HAND CAMERA CINEMATOGRAPHY
During the past few years competition among professional moving-picture
photographers has become exceedingly keen, especially in connection
with the filming of topical events. The operator often is faced with
prodigious obstacles, the subjugation of which is not always easy,
or even possible. For instance, in a dense crowd the conventional
apparatus, from its bulkiness, weight, and proportions, cannot be
handled, and, even if set upon its tripod with the lens elevated above
the heads of the people, there is the serious danger of the whole being
upset by the swaying motion of the mass of spectators. Yet at the same
time a place in the crowd constitutes an ideal point of view.
Again, there are many situations where the use of a tripod is
impracticable, if not dangerous. Take the aeroplane. An operator
seated in a flying machine and desirous of recording the moving scenes
beneath, cannot support his machine upon the conventional device for
this purpose. He has to hold it as best he can, and so secure his
pictures under extremely trying conditions. Although films innumerable
are taken by persons seated in aeroplanes, only a very small proportion
ever come before the public eye, for the majority are failures.
Nowadays, also, the filming of aeroplane flights from a fixed point on
the ground is by no means easy. In order to follow the evolutions of
flying machines, more particularly at comparatively close ranges and
when travelling at high speeds, two operators are required, one to turn
the camera handle, and the other to sight and follow the object both
through its horizontal and vertical planes in such a way as to keep
it in the centre of the picture. To do this he has simultaneously to
turn the two handles operating the panoramic and elevating gear of the
tripod head, and often in opposite directions. The task must be done
without the slightest jerk, or the success of the film is marred. One
of the most disconcerting effects upon the screen is a jumpy panoramic
movement either horizontally or up and down. It worries the eye, and
more often than not reduces the picture to an almost unintelligible
blur.
[Illustration: THE "AEROSCOPE" MOVING-PICTURE HAND CAMERA.
A. Air valve. B. Button for varying photographing speed during
exposure. C. Exposure button.]
[Illustration: THE COMPRESSED AIR RESERVOIRS OF THE "AEROSCOPE"
CAMERA.
One charge is sufficient to expose 600 feet of film.]
But perhaps the most unnerving and difficult conditions under which
moving-pictures can be taken are those pertaining to the filming of
wild animal life at close range under natural conditions. In this
case a good nerve, a steady hand, and acute presence of mind, are
indispensable. A wild elephant trumpeting madly and dashing towards the
camera at full speed, or a lion springing towards the operator may form
the subject for a thrilling incident in a film, but does not inspire
confidence in the cinematographer. Under such conditions a tripod
outfit is worse than useless. It not only endangers the operator's
life, but the pictures taken under such conditions are invariably of
poor quality, even if they survive the results of the animal's mad
frenzy. To stand one's ground and to keep turning the camera handle
steadily at two revolutions per second up to the last moment with
the _sang-froid_ of someone filming a street procession would put
too great a strain on human nature. Even the coolest man would not
obtain first-class results at uncomfortably close quarters. Instead of
turning the handle in a steady rhythmic manner the motion would be in
a series of erratic jerks, some fast and some slow, producing a result
which the public would ridicule. Mr. Cherry Kearton, whose pictures of
jungle life constitute some of the marvels of the cinematographic art,
considers that this branch of cinematography cannot be excelled for
thrilling excitement. The operator must stand his ground undismayed,
because the close-quarter pictures are always the most fascinating.
Yet at the same time he must keep a corner of one eye fixed upon an
avenue of retreat, so that he can get clear in the nick of time when
the crisis arises. The attention given to the photographic work must be
reduced to the absolute minimum, so as to be practically automatic; the
camera must be as small and as compact as possible, for the only way of
escape lies often up a tree.
Several inventors have devoted their energies to the evolution of
a reliable hand-camera, capable of fulfilling the same duty in
cinematography as the snap-shot instrument in still-life work. The
tripod was sacrificed, but then there arose another difficulty. This
was in the necessity of moving the film mechanism by means of the
handle. In fact, under many conditions of working, such as in the
jungle, it would be quite impracticable. What was required was an
efficient moving-picture machine, small, light, and compact, working
upon the principle of "you-press-the-button-and-I'll-do-the-rest."
