Photo Cines Press
Camera No. 99 G.GENNERT NEW YORK-CHICAGO-LOS
ANGELES-SEATTLE
SOLD!
This is a wonderful little camera. It has engine
turning on the Magazine doors and machinist hand tooling
marks on the exposed aluminum parts of the camera body.
There is a two way bubble level and a flip up target
style finder.
Critical focus is done on ground film through a
viewing port in the door. It has a Bausch and Lomb Tessar
50mm f3.5 lens. It is quite clean and has a one to one
crank shaft as well as an 8 to one crank shaft. It also
has a really cute and unique wooden take-up film core.
The camera will run backwards for double exposures and
other effects. It has a 180 degree shutter.
This camera would be great for shooting today. My
machinist has made an adapter so the camera will take
modern film cores. We have made a Nikon Mount for the
front of the camera so it will also take modern Nikon
35mm still lenses and filters but you can still shoot
with the original uncoated low contrast lens too. It has
quite a simple movement. Owning this camera is probably
the most economical way a cameraman could give "THE
LOOK" of old films to modern production.
The interest today in getting "THE
LOOK" has become quite fun. Most people are under
the conception that the scratches were put on the films
of the early period by the camera. If you are a DP today
you just have to think about how you judge your work and
then think of a DP on a feature in 1915. He was not going
to supply a scratched neg. All the scratches and dirt
were put on the film after production. Poorly adjusted
projectors and mishandling by projectionists is the
source of that "LOOK". By the time most of us
got to see these films the prints were fifty or more
years old, spliced, brittle and with shrunken sprocket
holes. All of these flaws would lead to broken film,
skipping and lost loops in the projector, hence more
scratches.
Photo Cines Press
Camera No. 99 G.GENNERT NEW YORK-CHICAGO-LOS
ANGELES-SEATTLE
The interest today in getting "THE
LOOK" has become quite fun. Most people are under
the conception that the scratches were put on the films
of the early period by the camera. If you are a DP today
you just have to think about how you judge your work and
then think of a DP on a feature in 1915. He was not going
to supply a scratched neg. All the scratches and dirt
were put on the film after production. Poorly adjusted
projectors and mishandling by projectionists is the
source of that "LOOK". By the time most of us
got to see these films the prints were fifty or more
years old, spliced, brittle and with shrunken sprocket
holes. All of these flaws would lead to broken film,
skipping and lost loops in the projector, hence more
scratches.