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PROFIT

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TRADEMARK OF QUALITY SINCE 1896
 T HIS I S YOU R PATHE

THE BASIC CAMERA TO BUILD ON

 THE PATHE NEWS STORY

Since 1896 PATHE has specialized in only one field cinematography.

As the world 's most experienced creator of fine movie equipment, P'ATHE has
developed a tradition of master craftsmanship long recognized as the interna-
tional standard of excellence.
For years manufacturers have realized f'hat the ideal 16mm camera would
combine rugged dependability, precision workmanship, easy 'Portability, the
versatility of a complete system of accessories, and a reasonable price.
Many manufacturers a'ttempted to achieve this ideal camera, but only succeeded
in ,c omplicating their already outdated designs. PATHE, however, after devoting
years to fundamental cine research, finally designed and produced the camera
that is totally new 'in conception, operation, and production.
PATHE, as it has for so many decades, again creates the NEWS ... news o'f the
entirely new and better motion p icture camera, news of the camera that was
designed expressly for 'the space age, news of the camera tha t is unquestionabl y
the world 's best value . . . NEWS of PATHE.

4
THOSE WHO BUILD
THE VERY BEST •••

BUILD
Charlton Heston is famous for his award Red Skelton , the most beloved comedian is
winning roles in The Ten Commandments . seen by more than 35 million people every
Ben Hur and other g reat movies of our time . week on h is hour long CBS telev ision show .

THOSE WHO CHOOSE

THE VERY BEST ...

Jock Mahoney , the space age • Tarzan • Catherine Rouvel famous for her
bringsanewacting dimension to the jungle . role in £i 'l m • Chair de Poule •.
CONTENTS

CAMERA ACTION

MECHANICAL LOADING 28
O'PERATION BASIC FILMING 30
WINDING THE MOTOR 12 CHOOSING YOUR FILM 30
SELECTOR SWITCH 14 SCENE LENGTH & COMPOSITION ,3 1
FILMING SPEEDS 16 PANNING 32
HAND CRANKING 18 FADES & DISSOLVES 33
FRAME COUNTER 20 SUPERIMPOSED EXPOSURES 34
FILM COUNTER 20 SINGLE FRAME FILMING 34
VARIABLE SHUTTER 21 UNLOADING 35
MAINTENANCE 36
O'PTICAL ACCESSORIES 40
OPERATION ONEMASCOPE 42
LENSES &. LENS TURRET 24
DISTANCE &. DEPTH OF FIELD 25
VIEWFINDERS 26

8
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CD

1 Magazine Slot Cover Screw 12 Mag<Jzine Slot Cover

2 Film (footage) Counter 13 Shutter Releose
3 Carrying Handle 14 Socket for Cable Release
4 [Eyepiece of Direct Viewfinder 15 Filming Selector Switch
S Head of Motor Winding Spindle 16 Index Plate for Filming Selector Switch
6 Motor Winding Handle 17 Turret lock Screw
7 'Rubber 'Eyepiece of Reflex Viewfinder 1'8 Oiling Hole
8 Heod of Drive Spindle 19 Camera Speed Index Mark
9 Camera Speed lock 20 Mounted Angenieux Zoom Lens
10 Fr<Jme Counter 21 Camera Speed Control Dial
11 Driving Handle 22 Variable Shutter Index Plate
2'3 Variable Shutter Control Lever
9
 13 Shutter Release 26 Cover
2~ Revolving Turret 27 Cover lock
25 Front Lens of Direct Viewfinder 28 Direct Viewfinder Tube
22 Variable Shutter Index 'Plate 29 Lever for Reflex Viewfinder Light Block
23 Variable Shutter Control Lever 30 Reflex Viewfinder Tube
31 Reflex Viewfinder Eyepiece
32 Reflex Viewfinder Adjusting Screw

10
33 Upper loop Protection Plate 42 Motor Cover Plate
34 Oiling Hole 43 Feeding Spindle
35, Sprocket Guide Positioning Pins 44 Footage Counter Arm
36 Driving Claw Eccentric 45, Upper Sprocket Arm
37 Film Guideway 46 Unique Center Drive Gear
38 Film Guides 47 Guide Roller
39 Pressure Pad 48 lower Sprocket Guide
40 Pressure Pad lock 49 Take-up Spindle
41 lower loop Protection Plate
11
MECHANICAL
OPERATION

