

empty

ANT:

before

Practice

taking

later

stop

where

will

stop

SHUTTER

camera;

~

than

this

-OPEN

notches.

necessary

DISSOLVES

making

actual scenes.

dissolves several times

the

motor. When

you

wish

to

top

when

LEVER

will

prevent

at

the

"fade-out"

of

slot,

as

shown

this

position is reached.

for fades, be sure

the

lever from

Do

not

operate

speed 64.

with

action

to

in Figure

to

stopping

the

in

the

occur,

bear to-

shutter

camera

Fig. 44

46

f

"

The effect another. taneously

fades is made possible in the Cineand by

The dissolve is made by fi

lm;

(3)

Dissolves make a pleasing transition between allied scenes.

the Cine-

vary

as match all scenes.

For

Until

experience is gained

(refer

1.

As

CAMERA

50). .

page

2.

CLOSED, using

3. Prepare to

EIGHT-FRAME

4.

wind the film back

marked REVERSE, then release

the SHUTTER LEVER is

5. When

it

is necessary for closed length EIGHT-FRAME

out." "Fade"fade-out." one;" a

simple.

of

a dissolve is

What

really occurs is

with

the "fading-in"

the

provision for

"fading-in."

Kodak

to

the

average scenes, dissol v

to

Figure 44):

Gradually push SHUTTER LEVER as far

Watching

"Fade-in " on the next scene for

making

whi of

little

Special, dissolves

the

proper length. Some contend

tempo

of

the action,

you

begin a

FILM

le counting a given number

the

dissolve. In rewinding the film,

in"

It

practice

"fade-out"

METER

two

feet

wind

back

SHAFT and

the METER,

two

dissolves

the

operator to

SHAFT must be made for each second

for the same number

takes about one second

that

of

one scene appearing

that

one scene "fades-out" simul-

of

the

next scene. This overlapping

Kodak

Special by the variable

winding

The fades must

in

indication, or the FRAME COUNTER (see

of

feet by

at

with

with a watch

the film backward.

(1)

"fading-out;"

be

made

as

of

any

length

while

others prefer a definite length for

es

a foot or

timing, the following method is suggested

at

the end

film for the complete movement.

the

film by engaging

holding

hold

CLOSED.

it

in

the

turning

the

EXPOSURE BUTTON.

two

the

camera adjusted

watch

the subject,

to will

can be made. Opinions

that

two

in

of

the first scene, note the

to prevent its turning; then-

EXPOSURE BUTTON and

the

crank

feet.

of

seconds according to

two

of

seconds

pronounce " one hundred and

make this procedure quite

(2)

winding

described on page 45.

they

should roughly

length

as

it

will

the

hand

in

at

speed 16, where

the

shutter

reverse turns

of

that

to

melt i

nt

of

shutter

back the

With

are effective ..

go beyond

crank on

the direction

the "fade-

it

Be

can be

of

took

the

sure

the the

to

o

47

Dissolving

from a "close-up"

distant

subject

to a

.

48

Dissolving

to

from

a medium distance

a

"close-up."

NOTE:

After

solve

but

find

limit,

thus

motor

must be run down

"fading-out"

that

you have inadvertently

preventing

on a scepe, you

winding

part

way

the

film

according

may

wound

backward

to

the

wish

to

make a dis-

up

the

motor

to

. In this event,

special instructions

the the

on page 54.

SINGLE

ordinary work. To shown

in Figure

FRAME

animation

use

this

45.

SINGLE

RELEASE: Is

and single picture

release pull

Push

it

down

FRAMES

for

all

out

as

to

expose one frame.

With

the

camera speed set SINGLE frame

the fore, either opening

Greatest frame release only

ONE-FRAME

FRAME

RELEASE exposes each

approximately. the

camera is running on speed

the

normal exposure should be halved,

by using

or

by using

the

next smaller

uniformity

to

frame is

when

obtained

motor

SHAFT:

shutter

of

Can be used for single picture

at

16, the

same as

8.

diaphragm

at

;,4-

0PEN.

exposure from

by using

is

tightly

wound.

when

There-

the

ing

to

it EIGHT -FRAME shown

in Figure

the

Fig.

work

crank

46.

45

by

attach-

from

SHAFT

The crank

the

as

can be removed by first pushing up

the

knob

of

the

CRANK RELEASE; off

the ONE-FRAME by

pushing

then

pull

shaft and place

SHAFT; lock

down

the

crank

it

on

the

CRANK

it

RELEASE.

The

"

Fig. 46

position

the

end

of

SHAFT,

with

labelled sectors on

of

the

ONE-FRAME

reference

dot

the

to

on

the

sur-

49

rounding plate, indicates

To move the film forward, push

TON,

Fig. 46, page 49, then turn the crank

arrow

R (reverse) indicates the direction for winding the film backward.

It

is impossible to turn the

spring

as

of

the

motor

described on page 54.

The ONE-FRAME

when

the

in

ONE-FRAME

is fully wound,

shutter

and

in

is CLOSED and OPEN.

lock

the EXPOSURE BUT-

in

the direction

SHAFT backward

such case run down

of

the

SHAFT (Fig. 46, page 49) enables the oper

arrow

ato prolong the exposure given each frame. This feature is va luable for animated and still life subjects

This shaft is also useful in special multiple exposure

the

quires winding

The FRAME exposures are made ONE-FRAME

film forwar

COUNTER, described below,

with

the SINGLE

SHAFT

as

it

gives

in

very poor

light.

work

d or back a definite number

will

be

FRAME

the

exact number

RELEASE and

of

individual frames

which

of

frames.

useful

exposed.

FRAME

THE

individual frames or individual pictures, from tion

of

the dial indicates

gate.

At

FRAME

COUNTER is a dial, graduated

that

the figure 0 there is an extended index line. By

FRAME

COUNTER Cine-Kodak

COUNTER

0

to

40

one

foot

of

the appearance count can

feet

run

(see Figure 47).

film has passed

of

this line

is

running, an accurate

be

made of the number

or

rewound.

to

indicate

One revolu-

throu

watching

while

Further, graduations for individual frames will

be

found useful

in

single frame,

double, and multiple exposure work.

Since

the

dial repeats after every

Fig.

47

forty frames, sary

to

CAMERA

located on the top

To adjust the greatest convenience ings, proceed

it

use

it

in conjunction

FILM

as

may often be neces-

with METER of

two

which

the

Cine-Kodak.

dials for the

in

making

follows:

F;

if

the

motor

r to

both

re-

when

the

gh the

for

the

of

the

is

read-

50

Thread

If

the

film chamber from

page 54, push the EXPOSURE BUTTON to

line is

the

exactly

After these adjustments have been made, the

of

4000 frames before

The

suppose

METER total

At feet 16 frames (496 frames)' A feet

7-foot 23-frame frame

requires some practice.

sary

desired position. short

the

0,

then

figure

frame

counter

operate

exactly

SO

at

the

FRAME

you

wish

film and

at

or

index line.

run

off

the

leader

dial does

the

mechanism.

the

pointer. Set

0

(SO

for SO-foot rolls; 0 for 100- or 2oa-foot

they

COUNTER

to

start

not

read 0 or very close

SINGLE

FRAME

the

Then

replace

start

repeating.

will

be found very useful.

a double exposure

reads between 7 and 8 feet and the frame

reading is 7 feet

the end

of

the first exposure

23

frames, or

take

length

33

frames. Close

position

to

watch

of

again. Stopping

the

the desired reading, set

the

position;

rotating

But

if

shutter

open the

at

If

there

is

dials and

there is no

the

and

the exact frame for

motion

motion,

as

described on pages

Push

in the

PLUNGER,

until

the dial reads very close

RELEASE

CAMERA

the

film chamber.

two

when

it

can be expressed

another

reading, for example 12

of 193 frames has been run, or 4

wind

the

shutter

and

in

stop

as

it

at U-OPEN

the

close

is possible

for the increased exposure, and proceed to the end

the

SINGLE

FRAME

RELEASE, see page 49.

to

0, remove the

Figure 51,

until

the

FILM

METER

dials give a range

For

the

CAMERA

counter

film

run

scene,

reads

as

303

backward

to

the 12-foot 16-

the

second time

it

will

as

possible to

to

stop a little

to compensate

of

the

scene by using

11

to

16.

