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If it were up to me I would revise and expand this video with a few additions. The Bell and Howell 2709 revolutionized movie camera engineering and built Hollywood from the mid silent era onward, at least into the 1980s. Today they are associated mostly with old 8mm cameras but this company laid the engineering foundation for the modern cinematography and they began before the First World War. Bell and Howell also designed an accurate film perforator (which punched sprocket holes used to move and locate the film during a take and became used by Eastman Kodak, Agfa and other film stock manufacturers) that together with their model 2709 camera gave absolutely rock steady pictures. The slap-gate movement from this camera was too noisy for talkies but formed the basis of optical effects printing used for visual effects until replaced by digital methods in the 90s. Bell and Howell also developed the continuous contact printer that enabled much faster bulk film printing (for cinema intermediates and release prints), then went on to adapt this for optical sound printing then went on the develop their additive color lamp house which revolutionized how motion pictures were colour corrected. Motion picture cinematography is not only about cameras. Ultimately it's about what gets seen. The Mitchell BNC, BNCR and Mitchell Standard were the mainstay of Hollywood in the 1930s until the 70s. They were the cameras that made Hollywood sound pictures possible and shrunk the soundproof camera booth (a small portable soundproof room with a window that could accommodate a camera operator and an assistant but pretty much killed camera moves) into a case around the camera called a 'blimp'. I can't understand why Mitchell didn't rate a mention. Where is are the 2 colour and 3 strip Technicolor cameras that finally brought shockingly realistic colour to a black and white cinema? It's hard to imagine the impact of these on audiences stunned by the beauty of "The Wizard of Oz" or "Gone With the Wind. " No mention of Arnold and Richter's Arriflex which introduced spinning mirror single lens reflex viewfinder which later became adopted by most movie camera after the war. Today I understand that most film and digital motion picture cameras in use are made by Arri, especially the Arri Alexa (which is discussed). This company began making movie cameras in 1917. No mention of the remarkable history of French movie cameras after Lumiere, including the Debrie Parvo family which was the mainstay in Europe and the Eclair CM3, NPR and ACL which introduced fast interchangeable magazines and the idea that a handheld camera could be more steady and less fatiguing if balanced on the shoulder rather than held in front of the operator's face. Also worth a mention here are the Aaton 16 and 35 film cameras. Where is CinemaScope, Todd AO or Panavision? As for video camera where are the ancient image orthicon style B+W cameras that enabled early TV and the plumbicon / vidicon video cameras that reduced the TV camera size and weight to something that could be hand held for electronic news gathering and field production? With respect, there really is a much more fascinating history here.

Your version is extensive and informative. Thank you.

Glad you find it nice.

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IMAX is 65mm projected in 70mm and yes film is still used today, but most productions wanna use digital for speed, because you can slap it from a SD card straight to a hard drive or straight from the SSD to the computer. But true cinema is on film.

@@JanWilliamsBailey latest jamesbond shot in imax film.and they use practical effects i just saw the behind the scene

Ultimately digital is the way to go. But we still love the "film" view

@@camerazone_ true. Film movies is OBSOLETE as it is hard to take care and maintain

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Yes, but he might be a little late

This Sunday at the civic center!