WINDING THE MOTOR

12
 Lift the motor winding handle (6) and engage it on the head of
the motor winding spindle (6). Turn
the handle in the direcnon of the arrow (counter -clockwise) until
a bell is heard. This signifies that only
4 or 5 more turns are ' needed for complete w;nd ;r\g and
th::lt the handle should then be turned slowly
to avoid unnecessary shock on the positive stop.
NOTE: The bell-warning signal will be heard onlyif approximately
9 feet of film have been unwound
after the last complete wind ing .
After the motor spring is fully wound, let the v:,jnding 'handle snap
back into a rest position. The camera
will now expose 22 feet of film without rewinding. Howeve r, it is good
practice to wind the motor after
each scene, regardless of the power reserve. Should it be necessar
y to shoot a continuous scene longer
than 22 feet (894 frames), for example in medical a nd technical 'a
pplications, either of 2 electric drive
motors is recommended. One, the PATHE 16-24, will drive the camera
at either 16 or 24 fps, while the
other, the PATHE 8-80 WILr. with tachometer, will drive the camera
at any speed from 8 to 80 fps.
Either motor may be operate d directly from batterie s or from AC
with a transformer.
ANOTHER PATHE FIRST. When the camera :s used with our motor
8.80 motor, the shutter will always
stop in ist closed position - meaning no troublesome black frames
to edit.
MECHANICAL OPERATION ... Cont.

SELECTOR SWITCH

14
 The filming selector switch (15) and the shutter release (13)
are key controls in operatin g fhe camera.
The filming selector switch is marked with four cha racters :
« C », « I », « B », and « OFF ». When
this switch is set to these characte rs it controls the filming operatio
n as follows :
«c » - Ordinar y filming . Start by pressing the shutter release (13),
stop by letting it uP.
- Instanta neous single frame exposur e (similar to ordinary snapsho
t camera) . The approxi -
mate exposur e time with the shutter wide open is 1 /16th sec.
at 8 fps and 1/24Jth sec.
at all other speeds.
« B» - Single frame time exposur e. Each frame is exposed from
the moment the shutter release
is pressed until the moment it is -let up. NOTE : Variabl e shutter
must he wide open .
« OFF » - Safe 'Position. The shutter release is positive ly locked,
and any possibili ty of acciden tal
exposur e is eliminat ed.
To set the filming selector switch to any of the above characte
rs, simply press it down, turn it to bring
the desired characte r opposite the red triangle on the index
plate (16), and let it up . NOTE : The
selector switch may be turned from « C » to « OFF » and
back.
For continuo us filming, set the filming selector switch (15) on
« C », push the shutter release (13) down,
and turn -it slightly to the left. NOTE : Do not turn the filming
selector switch when the shutter release
is in the continuo us filming 'Position .
To prevent camera moveme nt during single frame operatio
n it is advisab le to use the 'PATHE right
angle swivelin g cable release. This may be easily fiitted in
the socket in the top o-f the shutter release
and will eliminat e camera moveme nt.

, r
MECHANICAL OPERATION ... Cont.

CA M ERA SPEEDS
The PATE PROFESSIONAL REFLEX 16 may be run at ANY filming
speed from 8 to 80 fps . 'Note that six speeds (8, 16, '24, 32, 64,
80 fps) are marked with engraved dots. The position of these
dots will vary sl ightly from camera to camera since they are
plcu.ed on a camera only ·a fter it has been -i ndividually tested
and calibrated by hand. Although these six speeds are the
absolute ultimate in film ing precision, any intermediate speed
may a lso be used by simply estimating its position between two
exactly calibrated marks.
To set 'a particular filming speed, fi rst release the speed lock (9t
by turning it counter-clockwise. Then, 'hold the speed control
dial -(21) by its two knobs and turn it in either d irection so fhat
the desired speed is opposite the index mark (19) on the camera
body. Finally, to prevent moving the speed control accidentally,
turn the speed lock clockwise to positively lock the speed control
in position .
Since each camera 's speeds were individually hand calibrated
with film in the camera, it is not advisable to run the camera
without film at any speed over 16 fps.