0 index

so

that

rolls)

is

example,

FILM

23.

The

frames.

to the

be neces-

the

For

double exposures there is

starting

wind

of

stop exposure, close

crank

vents exact

two

position

the spring tight by

the

arrow.

will

Wind

act

after three turns

the

on

the

EIGHT-FRAME further starting

turning

position

dials.

when

rewinding. Before

turning

slowly

shutter

of

the

after

and

hand

can be

another

the

of

the

wind

SHAFT,

crank.

noted

51

way

to

return

starting

MOTOR

CRANK

bell rings because

MOTOR

the

by checking

CRANK. After

film

backward

until

the mechanical

That

the

to the exact

the

first exposure,

in

the

direction

the

mechanical

with

the stop

film is

now

reading of the

the

at

first

hand

pre-

the

THERE

are

two

(see Figure 48).

of

halves

the picture

DOUBLE

sets

of

half-masks: A vertical

Their

purpose is to enable the recording

on

the same

EXPOSURE

length

MASK

in Figure

pushed in

person can appear in

Fig.

48

twice by placing

image is on, say, the

of

the

vertical line etched in the reflex finder. Expose the scene picture covered wi

with

th

the other

the

half

left-hand vertical

half-mask. When exposing, note on

ERA

FILM

METER COUNTER the points of the scene. TER

LEVER the film to the crank on the and the

EIGHT-FRAME

EXPOSURE BUTTON in (Figure 50), being cautious move the camera person on the

and the FRAME

starting

With

at

CLOSED,

starting

other

point

or

tripod. Place the

side of the field,

and stopping

the SHUT-

wind

back

with

the

SHAFT

locked

not

to

change half-masks, set SHUTTER LEVER expose point

left, rule is: image. This image is reversed, thinking

at

the

proper opening and

the

scene

until

the

stopping

is reached.

Since the image on the film

we

suggest a rule to avoid confusion

Use

the

vertical half-masks

at

the time

of

exposure.

is

inverted and reversed

so

pair

and a

horizontal of

two

of

film.

Be

sure to insert the mask

SLOT

with

49.

The mask must be

as

far

as

it

will

With

the vertical masks, the same

the

him

so

right-hand side

of

the

CAM-

Fig.

49

as

to

as

to

which

side to cover. The

as

indicated by the reflex finder

you

don't

need to reverse your

If

the

subject is on the left side

separate

in

forward,

go.

picture

that

right

pair

the

as

his

and

of

MASK

SLOT

52

Fig. 50

reflex finder, leave this side open and cover right-hand

half-mask.

Successful double exposures depend upon

and

the

obtaining

the

tripod diaphragm, speed and must

not

vary

By

watching

nized between

In

using seated before scene, use the mask

IMPORTANT: When using

diaphragm

of

exactly

head

must

between halves.

the

camera film meter for cues,

the

two

the

horizontal

making

with

atf.5

.6 or preferably a

the

same exposure for each half. Therefore,

be

locked, and

shutter

halves

half

the

feet firmly planted;

opening must be maintained; the

The

masks

of

the

picture.

-masks be sure

exposures. Remember

the

lower opening, and vice-versa.

the

half-masks for double exposures, use

larger

opening

S3

the

other

side

the

rigidity

must

be clean.

the

action can be synchro-

that

of

each mask is fully

to

fi

lm

(j.3.5

or

with

the

f.2.8).

the

camera

same

light

top

of

the

a

Do

A

double

exposure, showing the

not

use

a smaller opening than

exposure can be avoided

f.5.6.

by

using a filter

same

person twice

When the

or

in

light

a smaller

the picture.

is

bright,

shutter

opening.

over-

RUNNING

IF

THE

camera is loaded and

run

down

the

motor,

ee

ber (s Figure 51, using a flat

page 6) and press

remove

door

DOWN

it

the

key,

the EXPOSURE BUTTON in

way. Before running

note footage FILM

METER

after running

NOTE:

the Electric

down

When

Motor

indication

and reset

the

down

on CAMERA

it

to

the

motor

.

camera is used

Dri

ve

the

spring

THE

is desired

film cham-

PLUNGER,

then the

the

this

to

push

usual

motor,

figure

with

motor

54

MOTOR

Fig.

should be run down.

51

THERE more

are some scenes in

than

38

feet

of

film

Fig.

52

HAND

which

(the

CRANKING

the

action is

run

of

the

motor) such scenes Drive can be used must Figure

To Special, down and the turn marked mal speed, turn turns per second.

SPEED you to

formly.

the

forearm as cranking

of

such

duration

will

be required.

the

Electric

or

be

hand

cranked, as in

S2.

hand

crank

the

allow

the

with

the

EIGHT-FRAME

the

crank

in

FORWARD.

the

DIAL

at

maintain

Turn

wrist;

do

this

the

not

tends

uneven.

the

Cine-

motor

crank

SHAFT,

the

directioil

For

crank

Setting

16

will

speed uni-

hand

rotate

to

thar

For

Motor

camera

Kodak

to

run

on

nor-

two

the

help

from

entire

make

55

FILMS,

FILTERS

AND

CINE-KODAK

CINE-KoDAK truer black-and-white representation non-color-sensitive film. Cloud effects, foliage and flesh tones great

improvement, torially because their

correct tone relationship.

The

surpassing

when

used

described on page 58,

CINE-KODAK

SUPER

SENSITIVE

matic Film,

have sufficient can even be made

.

instance, the

subject

flood lamps in

sufficiently

This

slow

motion

When using Super Sensitive Panchromatic

sure

required for regular Panchromatic,

CCK-3)

ARTIFICIAL

/

PANCHROMATIC

of

either

/

PANCHROMATIC

which

illumination

the

light

will

give good exposure

the

when

film is equally good

work

with

no

change

PANCHROMATIC

while

almost every scene

this

film's

quality

in

daylight

many

of

SUPER

SAFETY

makes

it

at

night

from

two

regular

Super Sensitive Panchromatic

on dull days.

in

exposure.

light

LIGHTS

SAFETY

FILM

is sensitive

of

ability

Cine-Kodak Panchromatic

unusual effects can be obtained.

or

artificial

to

SENSITIVE

to

all colors.

the

subject's coloring

photographs

reproduce colors more nearly in

light.

PANCHROMATIC

FILM

is

much faster

possible

for regular Panchromatic

without

in

to

photograph

special

ordinary lOO-watt lamps

at

f.1.9,

fixtures

daylight,

will

Film

or

use the Cine-Kodak

than

lighting

while

three

illuminate a

Film

being

particularly

in daylight, halve the expo-

FILM

Film

With

regular Panchro-

scenes

Film

equipment.

two

or

whole

is used.

better

the

that

. Pictures

four

Color

It

gives a

than

does

show

pic-

is evident

filters,

do

not

For

feet from

Photo-

room

useful for

Filter

56

/

CINE-KODAK

CINE-KODAK and

monochrome

the

special qualities

are deemed unnecessary.

