meopta camera admira 8 ii a manual

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ADMIRA 8 II AMotion Picture Camera

Description and Directions for use

Description

The ADMIRA Type 8 IIA is an amateur motion picture camera for use with 2x8 mm cine film about 10 m in length wound on a spool (without a magazine). The 2x8 mm film band has a serviceable length of 7.5 m and a width of 16 mm. Its perforation pitch is half that of the film used with 16-mm cine cameras.When filming, first one half of the film band (lengthwise) is exposed, the other half being used for filming after the film has been removed from the camera and re-threaded. After developing, the film band is cut lengthwise through the middle, as a result of which two 8-mm film strips 7.5 m in length are obtained, the two pieces being spliced together, thus providing a film band 15 m in length which is suitable for projection.Any type of film band, both black-and-white and colour, may be used.The movement of film is carried out by means of a claw actuated by a spring drive. Both rewinding and winding-up of film from one spool to another is effected by means of a sprocket which acts simultaneously as a feed and intermittent sprocket. The speed of movement of the film band, i. e. the filming frequency, is adjustable as required (10, 16, 24, 48 or 64 frames per second), the change of speed, however, being effected continuously.The length of the exposed film is indicated by means of an automatic counter where the beginning

of film is marked with a small arrow, the beginning of the serviceable length with "0", then the individual lengths of the exposed film with numbering at every 1.5 m (i. e. 1.5, 3, 4.5, 6 and 7.5 m or 5, 10, 15, 20 and 25 feet), the end of the film band being marked with a symbol "m" or "ft". In addition, the counter is provided with an indication of every 20 frames, enabling orientation when taking lap dissolve, montage, and similar shots, where a part of the film, after being rewound, is exposed once more.For the reverse movement of a part of the film band the ADMIRA Type 8 IIA Cine Camera is fitted with a small folding crank. Similarly to previous types, the release of the ADMIRA 8 HA is suitable for both normal run and for single-frame shots, for taking so-called "trick scenes". The standard optical outfit of the ADMIRA Type 8 IIA Cine Camera consists of two lenses, i. e. a standard lens MIRAR f/2.8, F = 12.5 mm, and a telephoto lens TELE-MIRAR f/3.5, F = 35 mm, the internal surfaces of the lenses being coated. These two lenses are mounted on a revolving turret. Both the standard lens and the telephoto lens are fixed in focussing mounts, the focussing movement of the two lenses being coupled together. Thus, if one of the two lenses is focused to a certain object distance, the other lens is focused simultaneously to the same distance, so that when changing from an overall shot to a close-up it is sufficient only to turn the revolving lens turret. The diaphragm rings of the two lenses are equipped with snap-in mechanisms and scales on which the depth of focus corresponding to any setting and diaphragm used can be determined. The focussing of the two lenses is adjustable within a range of from 0.6 m to infinity. The distance scale of the MIRAR lens F = 12.5 mm is fitted with a mark corresponding to a distance of 3.8 m to which the focussing ring is set when filming with the HYPER-MIRAR 0.5 X. Adapter is effected. The optical-type viewfinder with parallax compensation for filming from short distances of from 0.33 m incorporates on interchangeable eyepiece (according to the operator's eye); the front lens of the viewfinder is fitted with an engraved frame determining the outline of shots made with the telephoto lens.

The camera body consists of an aluminium alloy die-casting, finished in baked enamel. The side walls are of pressed sheet steel which is suitably reinforced; the external sides of the side walls are fitted with a durable pasted coating.The base of the camera incorporates a 3/8" tripod thread; a strap to be slipped over the hand, fixed to a revolving knob, enables the camera to be carried or held comfortably while filming. The lenses are fitted with protective lids made of flexible plastics.

Directions for Use(1) OPENING THE CAMERA.

Turn the milled knob of the lock (I-1) situated on the camera lid (I-2) by 90° to the left (downwards), the knob being normally set with the red dot opposite the red dot on the metal edge of the lid (posit-ion "closed"); thus the camera lid is loosened and can be removed. This is effected by holding thesmall knob (I-3) on the front side of the lid by means of the right hand thumb, whereupon the lid can be opened like a book and removed (VIII).

(2) WINDING-UP THE DRIVE MECHANISM,Swing off the folding wind-up key (II-4) and by rotating it in the direction indicated by the arrow wind up the drive mechanism. Winding-up should be effected after every shot, the key being rotated without using force up to the end of its travel, i. e. up to the stop. Then swing back the windup key to its primary position.