16
 The normal speeds used in 16mm projecti on are: (1) 16 fps for
silent films and some magneti c sound,
and 12) 24 fps for optical sound and most magneti c sound films.
When a film is projecte d at its normal
speed the part of it shot at a speed slower than normal will
pro·d uce an illusion of accelera ted motion
on the screen. Similarly, the part of the film shot at a speed
faster than normal will produce a slow
motion effect on the screen. For example , assume that you ore
shooting a silent film. The normal pro-
jection speed is 16 fps. Therefo re, where normal motion is desired
on the screen, the film should be shot
at 16 fps. As the filming speed become s slower, the motion
on the screen will be more and more
accelera ted. This effect is the basis of time-lap se photogr aphy.
If slow motion is desired, the film
should be shot at speeds faster than 16 fps . As the filming
speed is increase d, the motion on the
screen will become slower. This is the basis of motion ana'lysis
and detailed time motion studies.
As a general rule, the rate of motion on the screen as compar
ed to the normal rate of motion is the
ratio of the projectio n speed {fps) to the filming speed (·fps) .
For example , if you project ot 16 fps and
film at 80 fps the motion on the screen will be 1/5 (16/80)
fhe normal rate of motion .
The following charts are provide d as necessar y informa tion for
complet e versatili ty and as a ready
referenc e during producti on.

EXPO SURE TIM E 100 FOOT S POO L

FRAMES
PER SECOND 8 16 24 32 64 80
EX POSURE 8 MIN. 4 MIN. 2 MIN . 2 MIN .
TIME 20 SEC. 10 SEC. 48 SEC. 1 MIN . 50 SEC.
5 SEC.

PROJ ECTIO N TIM E 100 FOOT SPOO L

16 FPS 4 MI~. 10 SEC. OR APPROXI MATELY 15 MIN . FOR 100 FT .

REGL.

24 FPS 2 MI~ . 48 SEC. OR APPROXI MATELY 15 MIN. FOR 600 FT . REGL.

MECHAN ICAL OPERATION ... Cont.

HAND CRANKING
The driving handle (11) may be used to drive
the film either forward or backward by hand.
To hand crank the film forward for special
effects, first be sure that the spring motor is
completely unwound and set the shutter re-
lease (13) in the continuous filming position.
Set the film speed control at the desired filming
speed. Lift the driving handle (11), engage it on
the drive spindle (8) and wind it as fast as possi-
ble or until you feel the definite resistance of
the motor governor. If you do not feel the resis-
tance of the governor you may not be winding
the crank fast enough to obtain an accurate
speed. At high filming speeds, it is very difficult
to wind the crank fast enough for accurate results.

18
To rewind the film by hand first be sure that the variable shutter
(23) is complet ely closed (placing a
lenscap on the taking lens is also a good 'ideal). Then engage
the driving handle (11) on the head of
the drive spindle (8).

Without releasin g the handle, press the shutter release (13 1)

'a nd wind the handle clockwis e. The frame
counter {10} will record the frames rewound i in addition
, each complet e turn of the small handle
is 8 frames.

IM PO RT AN T
As the film is being rewound , the motor spring
is being wound up. Therefo re, in order to
rew'ind film, the motor spring cannot be
fully wound. The length of film rewoun d
cannot exceed the extent to which the
motor spring is unwoun d. Howeve r, when
the motor spring is complet e!y unwoun d,
over 22 feet of film can be rewound .

10
MECHANICAL OPERATION... Cont.

The PA TH~ PROFESSIONAL REFLEX 16 is equip-

ped with two different counters - a frome
counter (l0) and a film counter (2).

FRAME COUNTER
The accurate geared frome counter 'a dds in for-
ward operation (when used with the spring
motor) and subtracts in reverse, putting fhe pre-
cision fades and dissolves of Hollywood tricks " .
at your fingertips.

F I L M COUNTER
The automatic film counter shows the length of
film unexposed. It is graduated up to 100 feet,
the ma ximum capacity of the camera alone.
When 400 foot magazines are used, the separate
counters of each magazine take over. If the film
is completely exposed the counter will read « 0 »,
and when there is no film the camera the counter
will read « 6MPTY ».

