From the Summer 1994 issue of the Operating Cameraman

The Pathé camera was introduced in 1905. This camera was destined to be a success for two basic reasons. First, it was manufactured by the pioneer French cine camera company, Pathé. They had made some worthwhile very early movie cameras. The Pathé studio camera design was a state-of-the-art concept based on what they had learned from their earlier cameras. Second, the basic reason for its success was the utilization of the superb film transport design developed by the Lumiére brothers. The Lumiére camera/projector was credited with the showing of the first projected movie to a paying audience.

The Lumiéres got out of the movie business after a disastrous fire killed many distinguished attendees at a charity ball. The fire was started in the projector by the very dangerous nitrate film.

Pathé subsequently acquired the right to use the great Lumiére film transport mechanism in their new Pathé studio camera.

Now, what was unique about this camera design? First, it utilized two externally mounted film magazines. The film supply and take up magazines were easily accessible and securely mounted. Second, the critical optical/mechanical parts of the camera system were all precisely mounted internally on a common metal frame.

The magazines and camera body were made of wood and covered with prime leather. The camera lens was mounted on a precision dovetail/keyway and focus change was actuated by an external lever against a calibrated scale. The lens iris was controlled by an external lever and scale. The opening of the rotary shutter was controlled externally. The camera hand crank input could be used for the standard 16 frames per second or variations thereof. A separate hand crank input access was provided for a single frame per turn for special effects or animation.

Critical focus was accomplished by removing a hatch from an optical magnifier mounted on the back of the camera. The operator would then get an enlarged view of the film at the aperture. In those early days the film did not have an anti halation backing and the emulsion surface made a fine substitute for ground glass.

Originally the rotating shutter had a fixed opening but later refinements provided an adjustable opening shutter. Further refinements provided an adjustable shutter that could produce lap dissolves from an external control. The film entrance and exit had simple velvet at the aperture in early modes. This was subsequently replaced by metal rollers. Refined versions have spring loaded side guides at the film aperture.

An externally controlled film punch was added so that the operator could mark the start or finish of a scene. The technician in the dark motion picture processing lab could then ascertain the portion of the film requiring processing or handling.

An external control could be added so that the lens iris could be driven open or closed for fade in or fade out.

The original Pathé studio camera was quite versatile to begin with but with the add on features it became extremely versatile.

In the early days of the film industry the cameramen often owned their own cameras. He would configure and add accessories as he saw fit. He could buy the camera with the accessories or add them as he wished.

It is not surprising that the Pathé studio camera became a very popular camera. Just before World War One it was the most used movie camera in the world.

In America the Pathé camera was copied by the Sigmon Lubin studio and by the Wilart company. They both added metal bodies.

The Pathé saw extensive service in World War I. With the introduction of the great Bell and Howell 2709B cine camera in 1912 the popularity of the Pathé began to wane. Many of the cameramen would still use their Pathés in spite of the advantages of the Bell and Howell camera. A leading cameraman, Billy Bitzer, used his Pathé well into the 1920's because he said, "It will do anything I want."

During the post war period there was still difficulty in producing a good copy negative from the original negative. Two negatives were required so that the second one could be expeditiously sent to Europe for that concurrent movie market. Often two cameras were operated at the same site so as to generate two original negatives. The Pathé was increasingly delegated to the second camera designation.

The Pathé studio camera gradually fell out of general use. Today it is considered a prime cine camera collectors item and it commands a premium price. You can nowadays see them proudly displayed in movie executives' offices and in movie memorabilia museums.

On a personal note, I have three Pathé studio cameras in my large collection of early movie cameras. Normally, I think that redundancy does not belong in a camera collection. However, my three cameras are significantly different.

One camera is conventional and has a number of add-ons. The second camera has a color filter wheel added to allow the camera to generate film for an early two-color camera concept. The third camera is devoid of refinements and quite basic. The removable front board of the camera is not full length and has the lens simply mounted on it. There is no serial number and the camera is probably a prototype.