(3) THREADING-UP THE FILM.The loaded spool containing the film should be inserted into the camera preferably in the shadow, at least in your own shadow. Unwrap the spool carefully, securing the loose end of the film band against uncoiling by pressing it down with the forefinger. Next wind off about 25 cm of film from the spool and set the spool upon the top spindle inside the camera (III-5) so that the beginning of film points FROM THE BOTTOM SIDE OF THE SPOOL TO THE LEFT (see diagram showing threading-up of film reproduced on the metal label inside the camera (III-6)).Insert the film between the two cylindrical upper drive pins (IV-7) and the sprocket (IV-8), setting the perforation of the film band upon the sprocket teeth.

When inserting the film into the film track the pressure part of the latter has to be taken out. Put your thumb from above upon the milled knob (IV-9) of the pressure part (IV-10), holding the pressure part with the forefinger from below. After shifting the milled knob towards the driving sprocket pull the pressure part of the film track with your forefinger in the upward direction along the guide pins. Now thoroughly clean both parts of the film track best with a fine hairbrush which is not used for any other purpose and which is permanently protected against dust.Next insert the film band into the film track channel (V-11) so as to form a loose loop (V-12) of a suitable size between the sprocket and the film track (see diagram on the label), thus preventing the film from striking against the regulator cover (V-13). On the other hand, a loop which is too small would cause the pressure part of the film track to be pushed aside during the movement of film, which is undesirable as well.According to the diagram on the label inside the camera insert the film between the lower guide pins (VI-14) and the sprocket (VI-8) so that the film perforation is brought in mesh with the sprocket teeth.Also in this case a properly dimensioned compensating loop (VI-15) should be formed between the film track and the sprocket, thus preventing the film loop from striking against the sides of the bottom wind-up spool while the film is in motion and, on the other hand, avoiding a displacement of the pressure part of the film track due to the pressure exerted by too short a loop. The correct size of both loops is indicated on the metal label in the right-hand bottom corner of the spring drive mechanism inside the camera. Only then the pressure part of the film track should be set up on the guide pins and replaced to its primary position. Similarly to removing also when placing the pressure part in position it should be shifted aside by means of the milled knob in order to protect the claw against damage.Next insert the end of film into the incision in the core of the empty bottom wind-up spool (Vll-16),

setting the latter upon the bottom spindle so that the drive pins of the spindle snap into the incisions of the spool. Then turn the spool in clockwise direction and by means of the sprocket wind up the loose part of the film upon the spool.If the film has been threaded-up correctly, the emulsion layer (the dull side of film) is pointing towards the lens; on a purchased spool the film band is wound-up in a way which almost eliminates the risk of incorrect threading.Before closing the lid make sure whether the film has been threaded-up correctly, I. e. whether it is advanced by the claw, whether it is set up correctly upon the sprocket teeth, whether the size of the loops is correct and remains unchanged and whether the film is being wound up on the bottom wind-up spool. Allow the camera containing the threaded film to lie in a horizontal position and by moving the starting knob (II-17) towards the capital "N" once or twice start the camera mechanism for a short time. Simultaneously observe the movement of the film band; if both the size and the shape of the loops remain unchanged, the film has been threaded-up correctly. If either of the two loops is shortened or extended, a certain part of the film band (either on the sprocket or in the film track) has been threaded-up incorrectly which deficiency has to be remedied. Furthermore, it is essential to check whether the bottom wind-up spool is rotating during the trial start.(4) CLOSING THE CAMERA. If all is found correct, the camera lid can be closed. First set up the lid correctly on to the right-hand side of the camera body (opposite the lens) taking care that the pressed protrusions snap into the corresponding recesses in the camera body. Then tilt the lid as if closing a book in the direction towards the lock side (VIII). Next slightly turn the milled knob to the right until the red dots are set opposite each other again.

(5) SETTING THE COUNTER.A resetting of the counter can be effected solely after depressing the disc (IX-18) the periphery of which is milled, its centre being fitted with a glued-on coating.The counter is marked with the figures 0, 1.5, 3, 4.5, 6, 7.5 m, (or 5, 10, 15, 20, 25 ft). The small arrow indicates the beginning of film, the figures 0, 1,5. 3, 4.5, 6 and 7 m (or 5, 10, 15, 20, 25 ft) indicating the length of the exposed film. After threading-up the film and after depressing the disc adjust the main counter by setting a small arrow against the small index line (IX-19) on the periphery of the counter proper, — on the narrow annular ring — which exerts a differential motion together with the counter while the camera is in operation. If the small milled disc of the counter is pressed-in up to the stop, it is possible by rotating the disc under permanent pressure to set the mark on the narrow annular ring opposite the scale of single-frame shots (IX-20).After adjusting the counter put the camera in operation by moving the starting knob (towards the capital "N"). Allow the camera mechanism to run until the figure "0" of the main counter (IX-21) coincides with the small index line (the movable index).Thus a part of the film band has been wound off the top spool, this part being intended as a protection of the serviceable length of film against the effect of light while the film is being threaded. The protective parts on the two ends of film are about 125 cm in length. These parts may also be used for filming, providing, however, that the film is threaded in a dark room and, in addition, that you develop the film yourself. If the developing of the film is entrusted to a laboratory, usually the two protective parts are cut off, the 8-mm film band proper (2 x 7.5m, i. e. 15 m in length) being returned to the customer.