/

CINE-KODAK

KODACHROME natural pictures . . shots. well as chrome movies

pictures; and two

different kinds

KODACHROME are

in

with

this under some conditions. illumination,

front

of KODACHROME

but

it

no

filter is required, because

yellow

and the

use bulbs larly, will

produce

the

pictures

Artificial

in

used Filter Photoflood

For

in

Full

SAFETY

FILM

faithfulness.

of

KODACHROME

FILM

enables one

colors. Colored pictures are as easy

No

filters are needed for

Kodachrome

with

the

no

daylight.

film.

the

lens.

can also be used

light

of a suitable

should

arc-lamps

for

further

not

will

light

daylight,

Daylight"

illumination.

details refer

Color

movies can be made

standard

with

the

filters are necessary.

of

emulsions as described below.

FILM

(Regular)

For

general use

The

Kodachrome

the

Kodachrome

FILM

TypE A is

in

from these lamps.

Wratten

be used because

that

give

bluish

results.

be

too

and

daylight

it

is necessary

which

with

Cine-Kodak

SAFETY

is a general

"Pan,"

utility

film

It

is suggested for those occasions

Super Sensitive

SAFETY

to

make

beautiful pictures

to

make

the

making

with

lens. All 16 mm. projectors

full size and brilliancy

Kodachrome

is

the

film to use for subjects

in

daylight,

Haze

Filter

will

When

daylight.

light

blue

to

this

film is used

Filter

for

Photoflood

intended

the

film has been corrected for

Filter

which

Daylight

in

those

should

to

use

changes

the

booklet: "How Kodachrome

for

Photoflood

When

using

For

other

is recommended.

the

pictures

approaches

should

portions

not

the

will

illuminated be mixed. special

quality

Safety

FILM

of

unusually

"Pan,"

COLOR

as

of

all average

the

accessory lenses as

will

of

Film

filters are

improve

with

should

the

Photoflood

artificial

"Daylight"

be

daylight

be excluded;

When "Type A Kodachrome of

daylight

to

Make

Color

fine

grain

when

or

Kodachrome

FILM

in

black-and-white

outdoor

show

Koda-

black-and-white

is supplied

when

not

essential

the

results

Photoflood

be used

illumination,

Lamps

the

excess red

illumination,

or blue

too

blue. Simi-

in

quality

otherwise

by

daylight.

this

film is

to

that

Home

Movies

Film."

true

in

they

in

of

57

FILTERS

THE

Cine-Kodak Color Filters are for

use

with

film for black-and-white pic-

tures,

when

photographing objects, and for clearing haze photographing and similar subjects.

The

With

no

Filter.

action Filter tends to equalize the effect which

the different colors have on [he film. blue and violet rays, thus [he greens, yellows, oranges and reds time to record on

When using a Cine-Kodak Color Filter matic

with

Film

Sensitive Panchromatic Film,

CK-3

in

Filter.

their

accurate tone relationship one

With

more nearly

result is a black-and-white picture

In outdoor

li

ant

-cloud effect, and

colors

which Filter

Color

The CK-3 filter is

for clearing haze

photography

act

weakly

will

be

adva~tageous.

of

the

when

on the sensitive film, the use

haze

photographing

produces all the colors

ject in monochrome on

of

surpassing quality.

(marine or landscape) where there is a bril-

photographing

cutting

or

contrast type.

distant creasing the contrast between blue sky and other

colored objects.

The Cine-Kodak Color Filters are supplied in different kinds

that

they

will

so

fit in front Kodak Special. Some using the Cine-Kodak U7, U9

or

Ul2

mount, one filter can

of

Universal Filter Holder and the CK-3 filter

of

the various lenses used on the Cine-

the filter mounts are not interchangeable,

be

made

distant landscapes

of

the

Cine-Kodak Color

It

retards

Cine-Kodak Panchro-

or

Cine-Kodak Super

to

all objects

of

landscapes; and for in-

white

clouds, and between

to

serve

with

colored

when

the

blue-green,

allowing

the

film.

it

re-

of

the

sub-

the

screen,

the

other. The

that

include

the Cine-Kodak

It

is to be used

of

mounts

but

by

in

the

many

lenses.

I'

58

Exposure

Factors

for

Cine·Koclak

Color

Filter (CK·3)

in

Daylight

Factor Cine-Kodak Panchromatic Cine-Kodak Super Sensitive Panchromatic

A factor A factor

NO

no filter is guide on the front film and

IMPORT

dust

U7

lenses), Telephoto lens.

U9-CK-3 is for

(j.2.7) lenses.

UlO-CK-3 is for

U12-CK-3 is for the Cine-Kodak Universal

4-inch (f.2.7 ) lens.

W-CK-3 is for Cine-Kodak Universal

2-inch (j.3.S), 2Yz-inch (j.2.7), 3-inch and 4Yz-inch lenses and requires either

Red and green cemented W

(. and

A shielding tube

U9

Film

of

2 means using the

of

4 means using

TE:

The

basic exposure for Super Sensitive Panchromatic Film

the

of

the

CK-3 Filter, simply follow the exposure guide.

ANT:

or

finger marks, using a clean, lintless cloth.

Keep the Color Filters clean. Carefully wipe off any

Cine·Koclak

usecl

on

-CK-3 is for the Cine-Kodak Universal Filter Holder (used on various the

IS mm. (j.2 .7) Wide-Anglelens, and for the 6-inch

the

Cine-Kodak Universal

lens, the 4Yz-inch

the

2-inch (j.3 .S) lens and 3-inch

the

I-inch

(j.1.9)

Filter

other

colors, are available on special order.

which

can be screwed

Filter

is available

as

an accessory.

diaphragm

the

second larger diaphragm opening.

than

is indicated by the exposure

Cine-Kodak Special. Therefore,

Color

Filters

for

Lenses

opening.

the Cine·Koclak Special

Filter

Holder, the 2

(jA.S)

Holder

the

rat

and the 6-inch

lens.

may

be used on

Filter

(jA.S)

Holder

the

Telephoto lens.

I-inch

(jA.S

U7, U9, or the U12 filter only. ten Filters, such

into

As

this

the

tube is

as

the A and

front

of the

the U7

and for

) Telephoto

same

4

2

with

this

(jA.S)

Yz-

inch

Telephoto

the

(j.1.9),

the

X-I,

or

the

as

the

59

lens

hood

to

obtain

the

lens Filter, lenses fit

on

another

hood

and

the

6-inch

one

if

of

the

4-inch

the

lens hoods of the

UIO Filter.

(j.4.S)

the 6-in

(j.2.7)

Telephoto

ch

Kodak

2U-inch

lens,

it

will

not

be necessary

lens has been purchased . Similarly,

Anastigmat

(j.2.7)

and

Lens fits

4U-inch

the

Ul2

(j.4.S)

KODACHROME

A full description

in

the booklet:

Kodak

Kodachrome Safety Color

"How

of

the to

filters for use

Make

Home Movies in Full Color

Film."

ARTIFICIAL

ORDINARY

subject, pictures can be made Panchromatic

PHOTO

life of

life of six hours, and gives twice

Lamps will illuminate a medium sized room sufficiently Super Sensitive exposur.e tables on page 77 .

KODAFLECTORS:

Lamps. Especially suitable for home movies.

instructio

unit

consists reflectors the

No.2

obtain

6S

cents.

MAZDA

Film. Follow

FLOOD

two

hours on a

Panchrom

ns

and exposure tables accompanying the Kodaflector. One

of

a folding, adjustable

with

sockets and cords,

Photoflood Lamps in

Kodaflector Adapters for

See

exposure tables on page 77.

LAMPS

LAMPS:

llS-volt

atic Film and

High-efficiency reflectors on stands for Photoflood

: When several are used close to

at

f.l.9,

exposure table on page

The

No.1

line; the

the

without

the

No.2

FIL

TERS

with

Kodachrome

LIGHTS

f.2.8

or f.3.S on Super Sensitive

79.

