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The Arricam ST, a popular 35 mm film camera currently used on major productions.
The movie camera is a type of photographic camera which takes a rapid sequence of photographs on strips of film. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion.
Contents
1 History
2 Technical details
3 Multiple cameras
4 Sound synchronization
5 Home movie cameras
6 References
7 See also
//
History
One of the first motion-picture film cameras, if not the first at all, was designed by Louis Le Prince in 1888. It still exists with the National Media Museum, England. Le Prince employed paper bands and cellulo?d film from John Carbutt and or Blair & Eastman in 1? inch width.
Another pioneer is William Green of Bristol, England. In 1888-89 he had an A. L built a perforating apparatus in order to prepare paper film for his camera.
Georges Demen?, employee with Etienne Jules Marey, constructed the Beater Movement in 1893. The film width is 60 mm.
Max Skladanowsky conceived his own make of camera in 1894-95, but more interesting is his ioscop projector, the first duplex construction in practice. Green, part designer for Prestwich, also designed a duplex projecting machine. This 1896 wide-film projector can be seen at the South Kensington Science Museum.
The Lumie Domitor camera was originated by Charles Moisson, chief mechanic of the Lumie works at Lyon in 1894. They shot on paper film of 35 millimeter width. In 1895 the Lumie could buy cellulo?d film from New-York Celluloid Manufacturing Co. This they covered with their own Etiquette-bleue emulsion, had it cut into strips and perforated. It is not known which recipe they used for positives.
Then an ever increasing number of cine cameras came up. The makes and brands would be: Birt Acres (1894-95), the Latham Eidoloscope by Lauste (1895), the Marvin & Casler Bioscope by Dickson (1895), Path fres (1896) with ratchet claws, Prestwich (1896), Newman & Guardia (1896), de Bedts, Gaumont-Dy (1896), Schneider, Schimpf, Akeley, Debrie, Bell & Howell, Leonard-Mitchell, Ertel, Ernemann, Eclair, Stachow, Universal, Institute, Wall, Lytax, and many others.
The first all-metal cine camera is the Bell & Howell Standard of 1911-12. One of the most complicated models is the Mitchell-Technicolor Beam Splitting Three-Strip Camera of 1932. With it, three colour separation originals are obtained behind a purple, a green, and a red light filter, the latter being part of one of the three different raw materials in use. Blue and red light passes a purple filter . . .
The most popular 35 mm cameras in use today are Arriflex, Moviecam (now owned by the Arri Group), and Panavision models. For very high speed filming, PhotoSonics are used.
Technical details

Basic operation: When the shutter inside the camera is open, the film is illuminated. When the shutter is completely covering the film gate, the film strip is being moved one frame further by one or two claws which advance the film by engaging and pulling it through the perforations.
Most of the optical and mechanical elements of a movie camera are present in the movie projector. The requirements for film tensioning, take-up, intermittent motion, loops, and rack positioning are almost identical. The camera will not have an illumination source and will maintain its film stock in a light-tight enclosure. A camera will also have exposure control via an iris aperture located on the lens. Also, there is a rotating, sometimes mirrored shutter behind the lens, which alternately passes the light from the lens to the film, or reflects it into the viewfinder. The righthand side of the camera is often referred to by camera assistants as "the dumb side" because it usually lacks indicators or readouts and access to the film threading, as well as lens markings on many lens models. More recent equipment often has done much to minimize these shortcomings, although access to the film movement block by both sides is precluded by basic motor and electronic design necessities.

A spring-wound Bolex 16 mm camera
The standardized frame rate for commercial sound film is 24 frames per second. The standard commercial (i.e., movie-theater film) width is 35 millimeters, while many other film formats exist. The standard aspect ratios are 1.66, 1.85, and 2.39 (anamorphic). NTSC video (common in North America and Japan) plays at 29.97 frame/s; PAL (common in most other countries) plays at 25 frame/s....(and so on)

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