It is a perplexing problem to solve, and the first commercially
practicable idea in this direction was conceived by the Polish
scientist Kasimir de Proszynski. He has produced a camera completely
self-contained and wholly automatic in its operation. Dimensions and
weight have been kept down. In loaded condition, with 300 feet of
film, it is 12 inches long, 8-1/2 inches wide, 6-1/2 inches deep, and
weighs only 14 pounds. It works upon the "press-the-button" system, the
film-moving mechanism and shutter running the whole time the button is
depressed. The power comes from cylinders of compressed air by which
a tiny engine is driven. All that the operator has to do is to sight
his subject and to keep his finger on the button, while he follows the
object on the view finder.
When this camera, known as the "aeroscope," appeared upon the market,
it aroused considerable interest, but its reliability was doubted.
It was not until Mr. Cherry Kearton decided to give it a trial that
it came to be regarded more seriously as a feasible moving-picture
machine. This naturalist-cinematographer took it with him on one of
his expeditions, and was able to record some startling incidents which
would not have been possible otherwise. Familiarity with the camera and
experience in the field convinced him of its serviceability, provided
that certain modifications were effected. These were carried out, and
the camera is now regarded as an excellent instrument for work that
could not be achieved by any other machine.
It is fitted, as has been said, with a small engine driven by
compressed air. The air is stored in six small cylinders of an
aggregate capacity of 600 feet. This is sufficient to expose 600
feet of film. The cylinders are charged with air in the manner of a
motor tyre and with a similar kind of pump. An indicator on the side
shows constantly the air pressure remaining in the reservoirs, while a
regulator enables the speed to be varied. The driving mechanism is very
light, small, and compact, and contains but a small number of parts, so
that the risk of failure is not great. Though it constitutes the most
delicate part of the whole mechanism, and requires careful handling, it
works remarkably well so long as it is kept clean and well lubricated.
Another prominent feature of the mechanism is what is termed an
equilibrator. Practically speaking this is a small gyroscope, and is
introduced to subdue any small vibrations or tremblings which arise
while the instrument is working. This part of the mechanism has been
criticized on the ground that a gyroscope, to be effective, must be
of appreciable weight. Many operators dispute the necessity for its
introduction. They point out that the beneficial effects are not
proportionate to the extra weight involved. Furthermore, being an
additional piece of mechanism, it enhances the risk of derangement.
Against these contentions, however, the operators who have worked the
instrument maintain that it nullifies all the vibrations set up by the
driving mechanism, which, though apparently slight, would otherwise
suffice to spoil the pictures. Seeing that the sole object of employing
this camera is the elimination of a rigid support such as a tripod,
it certainly seems worth while, even at the cost of added weight, to
gain some compensating steadiness. And the vibration of the air engine
increases the need.
[Illustration: THE LENS, SHUTTER, COMPRESSED AIR-DRIVEN
MECHANISM, AND GYROSCOPE, WHICH COUNTERACTS SLIGHT VIBRATIONS, OF THE
"AEROSCOPE."]
[Illustration: LOADING THE "AEROSCOPE" CAMERA.
The unexposed and exposed film-boxes are mounted upon one spindle.]
In operating this instrument the usual method is to hold the camera
against the chest and one cheek, thereby bringing the eye on a level
with the sighting piece. By letting the elbows rest against the body
the weight is easily and steadily supported. Held in this position the
minimum of fatigue is felt by the cinematographer, while he is given
complete control over the mechanism. It can also be used when the
operator is on horseback, the method of support being virtually the
same. But in this case only one hand is used; the other is left free
to control the horse. Another advantage of the system is the ease with
which the camera can be swung round in order to follow a moving object
steadily.
Photographers who use a hand-camera are familiar with the disturbances
set up by the motion of the body in breathing. This is often sufficient
to spoil a picture if care is not displayed at the instant of exposure.