Photoflood

No.2

illumination. Three or four

with

stand

with

lamps, price

Kodaflectors

Photoflood Lamps, per pair,

Lamp

Lamp is larger,

a lens used

Follow

swivel

it

tOp,

$S.oo.

will

Film

is given

with

Cine-

has a rated

it

has a

No.1

when

using

at

f.l.9.

the complete

two

special

If

using

be necessary

the

See

to

60

SPECIAL

EFFECTS

AND

THE

many flexible effects are needed

desired

capable

can produce is cannot different combinations of is with

on a image recorded.

you have

wind back, run

scribed on page 54.

useful

By slowly disappear from a scene, ing

I,

"Fade-out" on (page 47) and remove the same scene,

instrument

About

subjects.

to

bring

you and

Important;

rigid

Be

sure

The

individual frame counter described on page when

DISSOL

MEANS

as

before.

To

make such a

TRICKS

unique features

for to

to

make

your

of

the

most varied and exacting tasks.

the only

hope

to

inadvertently

limit

the

limit

to

describe

The

main purpose

your

mind

that

have never been filmed before.

In

all

multiple

tripod

to

have

the

down

photographing

VING-OUT

of

the

dissolve,

shot,

the

scene (page 45). Wind

but

without

of

the Cine-K

the

production

convey ideas and impressions

films

outstanding,

on

the

of

the

great

of

the

Special's features plus various selections

of

other

ideas; feats

exposure

insure accurate registration

shutter

wound

the

motor

closed

many

OBJECTS

it

is possible to have an object or person

but

photograph

the

object from the camera field.

the

odak

Special make

of

unusual films.

this camera

variety user's

up

of

motion

imagination

number

the

with

of

feats made possible by

effects and tricks described below

that

will

work

the

when

the

film is

motor

and find

film chamber removed,

these special effects and tricks.

Whether

or

trick shots are

will

pictures this camera

and ingenuity. We

be

new

camera must be locked

of

each successive

wound that

50

will

be found very

WITHIN A SCENE

with

the

rest

of

the

setting

the

scene

with

the

object present.

the

film back

object.

as

for a dissolve

"Fade-in"

it a most

special

prove itself

and

origina

back.

you

cannot

as

de-

remain-

l

If

on

61

The

reverse is also easily done;

appear against a

For

these shots,

THE

procedure for

constant

the

camera must

making

transparent is very simple.

scene

without the subject present, then

Double exposure,

and changing

the

in number ing and

preceding paragraph. Thus,

of

three times for this scene (

through

the

solid subject can be either the same person appearing twice

on the film or

"Ghost"

the

half-masks,

this type

two

different people.

of

that

is,

to

have some object slowly

background.

not

be

moved.

GHOSTS

a picture of, say, a person

It

is only necessary to

wind

back and

scene

With ings the normal exposure must be

halved.

If

one person is .. solid" and the other half-masks

The

to contain the

should

effect. the normal way,

exposure . After

photograph

the

film

wound

shot,

it

can

be

readily seen

who

with the subject present.

each

a scene is

transparent, the vertical

half

of

be

other

will

be

back twice).

appears to

photograph

rephotograph

of

the

two

wanted

will

the picture

"solid"

be

where

needed.

that

subject

photographed

with

normaI

winding

half

as

described

exposed a

In

think

that

the

ghost

be

the the

film-

is

in

back total

-

CUT-AWAY

or

"X-Ray"

mechanical pictures.

parts can

be

graphically illustrated much more effectively

even be demonstrated

Two

techniques are useful for cut-away

binations

of

the

two

CUT-AWAY

VIEWS

views are particularly useful for industrial and

With

this technique, locations and

workings of

than

with

actual models

techniques often can be used

62

or

drawings.

motion

pictures. Also comto

advantage.

can

A cut-away or

"X-Ray"

view

of

the Cine-Kodak Special.

The first

DISSOLVING-OUT OBJECTS

method

is

to

adopt

the

routine previously described under

WITHIN

A SCENE.

With

this technique the following scene could be made: A finished product appears on the screen; housing; parts; some construction graph housing;

the

outer

the

mechanism housing fades

of

the

working

of

other

working

the

finished product; fade

"fade

-in " and

housing fades

parts fade

parts.

out;

photograph

away

showing

away

showing

away

to emphasize

To

make such a scene, first

wind

back and remove the outer

the product

the

without

mechanism

the

working

the

design and

the

photo-

outer

housing; etc., etc.

The second method is

that

of

following

63

the

procedure for

making

GHOST

pictures. In chanical parts parent To the other importam

fade

the tion-such articles are

objects,

attain

same

subdued

By

combining

to

transparent

Other

comems

this

strip

parts

applications

- such as candy, food, cigars; as tires, cables, concealed-such

such

of

the

product

while

the

effect,

the

scene

of

film,

giving

parts

are presem and

are finally

the

dissolving-out and

parts

.

of

cut-aways are: first

a scene

parts

the

would

be

to

be emphasized

must

be

less exposure

giving

photographed.

wood;

to

as bonds

housings

presem

and

in

photographed

when

more exposure

ghost

methods,

to

show

to

demonstrate

indicate

in

a safe,

in

or

unimportam

the

picture as trans-

would

appear

successively on

the

housings

when

solid

the

package, then

ply

photoplays

hidden jewels.

me-

solid.

and

the

parts

can

construc-

where

THE

types

of

double

Half-masks enable

same scene. By

group

ture, a made

to

vanish

of

side

zontal into body

the

Many

weird

half-masks.

the

lower

by

panoraming

Double exposure, using

having a narrow

of

people

into

field

to

and mysterious effects can be

part

DOUBLE

exposures

you

to

or

thin

the

other,

The

tower

of

the

EXPOSURE

you

can

have

human

tree

a vehicle can

air,

simply

thus

crossing

of a building

building

camera

circle mask.

or

upward

64

make

are

and

animated

or

post

hide

behind

by

having

the

can be made

a person's

while

almost

in

dividing

obtained

head the

without

subjects

the

center

it. A person can

him

walk

line.

with

to

telescope

upper

half exposed. A person's legs can be made him, trunk filming

to

run

lea

ving

floating

the

top

his amazed

in

half subject first and him

move

until

of

the under away

second

way,

to supply

half

when

away-legs effect.

limit.

in

of

the

from one

the

telescope

into is being

away

mid-air

of

not

letting

the

filming

is

he

will

the

pic-

be

hori-

the

from

by

the

well

run

run-

MULTIPLE

THE

winding-back Cine-Kodak Special permits obtaining by exposing two

or

more times. impossible possibilities the

more easily made stunts are:

EXPOSURE

of a wide

the

same

to

enumerate all

in

this

feature

range

strip

of

effects

While

field, a few

the the

film

it

the

is

of

A person can appear in a scene

of

any number are used,

times.

but a black must be employed than

one

image'

'piling

of

the

section

scene.

People can be dwarfed

No

background

to

prevent more

up"

by

masks

on any

using

black backgrounds. A man could

to

stand

a

pack

larg

the

camera

the

black

shot,

front

the

reflex

of

er

film

with

man.

to

it

of

the

that

appear cigarets and than

Tom

Thumb,

exposed once

to

the

close

cigarets and again

the camera far

it

Since

is difficult backgrounds fill

the

field for

good

alternative

of

black paper

about

one

or

the

camera lens.

finder,

hole the

it

is

of

paper

can be seen

the

will

look

no

with

the

away

from

to

obtain

of

sufficient size

the

latter

is

to

place a piece

with

a hole cut in

two

feet

in

Byusing

whether

correct size so

overlap the black

background behind the subject.

a

Double exposure, showing

telescoping into the building.

tower

65

Same person

appearing

three

times in picture.

Multiple person clwarfecl on with flowers.

exposure,

showing

table

Photo-

montage

effect.