(6) CHOICE OF THE FILMING FREQUENCY.The right-hand top corner of the camera side wall incorporates the frequency control (X-22). This is

a sliding knob adjustable at will against one of the corresponding figures or between these figures. The figures 10, 16, 24, 48, 64 indicate the number of frames exposed per second, hence the speed of film movement or the so-called filming frequency. These figures correspond to the exposure time, (i. e. the time of illumination of the individual frames) of 1/30, 1/50, 1/75, 1/150, 1/200 sec. Normally a speed of 16 frames per second is used, this speed corresponding to an exposure time of 1/50 sec. This frequency is used whenever a natural movement of the object in the projected scene is required.A lower speed, e. g. 10 frames/sec, is employed if the projection should show an accelerated motion (swiftly moving clouds, etc.), or if filming is effected under unfavourable light conditions. The frequency of 24 frames/sec is used for taking sporting scenes where the object motion is very quick so that it can be captured sufficiently sharp only by using this frequency. When projected, these scenes or motions, naturally, are slowed down a little, however, mostly to advantage. The speeds of 48 and 64 frames/sec first of all require very good conditions of illumination and are employed for deliberately attaining slow-motion pictures. Scenes like these also place considerable demands upon the film material consumption; for this reason high filming frequencies are used in exceptional cases only.

(7) STOPPING DOWN THE LENS.The amount of light allowed to strike the film, thus effecting the exposure, is controlled by means of the filming frequency, i. e. the exposure time, and also by stopping down the lens. Since a filming frequency of 16 frames/sec is usually used, the illumination is controlled mostly by stopping down the lens.Both of the two lenses are equipped with built-in iris diaphragms adjustable by means of the diaphragm (or stop) rings (XI-23 and XI-24). This ring is marked with stop numbers 2.8, 4, 5.6, 8, 11, 16 (with

the telephoto lens 3.5, 4, 5.6, 8, 11, 16, 22). If the stop number 2.8 (with the telephoto lens 3.5) is set opposite the index mark, the lens is fully open allowing maximum amount of light to pass through, or it operates at full speed. The higher the stop number is chosen, the more diminished is the diaphragm aperture, thus limiting the amount of light striking the film. The stop numbers have been chosen so that always the adjacent higher stop number corresponds to the halved amount of light passing through the lens and vice versa. Thus, for example, if a double exposure time is required, the next lower stop number should be set.Thus the choice of a correct diaphragm aperture is extremely important for attaining properly exposed pictures and scenes. In case of an under-exposure (i. e. insufficient illumination) the projected image is too dark; on the other hand, an over-exposure results in an image excessively bright. This is why the beginner — at least in the beginning — should use some of the expedients for determining the correct stop number, as e. g. an electric exposure meter or at least a simple "Exposure table", particularly when working with colour material.The choice of a correct stop number is dependent on a number of factors: on the filming frequency, the sensitivity of film material used, the conditions of illumination (sunny, cloudy, hour of the day, season, artificial light, etc.), on the brightness of the film scene, etc.The following simple "Table of Exposure Times'* intended for the beginner has, of course, but an informative character; nevertheless, it may prove very useful to the inexperienced amateur in his first filming attempts.The table has been compiled for use with films having a sensitivity of 16/10° DIN and for a frequency of 16 frames (sec. The table comprises stop numbers for the most frequently occurring occasions together with the general conditions of illumination.If a film of a different sensitivity (e. g. 13/10° DIN) is employed, a stop number lower by one degree should be used (e. g. instead of stop number 8 according to the table set number 5.6) or vice versa,

when using a film of a sensitivity of 19/10° DIN (or 21/10° DIN) a stop number higher by one degree (or by two degrees) should be chosen.Similarly, when using a filming frequency of 10 frames/sec. a stop number higher by one degree should be employed. On the other hand, a lower stop number is to be chosen if filming at a higher frequency should take place. At frequencies of 24, 48, 64 frames/sec stop numbers lower by 1,2,3 degrees than those found in the table should be employed, the table values corresponding to a frequency of 16 frames/sec.