20
VAR IABL E SHU TTE R

"
One of the most versatile features' of your PATHE PROFESSI O NAL
REFLEX 16
is its 180~ variable shutter. ·T'his unique shutter gives you a means
of controll ing
the exposure time that is indepen dent of the filming speed. When used
in conjunc-
tion with the filming speed control, however, it permits choosing
from a wide
range of diaphra gm openings under almost any lighting conditions
The variable
shutter is also an essential control in reducing depth of field, filming
fast moving
objects, filming in very bright light, and making fades 'a nd lap dissolve
s (see p. 33).
MECHANICAL OPERATION ... Cont.

OPEN 1/4 CLOSED 1/2 CLOSED 3/4 CLOSED CLOSED

The variable shutter index plate {22) and control lever (23) are on the front of the camero, directly
under the lens turret. The 'index plate is notched in five places. The first, the third, and the fifth notch
are marked respectively, « OPEN », « 1 /2 OPEN », and « CLOSED ». When the control lever (is in the
notch marked « OPEN », the shutter is completely open; when the control lever is in the second notch,
the shutter is 3/4 open; when the control lever is in the notch marked « 1 /2 OPEN », the shutter is
1 /2 open; when the control lever is in the fourth notch, the shutter is 1 /4 open; and when the control
rever is in the noth marked « CLOSED » the shutter is completely closed. To prevent occidental wasting
of film a warning buzzer sounds when the shutter is completely closed. The control lever may be moved
while filming, may be locked in anyone of the five positions marked on the index plate, or may be
left in· any intermediate position.

22
 WHAT'S RED AND ALWAYS SMILING?
World Famous comic Red Skelton, of cou'rse . He's smiling at the perfo r,mance of his Pathe Professional Reflex 16 .
Red recognizes the bes'!. That's why he chooses Pathe when choosing his personal movie equip-
men't. Comic Skelton say,s .. Like any serious amateur home film maker I like the bes! results
and I find that Pathe's Professional 16 g ives me the fines! results every time "
23
OPTICAL
OPERATION

LENSES and
THE LENS TURRET
The lens turret (24) of the PATHE PROFES-
SIONAL REFLEX 16 makes anyone of
three lenses immed iately avai·lable wirh a
simple flick of the wrist. Three positive
stops position the turret exactly, every
time. A turret lock (17) is also available
as an accessory for use with heavy lenses
such as Pan Cinors, Zooms, and long
telephotos.
Any « C » mount lens with a thread
length of 3.8 mm or less can be screwed
on the tu rret of the PA THE PROFESSIO-
NAL REFLEX 16. For fhe most efficient
result; try screwing a wide angle lens in
the position for filming, a telephoto above
thai', and a normal lens on the left.
If the index line of a PATHE lens is in an
awkward position after it has been
screwed on the camera, adjust it by
moving it from the camera, pressing the
rear threads in, and turning them so the
index is in the desired position.

24
DISTANCE SETTING and DEPTH
OF FIELD
Because the reflex viewfinder of the PA THE PROFESSIONAL REFLEX 16
shows every scene exactly as it will be projected on the screen, the
problems of focusing and depth of field are reduced to a minimum .
After the lens has been focused by settin'g the correct distance on the
distance scale, the focus and depth of field should be checked in the
ground glass circle of the reflex viewfinder. Dep¥h of field is the zone
in which the picture is sharp. This zone starts at a distance less than
the distance at which the lens is set and extends to a greater distance.
The extent of this zone, or the depth of field, varies with the diaphragm
opening of the lens, the focal length of the lens, and the camera-to-
subject d istance. As (I general rule, the depth of field is great when
using a small diaphragm opening, a short focal length lens, or a long
camera-to-subject distance. Conversely, the depth of field is usually
small when using a large diaphragm opening, a long focal ·Iength
lens, or a short camera-to-subject d istance.
Practically all PATHIE lenses have a depth-of-field scale engraved on
their mount. This scale consists of dcentral index mark with diaphragm
openings engraved on each side of the index. Real from the depth-of-
field scale, at the d iaphragm opening I(f stop) being used, to the distance
scale to determine the limits of the depth of field . It the diaphragm
opening does not eX(lctly correspond to a figure on the distance scale,
the actual limit of the depth of field must be estimated . When making
such an estimate, remember that as the camera-to-subject distance
increases, the figures on the distance scale will become closer together.