66

It

is often desired

istic and

and

taking

which

the

mately

one

of

the

them

photo-montage

the

first scene was made. Care should be taken

same exposures

.

to

superimpose

effects.

following scene

to

two

or

more scenes for impression-

This

is done simply

or

scenes on

the

each scene, unless

by

same

it

is desired

winding

strip

of

to

give approxi-

to

film on

subdue

ANIMATION

ONE

of

the

most

absorbing fields

... the

tion with

life. You

their

own

Or

you

ties

of

a playlet

To expose amount you move action on desired; for instance, devote sixteen frames

cinematographic technique

may

wish

to

game and books, ash trays, etc. roam around over a table top.

may

be sufficiently fascinated by

animation

with

to

try

your

jointed dolls for actors.

animate a subject, expose a single frame, move

another

the

screen.

frame, move

the

subject each time determines

It

is necessary

if

you

to

that

In jointed doll animation, much can be learned from studying single

Double exposure, including a living and an

animated

dott.

of

try

the

hand

at

the

subject a

want

a doll

movement.

subject

the

Cine-Kodak Special is anima-

of

endowing

simpler type

the

almost limitless possibili-

the

more complicated type, say

little

to

decide on

to

raise its

inanimate

where

chess men play

the

subject a

more, and so on.

the

speed

the

approximate speed

arm

in one second,

frames from films have made subjects.

Other

of

animation

ma ted

that

applications

ti

tles ; graphs

draw machines manufactured products

that

assemble themselves; following course with

of

an

animated

on a map, etc.,

objects

of

are: Ani-

themselves;

and

auto

etc

back

of

bit,

The

of

the

you

living

other

the

tour

line

.

67

JUST

as action can be slowed

SPEEDED

ACTION

down

by increasing the number exposed in a given time, so can action be speeded exposure frequency by using the one frame every 10 length rapidly about

in a very few seconds. Beautiful cloud studies,

across

one every second,

or

15

seconds, a

the

sky, can be made

as

can comically speeded up pictures

SINGLE

FRAME

cigaret

will

by

exposing frames

and traffic scenes.

THE

so-called screen effect wipe

off the scene,

While

printing

that

scenes the field must be blocked off

film is then

"wipe"

is

that

is a type

of

a line passing across

leaving

a new scene in its wake.

in professional movies

process,

it

can be done in

contail1 no action, such

bit

wound

back and the

of

transition

this

is produced by a

the

as

titles, etc.

by

bit

as

single frames are exposed.

the

screen

Cine-Kodak Special between

are made .

method

A

table

the

table surface between

the table

Attach

a size placed vertically of

the

marked distance from the camera) picture area. of

the

Photograph

stopped for single frame

for accomplishing

with

a piece

of

fine ruled paper

the

with

tacks

or

adhesive tape.

a piece

as

to

obstruct

of

dull black paper

completely the camera field

about

one foot in

reflex finder, determine

The

block

is

picture

at

the end

to

the

work,

other.

subject in

of

the

and

this

is

to

have

the

(such

as

graph

camera and subject.

to

a block,

front

of

the

f.1.9 lens.

the

points

that

to

be drawn, square by square, from one side

the

usual manner. When

on

represent the

scene, make necessary exposure adjustments

draw

the

block

across the camera field one

up

by

decreasing the

RELEASE.

appear

to

where

at

burn

clouds rush

the

between scenes.

which

rather

To

produce a

camera

paper)

Attach

the

paper being

when

appears

complicated

as

single frames

mounted

laid

the

With

the

graph

paper

two

sides

the

camera

of

frames

Making

its

rate

of

street

"wipe"

The

on a

flat on

paper

of

such

block

the

(at

of

full

of

The

to

is

aid

a

the

is

68

square one frame, frame, and so

of

the

graph

another

on

paper, expose

square,

until

the

field is completely blocked.

Count

the

number ersed, close film means This camera from

With

same

paper, and a

fore

the

as

just

the

new

the

back

that

of

the

ONE-FRAME

necessitates

the

camera returned

position

in

new

camera, place

to

cover

scene a frame, and so entirely cleared. block in phases

upon in scene.

of

The

speed

the

blocking

From

the

same direction for

the

"wipe."

of

number

off 20

of

squares

shutter

number

the

and

of

removal

table.

relation

scene

to

or

the

field. Uncover

by

one square, expose

on

until

the

Be

sure

to

the

"wipe"

of

frames consumed

or

unblocking

to

40

frames

pleasing transi tion.

another

camera

trav-

wind

frames

SHAFT.

of

to

the

graph

title

block

scene is

move

depends

make

the

by

the

be-

so

the

both

the

a

An

example

r.

of a "wipe,"

carel anel a

using a

photographic

title

print.

69

CARE

OF

THE

CINE-KODAK

CLEANING

FOR

satisfactory results, removed and the APERTURE PLATE, GUIDE and PRESSURE PLATE cleaned frequently.

PRESSURE

APERTURE

HANDLE

lint

gate. Do

edge opposite TURE PLATE.

'

ARM

PLATE

Fig.

53

around the edge

Use great care

When replacing the

not

scrape

to

the

Be

the

of

the rectangular aperture .

to

scratch the polished surface

the

tracks

PRESSURE PLATE, the

HANDLE

sure the PRESSURE PLATE

SPECIAL

THE

GA

TE

PRESSURE PLATE (Figure 53) must

To remove the PRESSURE PLATE,

push

the

PRESSURE and lift the PRESSURE PLATE by the HANDLE.

Black backing from the on the PRESSURE PLATE. Remove rubbing Backing and emulsion can from the APERTURE PLATE and rubbing clean

bon tetrachloride, gasoline, ular brand use alcohol.) Also remove any dust or

with

must fit over the

two

polished tracks

with

the

two

with

a match covered

cloth

that

of

dry cleaning fluid. (

a metallic object.

ARM

to

film collects

ball

of

the

be

polished tracks

GUIDE

has been dipped

or

of

the

tracks

two

small slots on

two

pins on the APER-

is

seated properly.

the

right

of this thumb

removed

of

with

in

any

Do

of

be

the

by

the

by

car-

pop-

not

the

.

a

70

CLEANING

IT

IS impossible to obtain

kept

is

intervals. an ocean voyage

or surface generally furnishes

Lens

ful to the glass,

lenses are cemented.

critically clean.

The front and rear surfaces

It

is especially

or

To

clean

the

'lens, wipe the surfaces gently

with

a soft, washed linen

Cleaner.

Other

to

sharp

when

liquids may contain ingredients

the black lacquer

THE

LENSES

pictures

of important using

the

or

sufficient moisture,

of

good contrast unless the lens

the lens should

to clean

camera

cotton

cloth. Breathing on the glass

or

be

cleaned

the

lens during and after

at

the seashore.

with

lens cleaning tissue

but

the balsam

at

frequent

if

not, use Kodak

that

will

be harm-

with

which

the

CLEANING

KE

EP

the

top surface

when focusing accurately

If

dust collects on the ground glass

magnifier

the dust,

carefully wipe

with light pressure.

To reach the mirror and the under surface

move the lens from the turret .

to

the

wrap

of

right

a small, clean, lintless

the

top

OILING

NEV

ER oil the camera with any lubricant other than Cine-Kodak Oil, otherwise

high-speed and cold

of

bottle Kodak Special.

Oil

every six

that

To oil the camera, place

(Figure 54, page 72).

this oil

the

Cine-Kodak Special after every fifty, lOO-foot rolls

months

time.

weather

with

if less

THE

REFLEX

the magnifier

with

and

blow

surface

a wire applicator is furnished

of

operation will be seriously impaired . A

than

fifty rolls are run

it

on its side

Apply

very

the

reflex finder .

on the glass.

cloth

the ground glass. Do

THE

CAMERA

with

the

oil

with

71

FINDER

clean, this is most

of

the

reflex finder, slide the

If

this

around a

of

the ground glass, re-

through

the control plate facing up

the

wire attached

does

not

match

this

very

with

each Cine-

the camera in

important

remove

stick and

gently,

of

film,

or

to

the

cork, just touching

of

the

sides stop

it

bearing surfaces. Wipe off excess oil.