Scene sunny moderately cloudy heavily cloudy

Open landscapes, scenes on water, snow 11 8 5.6

Persons outdoors, landscapes with foreground 8 5.6 4

Persons in shadow, dark buildings 5.6 4 2.8

Narrow streets, scenes under trees 4 2.8 —

Bright interior scenes by the window 2.8 — —

(8) FOCUSSING THE LENS.Since the focussing rings of the two lenses are intercoupled by means of a gearing mechanism, the lenses can be focussed simultaneously to an arbitrary object distance within a range of from 0.6 m to infinity. This is effected by turning one of the two cogged lens focussing rings (XI-25 and 26) fitted with distance scales (Xll-27 and 28) so that the required object distance is set opposite the index mark (XI-29 and XII-30) on the tube of the top lens which is in the operational position. The distances marked on the lens mounts are understood from the front surface of the camera. The depth of focus is given by the amount of stopping down the lens. For this reason, according to the preceding paragraph, the lens focussing ring must be set to an object distance where the stop number used ensures attainment of the required depth of focus. The limit values of the depth of focus are determined by the corresponding scales (XI-31 and Xll-32) marked on both sides of the distance scale index mark, viz. by stop numbers against which the corresponding depth of focus for any setting of the lens may easily be found.Accurate limit values of the depth of focus for both of the two lenses are reproduced in the following two tables.When filming with the aid of the HYPER MIRAR 0.5 x Adapter which is to be screwed on to the MIRAR F = 12.5 mm lens, the object distance of 3.8 m should be set on the lens focussing ring, this distance being denoted on the distance scale with a special mark (XI-40).

DEPTH OF FOCUS TABLE FOR THE MIRAR f/2.8, F = 12.5 mm LENS.

(The table has been computed for a dispersion ring of 0.0125 mm.)

Distancein

metres

stop number

2.8 4 5.6 8 11 16

0.6 0.53—0.68 0.51—0.73 0.48—0.80 0.41—0.94 0.41—1.15 0.35—2.040.7 0.61—0.82 0.58—0.88 0.54—0.99 0.49—1.19 0.45—1.57 0.38—3.970.8 0.69—0.96 0.65—1.05 0.60—1.20 0.54—1.52 0.49—2.19 0.41—13.601.0 0.83—1.26 0.77—1.42 0.71—1.71 0.63—2.45 0.56—4.85 0.46—∞ 1.2 0.96—1.59 0.89—1.85 0.80—2.37 0.70—4.07 0.61—∞ 0.50—∞ 1.5 1.14—2.18 1.04—2.70 0.92—3.97 0.80—12.69 0.68—∞ 0.54—∞ 2.0 1.41—3.41 1.26—4.90 1.10—∞ 0.93—∞ 0.77—∞ 0.60—∞ 3.0 1.85—7.92 1.59—∞ 1.34—∞ 1.08—∞ 0.89—∞ 0.66—∞ 5.0 2.46—∞ 2.02—∞ 1.63—∞ 1.27—∞ 1.01—∞ 0.73—∞ ∞ 4.86—∞ 3.40—∞ 2.43—∞ 1.70—∞ 1.26—∞ 0.85—∞

EXAMPLE: the lens is focussed at a distance of 1 m aid is stopped down to 8. All objects within a range of from 63 cm to 2.45 m from the front lens will appear equally sharp on the negative.

(9) CHANGING THE LENSES.The two lenses are screwed-on to a common plate, the so-called revolving lens turret (XII-33) which is swivelmounted on the camera. Thus by rotating the revolving lens turret through 180° one of the two lenses can always be set into the optical axis of the camera.On the seating surface of the lens turret the camera body is fitted with a securing pin (XII-34) ensuring a correct position of the turret, i. e. setting the optical axis of the lens exactly to the centre of the frame. It should be borne in mind that from the two lenses always that situated in the top position (adjacent to the viewfinder) is in operation.

(10) WINDING-UP THE DRIVE MECHANISM.Before every filming the drive mechanism should be fully wound up. Make it a habit to wind up the drive mechanism immediately after completing of every shot. Thus the camera will always be ready for further action. The drive spring should always be wound up to the stop. The spring mechanism is equipped with a safety device enabling the maximum driving power of the spring to be utilized without any risk of retarding the speed of the camera operation towards the end of the spring tension which would cause an elongation of the exposure time. This spring motion stop permits about 2 metres of film to pass whereupon it automatically stops the operation of the camera. When winding up the spring, the key is blocked again just before the spring is fully wound up.When the camera is not in use for a longer time (without a film band threaded), it is recommended to release the drive mechanism entirely, thus protecting the drive spring against fatigue.

(11) OPTICAL VIEWFINDER.Before taking a scene check whether the optical viewfinder (II-35) is set correctly to a proper distance. The viewfinder is tiltable around an axle situated in the front part of the viewfinder. By tilting the

DEPTH OF FOCUS TABLE FOR THE TELE-MIRAR f/3.5, F = 35 mm LENS.(The table has been computed for a dispersion ring of 0.02 mm.)