With the aeroscope--owing to the exposure being from 1/32 to 1/50 of
a second, relatively long in comparison with snap-shotting where the
exposure is often only the 1/200, or even less, of a second--these
disturbances are somewhat more acute. Considerable practice is required
before this difficulty can be overcome. Some operators who have used
the aeroscope prefer to utilise a convenient support, if available,
such as a wall, or the stump of a tree, thereby making sure of a solid
rigid foundation. But in cinematography the ill-effects arising from
respiration are not so serious as in still-life work. A picture here
and there may show its effects, but they pass unnoticed. They are
subdued, as it were, by the unblemished pictures which precede and
follow.
Another camera of this type is the "Jury Autocam" which, as its name
implies, works upon the automatic "press-the-button" system. This
camera is fitted with a small electric motor, driven by a small dry
battery, and brought into action by the pressure of a button. A small
side-lever controls the picture-taking speed, which can be varied while
the mechanism is running. The camera itself is exactly similar to the
"Jury Duplex" model, the only addition being a small separate case,
about 2 inches in depth, fitted to the base of the instrument, and a
covered chain gearing on one side for transmitting the power from the
motor to the camera mechanism. This camera likewise is fitted with a
small balancing apparatus to counteract slight vibrations.
[Illustration: Mr. Cherry Kearton steadying himself upon a precipice to
take pictures of bird life.
Mr. Cherry Kearton slung over a cliff, showing the operation of the
hand camera.
THE "AEROSCOPE" CAMERA IN THE FIELD.]
[Illustration:
_From the "Cinema College," by permission of the Motograph Co._
VULTURE PREPARING TO FLY.]
In such instruments as these the even running of the motor is a vital
factor. It must not run any faster when the reservoir or battery is
fully charged than when it is nearly exhausted, nor must there be
any variations of speed, for eccentricities of this sort are apt to
spoil the film. The governing therefore requires to be most delicate
and thorough. Another difficulty is the incorporation of a reservoir
capable of carrying a sufficient quantity of air at the necessary
pressure to drive the length of film for which it is rated. In the
"Jury Autocam" a length of 100 feet can be driven on a single battery
charge. This is adequate for many purposes, but a length of at least
200 feet is generally to be preferred. The camera is being adapted to
meet these conditions, and it is anticipated that no more difficulty
will be met in consummating this end, than was involved in making the
camera drive a 100 feet length.
While it is a moot point whether the automatic cinematograph camera
will ever displace the orthodox machine entirely, it is a useful and
even indispensable machine for working under difficulties. It has been
used in the aeroplane and has been found successful. It is also of the
utmost use in close-range dangerous work, or in situations where the
turning of the handle by hand is liable to be carried out imperfectly
and unsteadily. The aeroscope camera has been used on many notable
expeditions such as those of Paul Rainey, and others in Africa, and
is used exclusively by Mr. Cherry Kearton in his daring work in tight
corners. Many of the thrilling and exciting pictures taken in the
haunts of wild animals have been secured therewith, and these films
show convincingly what can be done with the instrument when it is
handled by an expert.
But the true province of the hand cinematograph camera undoubtedly is
in connection with rush work. For the filming of topical incidents it
is invaluable. The operator is not trammelled with a bulky outfit. He
carries his camera in his hand or slings it across his back in the
manner of a knapsack. When he wishes to film an incident he is not
harassed even by the crowd. He is not compelled to set up a tripod or
to climb to an elevated point to get clear of the sea of heads. He can
hold the camera above his head, and by means of a second and special
view finder placed on the under side of the instrument he can sight
and follow the subject while pressing the button. Thus he records the
episode as easily as if he were placed in the most advantageous raised
position, and could manipulate the machine in the orthodox manner. When
his work is completed he can get away without any delay, because the
small box contains everything.
On the whole, however, the hand moving-picture camera is scarcely yet a
suitable instrument for beginners. The invention is in its infancy, and
although clever men are striving to make it more simple and reliable,
many peculiar problems still remain to be solved. But in the hands of
an expert operator it is capable of doing first-class work.