Next, 55, page 73, chamber facing excess oil, particularly film

will

cedure for

Finally, remove the surface indicated. Run camera Figure 56, page 73, SURE BUTTON is pushed in.] Wipe off excess oil and replace film chamber.

shafts. After applying, run

successively several times

oil the inside

with

cause spots in

both

shown

will

run

the

points indicated so

to

Fig.

54

of

the

film chamber

the

camera again on its side

up.

Run

the

camera

at

those points near

the

developed image.

the

IOO-foot and 2oo-foot film chambers.

the

film chamber and lay

in Figure 56, page 73, is face

the

with

camera

the

is

intermittently

chamber removed only

depressed (using a house key) and

intermittently

allow

at

that

the

camera

the

but

as

a drop runs

oil

to

points

with

as

film track,

Follow

camera

up,

and oil

described above. [The

when

down

the

at

speed 16 and

spread over

shown

the

opened film

before. Wipe off

as

this same pro-

part

flat so

the

PLUNGER,

the

in Figure

oil on the

that

the

points

EXPO-

72

I

./

OIL

Fig.

55

OIL

56

73

TITLE

You

will films. We can wish

to

film

with

film

in

the

If

titles are

order

if

the

When ordering titles for

tion

it

in

that

will

tional

charge.

see

description below and on page 75.

Cine-Kodak Titles and Canada, The

special Kodachrome Titles are obtainable

CARD

and are made

SCROLL

spectators

TITLES: These titles (for black-and-white pictures

base for Kodachrome-pictures) are

twenty-five cents per title.

planatory moves

slowly

pause is allowed. for

until

the

A Scroll

with

more

The

minimum charge for a Scroll

S E

RYICE

probably

insert in

the

proper places.

films are originals

your

harmonize

TITLES:

titles so often needed

to

end

Title

than

want

make

the

titles for you. Simply

your

film and send

titles

printed

to

be used

order,

as

titles are supplied

with

For

the

best results, order the special Kodachrome Titles,

(card

at

Rochester, Chicago, San Francisco and

at

the

rate

The

Scroll

and evenly

the

first

read

the

start

of

the

title

is

may

have

33

words

titles describing

on

it

which

with

black-and-white films, specify in

or

duplicates.

use

with

the average Kodachrome scene,

or scroll) are obtainable in

limited

of

three cents a

The

minimum charge for an order is $1.00.

Title

is ideally suited for those longer ex-

at

the beginning

upward

are made

on

line-one

of

the

title.

reached.

as

many words as

Title

the

different scenes in

write

out

the

list

to

us. We

you

can

then

Kodachrome Film, be sure

with

a base of

at

Rochester, only.

to approximately

word

of

the

screen.

second for each

It

then

moves

you

at

the

rate

of

is $1.00.

will

splice

standard

at

the

United

Toronto,

or

with a minimum

a reel.

At

The

the

start a slight

word

- for

slowly

wish. Scroll Titles three cents a word.

your

titles

you

send you

into

your

to

men-

tint

no addi-

States

only.

on

tinted

35

words,

wording

your

upward,

of

THESE

special titles are printed

background

with

KODACHROME

with

a conventional scroll design

74

TITLES

black letters on a

at

the

brilliant

top

and

red

bottom

of

the title.

tifully

Kodachrome Titles are limited made sixty

cents per title.

Kodachrome Titles are obtainable

cannot be made in

They

are made on Kodachrome

with

Kodachrome pictures.

at

the

rate

of

seven and one-half cents a

the

Film

and harmonize beau-

to

approximately

The

minimum charge for an order is $1.00.

at

Rochester, N. Y., only .

word

30

with

form of Scroll Titles.

words;

they

a minimum of

They

are

DUPLICATES

i'

WHILE

Cine-Kodak duplicates are indistinguishable in You

come damaged from any cause. send

cannot be duplicated in color, duplicates

foot. Orders for less

in

If

photography"

may

have

you

want

as

duplicates

an original is always better

many

duplicates made

of

any film

promptly as possible, and before

the

original film

of

you

it

diately after

Prices for duplicates:

to

us

together

have projeCted

can be supplied.

77

to

100 feet, $5.00; 100 feet

than

77

feet, $.06;.{ per foot; minimum charge,

which

the

original has

The

best

with

it

the

although

than a duplicate,"

quality

of

your film

you make, send

had

way

to

order duplicates

your

order for

first time. Kodachrome Film

satisfactory black-and-white

$3.25.

Duplicates are obtainable in the

ester, Chicago, San Francisco and

WE

CAN

make copies jects, provided film.

Length

COPIES

they

of

film required for each picture

OF

of

any pictures, drawings, maps and similar sub-

are

not

copyrighted, on amateur

ten seconds; an additional charge picture from Vest inches can be copied.

Pocket

The

Kodak

"STILL

will

price

United

Toronto,

States and Canada,

only.

IJ

PICTURES

standard

is

four feet,

be made for greater lengths. Any

size

C1~

x 2;.{ inches) to

of

a black-and-white copy is fifty

cents, Kodachrome copy $1.00, minimum order $1.00.

Copies are obtainable

in

the

United States

at

Rochester only.

from originals.

as

you

wish. it

to

a chance

them

or

more, $.05 per

at

(16 mm

enough

11

us

as

to

be-

is

to

imme-

Roch-

to run

x 14

.)

EASTMAN KODAK COMPANY,

ROCHESTER,

75

NEW

YORK

.

EXPOSURE

TABLES

Outdoor Exposure Guide

at

OPEN,

With

Cine-Kodak

or use the Cine-Kod

With

Cine-Kodak Kodachrome Film use

I

Brilliant

*

Interior

s

Dark

or in Extremely [loor

Deep Shade Very

or in Shade

Dull

Open Shade

Slightly

Cloudy

Direct

Sunlight

Intensely

Bright

"Special directions for This guide is for

earlier or later, use a

The" lighted subjects; for example, sea and beach views, distant landscapes, and tropical scenes in brilliant sunlight.

With

can

be

light

conditions described for the

and

Camera Speed

Deep

Dull

Cloudy days Shade

or in

Sky comhletely overcast, but good

Open S ade Sun

Also for clear days when only part of subject is in sunlight.

Full sunlight,

Unusuall y brilliant sunlight

Intensely Br

the

largest opening of the 3-inch,

made under

using

SlIper

Sensitive Film

ak

Color Filter (CK-3)

Subject near window.

Shade-Dense

with

- Average shaded scenes.

- Subject lighted by a large area of sky.

just obscured, soft shadows cast.

taking

the

hours from

larg

er

diaphragm opening .

ight

" classification should

light

conditions described for the j.3.5 diaphragm opening.

8.

for

Camera

Speed

Cine-Kodak Panchromatic

use

the next smaller opening

with

no change in

the

exposure table included

dull days.

Du

Brigh t days.

light

.

forests, shaded porches, etc.

poor light.

light.

distin ct shadows cast.

without

large shaded areas.

interiors

at

night

two

hours after sunrise until

4:~1-inch

/.2

.8

diaphragm opening, use the lens wide open (f.4.5)

are given on pages

be

used only for extremely brilliantly

or 6-inch j.4.5 Telephoto Lens, pictures

16

and Shutter

Film

the

Very

(higher

diaphragm opening.

with

ll days.

77

to 79.

two

hours before sunset;

number),

it.

/'1

·9

Speed

j

.I·9

j.2.8

j.

2.8

j·

3·5

/.5

.

j.

8

/.