Distancein metres

stop number

3.5 4 5.6 8

0.6 0.58—0.61 0.57—0.62 0.56—0.63 0.56—0.650.7 0.68—0.73 0.67—0.73 0.66—0.74 0.64—0.76

0.8 0.77—0.83 0.76—0.84 0.75—0.86 0.73—0.88

0.9 0.86—0.94 0.85—0.95 0.84—0.97 0.83—1.01

1.0 0.95—1.05 0.94—1.06 0.92—1.09 0.89—1.14

1.2 1.13—1.28 1.12—1.29 1.09—1.33 1.05—1.40

1.5 1.39—1.63 1.38—1.65 1.33—1.71 1.27—1.83

2.0 1.81—2.23 1.79—2.27 1.71—2.40 1.62—2.63

3.0 2.59—3.56 2.55—3.65 2.40—4.00 2.21—4.67

5.0 3.97—6.76 3.85—7.12 3.53—8.57 3.13—12.35

10.0 6.58—20.87 6.27—24.71 5.45—60.00 4.57—∞

∞ 19.20—∞ 16.80—∞ 12.00—∞ 8.40—∞

stop number

11 16 22

0.55—0.70 0.52—0.70 0.50—0.75

0.62—0.79 0.60—0.84 0.56—0.91

0.71—0.92 0.67—0.99 0.63—1.08

0.78—1.06 0.74—1.15 0.70—1.28

0.86—1.20 0.81—1.31 0.75—1.49

1.00—1.49 0.93—1.68 0.86—1.98

1.20—1.99 1.11—2.33 1.01—2.95

1.51—2.63 1.35—3.82 1.21—5.81

2.01—5.89 1J 5—10.50 1.51—18.30

2.75—27.52 2.28—∞ 1.89—∞

3.79—∞ 2.96—∞ 2.34—∞

6.11—∞ 4.20—∞ 3.05—∞

EXAMPLE: the telephoto lens is focussed at a distance of 5 metres and is stopped down to 8. All objects between 3.13 m and 12.35 m will appear equally sharp on the negative.

viewfinder the socalled parallax (i. e. the non-coincidence between the image seen in the viewfinder and that on the film) is compensated for when filming objects within a shorter distance than 1.5 m (measured from the front surface of the camera). In normal work when objects situated at larger distances are filmed, the viewfinder should be completely tilted down (i. e. its optical axis is parallel to the lens axis).For the purpose of filming from shorter distances the viewfinder should be tilted according to the values reproduced in the following tables.Tilting of the viewfinder is effected by holding it by the eyepiece (II-36). The viewfinder can be set to three different positions marked 1, 0.5 and 0.33, the positions being indicated by click-stops. These numbers correspond to the distance of the filmed object in metres.

TABLE FOR THE MIRAR f/2.8, F = 12.5 mm LENS:

Viewfinderposition

To be used

from to

∞ ∞ 1.4 m

1.0 m 1.4 m 0.7 m

0.5 m 0.7 m 0.38 m

0.33 m 0.38 m 0.3 m

TABLE FOR THE TELE-MIRAR f/3.5, F = 35 mm LENS:

Viewfinderposition

To be used

from to

∞ ∞ 2.0 m

1.0 m 2.0 m 0.7 m

0.5 rn 0.7 m 0.6 m

While filming, view with one eye from a distance of 2 cm into the viewfinder eyepiece where a bright, upright (i. e. non-inversed) image of the film object is to be seen (XIII).For shots taken with the standard lens the whole field of the viewfinder is utilized, the rectangular frame in the centre of the viewfinder front lens indicating the field dimensions for shots taken with the telephoto lens.

(12) FILMING PROPER.Providing all has been prepared according to the foregoing paragraphs, filming can be started. However, first look at the lenses if they are not covered with the lids which have to be removed. When filming hold the camera firmly with both hands putting the viewfinder eyepiece to your eye (usually to the right eye) and observe the scene to be filmed.At a suitable moment by a steady movement shift the starting knob forwards, i. e. towards the capital “N” (normal run). The mechanism starts to run and is running as long as the starting knob is held

in the displaced position. While this is being done, the camera should he held firmly and perfectly steadily.Sometimes it is convenient to use a wire release, as, for instance when filming from a tripod, or in winter when wearing gloves.The thread of the wire release should be screwed into the opening (XIV-37) marked "N" on the front side of the camera.If the starting knob is shifted backwards, i. e. towards the capital "T" only one frame of the film is exposed ("trick film shots"). By shifting the starting knob backwards the film band is advanced by one frame (with the rotational diaphragm closed) and, only after releasing the starting knob, the film is exposed for about 1/20 sec, providing the speed control has been set to "16". For thisexposure time a corresponding stop number has to be set (i. e. the stop number should be increased by one degree in comparison with the stop number used at a frequency of 16 frames/sec.The single-frame operation can be used to advantage, for example when taking shots of swiftly moving clouds, rapid growth of flowers, animated cartoons, trick films, etc.In all these cases the use of a wire release screwed into the opening (XIV 38) marked "T" may be found convenient.After having finished the scene do not forget to wind up the drive mechanism.

