Angenieux introduces new lenses

The new coke Super-16 Varo Kinetal zoom lens

GSMO camera soon to be available

The EMP (Envelope: Minimum Possible) 16 MM camera

SMPTE equipment exhibit Arriflex 16SR camera since Photokina 1972

Talking technically : shooting 16 mm for 35 mm /
por: Samuelson, David

Filming under a rain of fire for "Days of destruction" /
por: Long, Asgeir

Arriflex at Photokina'80

Cinema Workshop : video lenses /
por: Wilson, Anton

Shooting 16 mm for blow up to 35 mm film

Why shot in Super-16 /
por: Ericson, Rune

Filming the atomic graveyard /
por: Frehsee, Rick

ABC's wide world of sports uses new Kodak 7247 16 mm color negative for the first time /
por: Lightman, Herb A.

The filming of "Angelo my love" /
por: Bogre, Michelle

Underwather photography for "Deadly fathoms" /
por: Mounier, Bruce

P.A.G. modulor sound dubbing system

Perfectone continuous motion High-speed projector "Comitor 16 HS"

The new magnasync/moviola 16 mm portable console editor

How would a feature in Super-16 compare with one shot in 35 mm on a theater screen? /
por: Ypung, Irwing

Filming wild life around the world /
por: Bayer, Wolfgang

The latest from steenbeck

The Canon story /
por: Lightman, Herb A.

Aspheron a breakthrought in optical design from Bolex

Kodak introduces Super 8 single-system sound camera and other proffesional Super 8 products

Neilson Hordell Junior animation stand

The new moviecam

The Kenworthy snorkel camera system today /
por: Kenworthy, N. Paul

Panacam reflex /
por: Gattschalk, Robert E.

Periscope lens systems /
por: Laikin, Milton

New products /
por: Rhea, Marji

EGO, EF and Color negative what's the difference /
por: Hampe, Barry

The videola V-1000 Film-to-tape transfer system

The new feathercam cm35 camera

The new Leonetti-Wilcam Ultracam-35 camera

The new Aaton 8-35 35 mm camera

The new Technoflex camera

New products /
por: Rhea, Marji