II

j.16

With

8

6

the

76

Incloor

Exposure

Shutter

No. 1 PHOTOFLOOD

at

OPEN,

Guicles

using

with

Camera

Speecl

KODAFLECTORS with

LAMPS

t

16

Exposure Table for Cine-Kodak Super Sensitive Panchromatic

Diaphragm

Opening

Number

of

Lamps

and Distance

between

Lamps

and Subject

For pictures around

reflectors.

f.1.9

1

at

10

feet 1

at

14

feet 2

2

the

3 4

room,

/.2.8

at

7 feet 1

at

10 feet 2

at

12

feet 3

at

14 feet 4

use

f.1.9 and 3 or 4

/.3

.5

5),-2

feet

at at

8 feet

at

10 feet

at

12 feet 4

f.5.6 f.8

*1

at

3),-2

2

at

5 feet

3

at

6),-2

at

8

No.1 Photo

feet

feet feet

flood Lamps wit

ancl

*1 *2

3 4

at at at at

Film

2

3),-2

4),-2 5

feet feet

feet

ee

t

f hout

Exposure Table

Diaphragm Opening f.1.9 f.2.8

Number of

Lamps

.and Dis tance

between Lamps

and Subject

·Use

only

for"

reflectors will

tNo.

2 Photoflood Lamps should

Photo

flood Lamps are obtained;

the tables.

NOTE: Do

Lamps on a single fused circuit.

close-ups." Camera should

not

be included in the picture.

not

use more

The distances and f. values in

illumination

obtained

----

for

regular Cine- K

1

at

6 feet 1

at

2

9 feet

at

11

feet 3

3

at

13

feet 4

4

with

than

five

If

at

no volts:

2

--

not

be used unless Kodaflector Adapters for

these adapters use

No.1

Photoflood Lamps or three

more are required, be sure to use different circuits.

the

These tables are for portrai ts and

colored interiors

without

people, use the next larger

lng.

odak

Panchromatic Fi

/.3.5

at

4 feet

at

6 feet 2

at

8 feet

at

9 feet 4

be

*1

at

3%

feet

at

4),-2

feet feet

at

6

3

at

7 feet 4

two

to

four feet from subject so

half

as

many lamps

No.2

above tables are based on

ligh

t-colored interiors.

diaphragm

77

*2.

3

lm

/.5.6

at

3 feet

at

4

at

4),-2

as

shown in

Photo

For

feet feet

that

No.2

flood

the

darkopen-

\

.<

Where

that

reflectors

the

two

or lamps is

directed on

more lamps are given in these tables,

should

be placed so

the

same area.

ARRANGEMENT

Pleasing results can be obtained by using tables on pages 77, and 79, on than

the

subject. picture results; mov creases subject. lamp and

the

contrast

To

must be used.

at

camera

most pleasing

When

ing

but

illuminate

This

height

. By mov

amount

the

leav

served.

nd

Considerable life a lighting lighted light

the

subject.

subject,

used for Kodaflector close and

slightl

y behind

with

backlighting

sparkle can be

This

the

to

the

subject is suitable .

the camera lens, place some object between camera.

Neither

backlighting

the

lamp

should

used for

be included in

Full instructions are included with ea

but

one side

the

lights

are close

lights

farther

es

heavy

shadows

these shadows a

lamp

should

ing

it

toward

of

shadow

will

give a pleasing result

main

lights

must

be intense, one Photoflood in a

subject.

To

shadow

illumination

the

that

the

light

OF

LIGHTS

the

lamps, indicated in

of

and

somewhat

to

the

camera axis a

to

one side of-

on

the

white

reflector

be placed near

and

away

illumination

put

into

near

the

It

prevent

the

backlighting

can be easily ob-

the pictures

camera axis. Since

should

light

from

nor the one used for

lamps specified in

ch

Kodaflector.

it

is understood

from all

of

the

higher

"flat"

the

axis in-

other

side

of

the

or

auxiliary

the

camera axis

from

the

subject

by

back-

with a "flat

the

be placed above

striking

lamp

the

and

tables.

the the

"

78

(!

Indoor Exposure Guide with

at

OPEN, with Cine-Kodak Super Sensitive Panchromatic

Film

and using ordinary

These exposures are for

Halve

Total

This

colored

opell1ng.

the

illumination

Wattage

Lamps

200 300 500

1000

400 600 800

1200

550 800

1200

table

interiors

at at at at

at at at

is for

without

the

at

and

Distance

to

Subject

275 feet 3 feet 4 feet 6 feet

275 feet 3 feet 375 feet 475 feet

2 feet 275 feet 3 feet

portraits

Camera

MAZDA

Cine-Kodak

speed

8.

from

or

or or or

or or

and

light-colored

people, use

Speed

16

and Shutter

LAMPS without Reflectors.

Special

the

operated

Diaphragm

f.1.9

f.2.8

f.3.5

interiors.

at

Opening

diaphragm

speed

For

I6.

dark-

79

00

o

Fielcl

Sizes

for

Interchangeable Cine-Koclak

Distance 15

from

subject Wide-Angle Anastigmat

to

front

of

camera

~

-5-0

-1-

25

--1512 10

8

-6 -1 5 I 31 I

4t I I I I I I I 9i I I

~

-4

- 1- 21 5 I

~

-3

- 1- 11 9 I 11 4 11 1 1

~

-2

-1-

~ ~

-1

-1- I 7 I I

=./.2.7

Lens

WidthlHeight Width

ft

. I in. 1

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I 191 1141 2 151 2

I I I 18111 114 I I I I 91 5 I 71 1 41 9 I 1-

9 I 2 I 61

I I I I I I I 21 3 I 11 8 I I I 1 I 5 I 1 I 1 1 I 1 I n 1 I I I I 319 I 21 I 41

10

- 31 7 I 21 8

I I I I I I I I I I I I I I I I 3 I I I I I I I I I I I

I I I I I 17

11 6 I 11 1 I I I 5 I I

I I I I I I H I 13t I I I I I I I I I I I

11 2 I 1

1

10tl

1

91 16t

T10

I

5'1

-I

-9 I fit I I

-I

-8 I 411 I 3t I I I I I I I I I I I I I I I I I I

-7

14113 I I I I I I I I I I I I I I I I I I

-I I

6 I 3

t1

I-inch

/.1.9

2-in

ch /

.3.5 2Yz

-in

ch /.2.7

Anastigm

Lens

th

I Height

ft. I in.

I f

111

1_

716 I 5 I 8 6 I 4 I 4 1 8 4 I 8 I 3 I 6

9 I 2 I 9 3 I 1 I 2 I 4 2 I 4 I 1 I 9 2 I 1 I 1 I 6 1 I 6 I 1 I 2

10 110t

I I 8 I 8t I I 6 6

8t

I I

7t

I I I I 6 I I 4t

6t I 6'1

1 I

3'1

I 4 I I 3 I I I I I I I I

I1

I He

. 1ft. I

ight

in. ft. I

Anastigmat

WidtblHeight Wid

in. I ft. I in.

Lens Lens

ft. I in. ft. I in

1 2 916 171

10

51 8 I 41 3 21

1317

21

3 I I I I

11 9 11 6 11

10 1110

31

1213 116 1 11 1 1121 1

21

3 I 11 8 11 1 I 1

1 I

10

I 9 I

6t I I I I I 12 I I I I I I I I I I I I I I I I I

I I I I I I I I I I I I I I I I I I I I I I I I I I I I I ' I I I I I I I I I I I I I I I I I I I I I I I I

1 I

18

5t 4!

3'1

31 6 31

10

I 21 1 21 2 I 1 I 8 1 1 I 11 5 11 5 I 1 I 1 1 I 2 I 110'1

lOt

I I 8 I

8t

I I

tl

15l I I I I I I I I I I I

I 6t l I H I 5 I I 3

I I I I 3 I I 2: I I I I I I I I I

3-inch

at

/.4.5

Telephoto Anastigmat

Lens

Width I Height

Width

t. I in. ft. I in. I ft. I in. ft. I in.