(13) REVERSE MOVEMENT OF FILM.For coupling of two subsequent scenes the so-called lap dissolve is used. This kind of filming requires a mechanism enabling a part of film already exposed to be moved back. For this purpose the camera is equipped with a small folding crank (X-39) situated on the right-hand side of the camera lid and a single-frame counter (IX-20), i. e. a scale fitted with markings 0, 20, 40, 60. If a coupling of scenes by means of the lap dissolve is required, the following procedure should be

observed: first a matte-box with a built-in iris diaphragm is screwed on to the lens; the iris diaphragm is fully open and the filming proceeds similarly as with normal shots. Towards the end, at the moment when the lap dissolve should take place, check the position of the counter index mark with regard to the single-frame scale, slowly closing the matte-box iris diaphragm at the same time. At the moment the iris diaphragm of the matte-box is closed up to the stop (i. e. after reducing the aperture to a minimum), loosen the release knob, thus finishing the first shot. The length, or the duration of the lap dissolve depends on the character of the two scenes to be coupled and takes 1 to 2 seconds on the average. Then entirely close the opening of the matte-box tube by inserting the mask. By rotating the small crank (in clockwise direction) move back the film band until the counter index mark coincides with the point where the closing of the iris diaphragm was begun.Then using the wind-up key wind up the spring drive of the camera, thus making the camera ready for the next shot. It is obvious that in the meantime the camera viewpoint can be changed, or another lens may be used, the filming frequency altered, etc. After all is prepared, start the camera mechanism again opening the matte-box iris diaphragm simultaneously so that the time required for its opening may exactly correspond to the time needed for closing the matte-box diaphragm in the foregoing shot. The scene proper is taken and finished with the matte-box fully open. If shots are taken under poor conditions of illumination, i. e. when a large aperture is used, (lens just slightly stopped down), the coupling of scenes can be effected by actual lap dissolve, for stopping down the lens the lens diaphragm itself being used. Naturally, when opening the diaphragm again, care should be taken that the stop number value necessary for a correct exposure of film is not be exceeded.A similar procedure should be observed when taking socalled montage shots. In such cases after taking the first scene move the film band back (with the lens closed by means of a set-up lid), whereupon on the same part of the film band the shooting of the second scene is effected, which has to be

mounted into the first scene. Naturally, both scenes should be taken with the lens adequately stopped down in order to obtain halved illumination since due to double exposure the illumination values of the two exposures are summed up.The possibility of returning the film band enables still another kind of trick film shots to be taken, particularly in conjunction with the matte-box, as e. g. shots of doubles, etc. Because all the shots mentioned above are rather complicated and require accurate checking of the counter, etc., it is convenient for the cameraman to have an assistant.If two subsequent shots have to be coupled by lap dissolve without the aid of an assistant, the procedure is as follows:Check — as accurately as possible — the time in seconds which was needed for closing the diaphragm of the matte-box or that of the lens. Multiply this time by the number of filming frequency used, thus obtaining the number of frames corresponding to the length of film which has to be moved back according to the data indicated by the single-frame counter.For example: the time needed for closing the diaphragm was 3 seconds; the shot was effected at a frequency of 16 frames/sec. Hence the number of frames for the lap dissolve is 3x16 = 48. By turning the crank move the film back by 48 frames. Since the scale of the respective counter is denoted for every five frames (every twentieth frame being numbered), frequently, when returning the film, the index mark has to be set by estimation.The single-frame counter proves also to be a good expedient when taking the so-called trick film scenes, animated cartoons, doll-films, and other kinds of film where the length of the future story, filmed one scene after another, can accurately be determined in advance.

(14) REVERSING THE FILM BAND.Individual scenes and shots are filmed so long until the exposed film length counter, i. e. its index

mark, reaches the position marked 7.5, or 25. At this moment stop shooting and allow the camera mechanism to run idle until the counter index mark appears in the position marked "m" or "ft". Thus also the protective part of the film band has been wound up on the bottom spool, as a result of which the camera lid can be opened in the way already described.Take out the spool containing the film from the camera, replace it by the empty top spool (the spool side with two incisions pointing downwards) and set the spool with the film upon the top spindle so that the spool side with two incisions be pointing UPWARDS (simply: the two spools are interchanged, the spool containing the film being, in addition, reversed).Next the film band is threaded in the way above described, the second part of the film being used for shooting.The spool spindles comply with the international standard, their carrying dogs (upper 3, lower 2) being arranged so as to obviate incorrect inserting of the spool.