I 4

12

I 7 I 9 I 5 9 I 5 I 7 I 8 I 4 I 6 I 3 6 I 3 I 4 I 8

10

10 Ill

i l 181

6t

I 61 I I 5 5 I

5}

I 5t I I 4 I I I I I I I IHI

'1

I I I I I I I I

19

I 1 I 4 1 I

13t I I I I ! I

I It I I I I I I I I I

I 2} I I I I I I I I I I I I I I I I I I

The above

figures are

based

on a projector aperture .380 in.

Lenses

4-inch /.2.7

Le

ns

I Height I f

I 1

4! II!

111

I 8t I

811

t1

4t

I

by

4Yz-inch

Telephoto

Lens

Width I Height

t. I in.

ft.

I i

n. I ft. I in.

14

I ~ 16 110 112

_4_1~

1 I 2 I 1

11

t I I

9t

6t 17i1

4i I 5t I I 4 I I I

3'1

I 4t I I 3 I I I

3 ~

I I I I I I

tl ! 2t

.284 in.

I I 7 I

/

04.5

6-inch

Telephoto

Lens

Width I Height

ft.

I

in. I ft. I in.

25

I 3 1

I 7

12

I 7 I 9 I 5

3 I 1 12 I 4

10,! I lO

t I I

8t

I

8~

6'1

15t I I I

I I I .

/

04.5

19

I

I I I I 5

7'1 6t

(I

ELECTRIC

FOR

TONG,

L speed range

spring

Motor

"Special's"

DETAILS:

THE

GEAR

SHIFT

continuous

...

these are some

Drive valuable

versatility

Universal motor, D. constant speeds brated adjusting knob permit quick setting on any speed ftom r to second. Large, sturdy base equipped

sional tripods.

acting, positive coupling between gear box and "Special. ·· Outfit includes foot cord, small wrench, and instructions

To provide remote control, a switch additional extension

gear boxes for different speed ranges available on special order.

MOTOR

/

CINE-KODAK

runs

of

an entire roll

down

to

one frame per second . . .

of

the

to

advanced cinematographers. All of

is retained except single frame exposure.

C.

or '-)

to

through

Motor

directly connected

with

a line voltage range of

switch can be used . Motors for

60 cycle A. C. Electric governor maintains

DRIVE

SPECIAL

SET SPEED

features

with

tripod socket for r6 mm. or profes-

to

with

can

be

DIAL

AT

LOCATING

of

film

if

no

that

make

lOO

to

IL)

. Gear shift and cali-

gears, which run in oil. Smooth-

artificial

added

light

to

the extension cord or an

64

TY

ARM

STUD

desired

...

winding

the

Electric

64

frames per

exposure tables.

other

voltages and

of

full

the

lO

EASTMAN

KODAK

COMPANY/

81

Rochester,

New

York

LENS

EXTENSION

TUBE

HIS outfit is useful for extremely close work,

It

eliminates the necessity for expensive lenses wi

T

Four threaded aluminum alloy tubes, u

field si

zes

shown in the following table:

Width

0/

Lens

I-inch f.1.9 2-inch

2Y2

-inch f.2.7 3-inch 4-inch f.2

4

Y2-

inch f.4.5

6-inch

,

/.3.5 /.4.5

f.4.5

.7

Field in Inch

:

942

to

.047

to .108

1.880

2.34 to

2.

3.75 to .216

4.240 to .243

5.600 to .324

820

.141

to .162

OUTFIT

se

d together or separately, provide the range of

es

AUXILIARY

larger the lefe . They can mount; Universal Filter Holder is the most venient combination.

CINE-KODAK UNIVERSAL

U1

WITH

This combination simplifies the line of filter mounts since inch lenses. The lens and extra or the hood from a 6-inch lens can be used.

of Filters, gelatin cemented between of optical glass, such green

15

hooding can be purchased

For most purposes the

colored optical glass, is sufficient. Wratten

X-I are available on special order.

FILTER

it

fits the 1-, 2-,

U7

mount

mm. lens. A threaded tube

as

EASTMAN KODAK

MOUNT

2Y2-,

3-, and

alone fits the 6-inch

as

U7·CK-3 Filter, made

the red A and the

4Y2-

to

give

an accessory,

twO

pieces

COMPANY,

For

the

Cine-Kodak

Special

to

obtain

lar

ge

images

th

special focusing threads.

LENSES:

than

those

the

U7

mount w

FILTER

Cine·Kodak Universal Filter and threaded shieldin9 tube.

Rochester,

of

Are for field sizes

shown

in the table

be

fitted ith

the Cine-Kodak

HOLDER

Filte~

Holder, U7·CK·3

sma

ll

to

any filter

New

..

objects.

at

con-

York

82

·f

KODASCOPE

o

show

T

have

nothing

Kodascope, a large available, projection

easy performance 16 mm.

it

The

to

Price,

at

your

Kodascope

auditorium.

making

operate.

projection

from

dealer's. ,

pictures made

less

than

Model

condition.

thilt

$183.2.5-depending

L, can be used anywhere,

Twelve

this

Kodascope

Model L has

There

is a beau

stamp

the

equipment.

MODEL

with

the

Cine-Kodak

the

finest 16 mm.

different lens and l

suitable

many

unusual features,

ty

of

appearance and

Kodascope

Model L as

upon

the

L

The

Kodascope

to right

-l-inch, f.1.6; 3-inch, f.2; 4-inch, f.2.S. The lamps -

watt

and

Special,

projection

in a small

amp

to

almost

outstanding

lens and

L lenses,

f.2; 2-inch,

7S0-watt;

400-watt.

you

equipment.

room

combinations

every conceivable

making

dependability

lamp

desired.

left

500-

should

or

in

are

it

very

of

among

See

EASTMAN

KODAK

COMPANY,

83

Rochester,

New

York

CARRYI THE

CINE-KODAK

NG

/

CASE

FOR

SPECIAL

IT

is

not

practical

case for

equipment

ber, it

has compartments for incidental accessories. After deciding upon

purchaser

acquire a

as

the

required oy different users

three

IOO-foot rolls

of

sturdy,

one

illustrated.

to

manufacture a standard

Cine-Kodak Special, so varied

of

this

this ing cases made cial This shows of

available

special camera

sories.

shown

dates

ard era

foot film cham-

of

film, five accessory lenses, and

the

accessories required, every

the

Cine-Kodak

attractive

and

Special

useful

will

carrying

will

camera.

J.;eason

will

up

on

order

illustr

the

carrying

order and The

accommo-

the

model

, an

extra

do

well

case such

be

the

For

carry-

spe-

only.

ation

type

case

on for

acces-

case

stand-

cam-

100-

be

to

EASTMAN

KODAK

COMPANY,

84

Rochester, New

9-37- CH-

!!

Printed

York

in

U.

S.

A.

1

2.

3.

4.

5.

6.

1'

Never closed.

You

cannot

cover

Hold

Focus

each

scene.

Set

shutter

16

for average

When

phragm

try to'

closed.

the

camera

the

lens

at

camera

one

take

run

OPEN

speed

stop

a picture with

the

camera with

steady.

and

set

the

and

scenes.

is

changedJ open

for

each

the

diaphragm

camera

higher

speed

speed.

shutter

aperture

before

at

dia-

7. Panoram when following a moving

8.

When to

use

brightest image. Be sure to reset

I proper exposure

very

using

the

slowly

the

reflex finder, jt

lens

wide

before

and

open

evenly,

object.

to

taking

except

is

desirable

obtain

the

lens

pictures.

the

for

Kodak Cine Special Operating Instructions

Specifications and Main Features

Frequently Asked Questions

User Manual