(15) FILMING IN ARTIFICIAL LIGHT.If a suitable source of light is at disposal, filming can be effected in dark rooms, at night, etc. For the purpose of illumination special photographic bulbs are best suited, in most frequent cases of an input of 500 W and a luminous flux of 11,000 lumens, the bulbs being mounted in reflectors. The following tables indicate which stop number should be chosen when using one or two bulbs, at a certain distance between the bulb and the object and at a frequency of 16 frames/sec.

(16) SERVICING AND MAINTENANCE.It should be borne in mind that a cine camera is a delicate optical precision instrument which should be given proper care.

1/500 W BULB (11,000 LUMENS):

Bulb-to-objectdistancein metres

sensitivity of film

13/10° DINobject

bright dark

16/10° DINobject

bright dark

19/10° DINobject

bright dark

21/10° DINobject

bright dark

1 2.8 — 4 2.8 5.6 4 8 5.6

1.5 — — 2.8 — 4 2.8 5.6 4

2 — — — — 2.8 — 4 2.8

2/500 W BULBS (22,000 LUMENS):

1 4 2.8 5.6 4 8 5.6 11 8

1.5 2.8 — 4 2.8 5.6 4 8 5.6

2 — — 2.8 — 4 2.8 5.6 4

3 — — — — 2.8 — 4 2.8

Cleaning of both the fixed and the pressure part of the film track is very important. Place the thumb from above upon the milled knob of the pressure part and by means of the forefinger grip the pressure

part from below. After shifting the milled knob towards the driving sprocket pull the pressure part of the film track with the forefinger in the direction upwards along the guide pins. Next clean both the fixed and the pressure part of the film track using a piece of clean buckskin or a clean hair-brush. If hard impurities coming from the film emulsion are found in the film track, they should be removed by means of a wooden reed. Avoid using metallic objects (a knife, etc.) for this purpose. Take care that no impurities, such as hairs, remain in the window of the fixed part of the film track. Should dust, hairs, and the like, appear on the front surface of the lens, it should be cleaned very carefully with a piece of a clean, washed, soft linen (fine cambric). The optical part of the view-finder should be cleaned in a similar way.The interior of the camera should be kept clean; it should be brushed with a fine hair-brush from time to time.Remember that dust is the enemy No. 1 of every cine amateur.The camera should be protected against the effect of dampness and excessive heat. Avoid unnecessarily moving the camera from a cool to a warm room.In the latter case the camera becomes considerably moist due to condensed dampness and should be properly wiped dry. Avoid any lubrication of the camera.After using put the camera either into the cardboard box supplied with the camera or — still better — into a leather case.

(17) BRIEF SUMMARY OF THE FILMING PROCEDURE AND SOME USEFUL HINTS.Let us summarize briefly what should be done with the camera before filming:(a) open the camera, clean both parts of the film track and thread up the film.

(b) By short depressing of the starting knob make certain whether the film has been threaded up correctly.(c) Close the camera and wind up the spring up to the stop.(d) Set the counter to the position marked by a small arrow, allow the protective part of the film band to run up to "0" and wind up the spring again up to the stop.(e) Set the required filming frequency (10, 16, 24, 48, 64).(f) By turning the revolving turret set the suitable lens into the operational position according to the kind of film scene.(g) Focus the lens by setting the estimated distance value against the index mark.(h) Set the proper stop number (lens diaphragm aperture).(i) Make certain whether the viewfinder is set to a correct position, ( j) Check whether the lens is not covered with the lid.(k) Now it is possible to start filming.(I) After every shot wind up the spring up to the stop.The same procedure as above described is repeated when exposing the second half of the film band. Before threading up the film band, however, both parts of the film track should be cleaned. Last — not least — some useful hints:Preferably shoot such scenes where there is motion and life. While shooting hold the camera steady. Avoid filming of far-off landscapes without foreground and without motion. Remember that a close-up is always effective, hence make use of it as often as possible. In the beginning avoid panoramic shots (i. e. shots with the camera in motion). Read and study some good handbooks for cine amateurs. And finally, try to gather your own experience which will best ensure perfect results in using the ADMIRA 8 IIA Cine Camera.

Accessories to the ADMIRA 8 II A Cine Camera

The following accessories which will improve your ADMIRA are available in the photo-cine shops :

(1) LEATHER CASE.As mentioned above, the camera should be carried preferably in a leather case where it is protected against the effect of dust, sunlight, rain, etc. The leather case can be carried suspended from the shoulder or in the hand.

(2) INTERCHANGEABLE VIEWFINDER EYEPIECES.Normally the camera is supplied with a viewfinder accommodated for a normal-sighted operator. For short-sighted or long-sighted cine amateurs spare viewfinder eyepieces are available. The eyepiece marked "— 3" (diopters) is intended for a long-sighted, that marked "— 3" for a short-sighted operator. The normal eyepieces are without any marking. Changing of the eyepieces is very easy. The eyepiece is unscrewed from the viewfinder and replaced by another one.

(3) COLOUR FILTERS.In frequent cases even panchromatic film will not reproduce the filmed object correctly as far as the scale of shades is concerned; thus, for example, the sky appears too bright, the clouds are not visible enough, etc. For this reason the correcting colour filters are used.The filters for the ADMIRA 8 IIA Cine Camera are manufactured from optical glass tinted in the raw material. They are fixed in metal mounts and are threaded into the front mount of the lens. The following types of filters are available:

(a) G 2/22 FILTER — MEDIUM-YELLOW FILTER —for most frequent use. For landscapes with clouds, for flowers, etc. Exposure elongation about 2x up to 3x.

(b) G 3/22 FILTER — DARK-YELLOW (ORANGE) FILTER —for shots of landscapes with hazy horizons. This filter reproduces the clouds very distinctly against a dark sky. Exposure elongation about 3X up to 4x.

(c) GGR 1/22 FILTER — YELLOW-GREEN FILTER —for ordinary work, for shots of landscapes, flowers, etc. Exposure elongation about 1.5x up to 2x.

(d) GR 1/22 FILTER — BRIGHT-GREEN FILTER —for shots of landscapes, etc., particularly for use with super-panchromatic film (e. g. ISS). Exposure elongation about 3x up to 4x.

(e) B 1/22 FILTER — BRIGHT-BLUE FILTER —for correct transfer of colours on panchromatic film when filming in artificial illumination.

(f) R 1/22 FILTER — RUBY-RED FILTER —for shots of far-off horizons and for attaining of various effects, as for instance, if very distinct clouds against a black sky are desired, or for the so-called nighteffects.When filming on panchromatic film in full sunlight with a cloudless sky, and using a shorter exposure time, pictures are obtained appearing as if they had been taken at night in moonshine. Exposure elongation about 6x up to 10 x.

(g) UV/22 FILTER — ALMOST COLOURLESS FILTER —essential for filming in the mountains, in altitudes above 2000 m and for shots at sea. In lowlands in winter with sunlit snow.

(4) ADAPTER LENSES.When taking shots from shorter distances the so-called adapter lenses are used which are threaded into the front mount of the lens similarly to the filters.The focussing plane of the lens (depth of focus) is transferred to a shorter distance. Simultaneously the view finder should be tilted to the appropriate position, thus compensating for the parallax. Three types of adapter lenses are available:

(a) Adapter lens 1.5 — 1 m/22 — for shots within a distance of from 1.5 to 1 m. At distances of about 1.5 m the viewfinder remains in the normal tilted position, at distances of about 1 m it should be set to the position marked "1 m".

(b) Adapter lens 1 — 0.5 m/22 — for shots within a distance of from 1 to 0.5 m. The viewfinder should be tilted to position "1" or "0.5".

(c) Adapter lens 0.5 — 0.33/22 — for shots within a distance of from 0.5 to 0.33 m. The viewfinder is set to positions "0 5" or "0.33".

All filters and adapter lenses are fixed in mounts enabling two filters or an adapter lens and a filter to be screwed one upon another. This set can also be screwed on either to the sunshade or to the lens itself after unscrewing the sunshade which is then screwed on to an adapter lens or a filter.

(5) PANORAMIC HEAD.For more serious work serves the panoramic (or "panning") head enabling shots to be taken at any angle required both in the horizontal and in the vertical directions. The panoramic head can be screwed on to any kind of standard-type tripod fitted with a 3/8" thread. It can be locked in horizontal position by means of a screw, in vertical position by means of a handle.

(6) PISTOL CRIP HANDLE.This handle fitted with a pistol-type trigger can he attached to the camera very easily by means of a screw with a milled head. The handle enables the camera to be held firmly and steadily during filming and to be released without jerking, thus facilitating the cameraman's work and enhancing the readiness for action of the camera.

(7) SECURING RELEASE,If the camera mechanism is to be put in permanent action without holding the knob permanently in the position "N", the so-called securing release is used. The securing release is threaded into the opening located in the front wall of the camera. Then this release is pressed down and locked in the depressed position by turning its milled mount to the right.After turning the milled mount back to the left the release emerges automatically, thus stopping the operation of the camera.

(8) MATTE-BOX.The matte-box is a tube-shaped appliance which is screwed on to the camera lens similarly to the filters and is fixed in the correct position by means of a counter-nut.The matte-box incorporates a built-in iris diaphragm, the end of the tube being fitted with a guide for inserting of various masks, as for instance, with a keyhole opening, a binocular-shaped cutout, a mask for the so-called wipes, for shots of doubles, etc.The matte-box is intended for taking of various exacting shots and scenes in serious film work.