25
OPTICAL OPERATION... Cont.

VIEWFINDERS

The PATHE PROFESSIONAL REFLEX 16 is fully equipped with two entirely 'i ndependent viewfinder systems.
The direct viewfinder (28) permits the photographer to quickly evaluate the field of view (for normal
and telephoto ,lenses) and mpidly frame fast moving action . The slight parallax error can be disre-
garded for subjects beyond 10 feet.
You can easily adjust the direct viewfinder' to your individual eyesight. Just move the eyepiece for-
ward or backward until the object you are looking at is in critically sharp focus.
The brilliant flicker-free reflex viewfinder is one of the most important features of the PATHE PROFES-
SIONAL 'REFLEX 16. This advanced optical system enables you to constantly view through the taking
lens, even during actual filming. You can accurately frame and focus, estimate and plan depth of
field, check the focal length of the lens, check the color of the filter used, estimate lighting conditions
and create special lighting effects.
One of the key features of the reflex viewfinder is a thin glass plate with parallel faces, that is placed
at an angle of 45'° on the optical axis between the lens and the film. T'his pellicle glass constantly
reflects about 8 % o,f the image light into the viewing tube, thus provid ing continuous· reflex viewing .
The amount of light reflected is so slight that it will no t affect the exposure, yet it provides a constantly
brilliant image.
Before the reflex viewfinder can be used correctly a nd efficiently it must be adjusted to the eyesight of
the individual using it. For best results do not use tne refle x finder without its rubber eyepiece (7).
It has been carefully designed to eliminate all extra neous light and to provide comfortable and correct
viewing.

26
 Treated reflex
pellicle glass
Focussing eye -piece enabling the operator to suitably
~ocus cross-wires etched on the prism

-- Single lens component

To adjust the reflex finder to your eyesight, first , swivel the rubber eyepiece so that its long side is
away from your nose, against the side of your head. (Note : For those who wear glasses a special
rubber eyepiece is readily available at all PATHE dealers). Then, loosen the adjusting screw (32) slightly,
allowing the rubber eyepiece and tube (7) to slide freely in the finder tube {30). 'Now, push the light
block control lever '(29) toward the eyepiece (rear of camera) to open the light block, and remove the
taking lens. While viewing a well-lighted source, slide the rubber eyepiece and tube until the black
cross and the grain of the ground glass are perfectly sharp. Then rescrew the adjusting screw to hold
the eyepiece in position . The reflex viewfinder is now ready for use.
NOTE : Focusing should be done only on the center circle of ground glass. The outer area gives accu-
rate framing, but does not permit critical focusing . In add ition, exact focusing is more efficient w ith
the lens wide open for two reasons. First, with the lens wide open the depth of field is sho rter. This
greatly reduces the possibility of error in critical focusing . Second, a wide aperture provides a brig'ht
image si·nce more light is passing through the lens. Don 't forget to readjust the diaphragm before
beginning to film .
Because of the continuous reflex viewing system, what is seen on the lens is ex'a ctiy what will appear
on the screen, regardless of the foca·1 length of the lens or the camera -to-subject distance.
If the reflex viewfinder is not used during filming it should be closed by pushing the light block control
lever (29) toward the lenses. This will prevent any light from reaching the film through the viewfinder
eyepiece, and will completely eliminate any danger of fogging the film with the viewfinder.

27
 ACTION

LOA D I N G
The PA THE PROFESSIONAL REFLEX 16
is loaded in 4 simple steps.
O,pen the Camera
Lay the camera in front of you with
the winding handle down. Release the
cover lock (27) by pulling it up and ,I?J
0
rotating it clockwise until the feet of
the PATHE Cock are pointing toward
the lens. Grasp the viewfinder tubes
with your left hand. Put your right
thumb on the magazine screw (1) and
your right fingers under the eyepiece
of the direct viewfinder (4). Break the
cover seal with a twisting motion of your right hand and lift the cover off with your left hand .
Prepare for :Loading
Always be sure that the spring motor has been wou nd at least one turn of the winding handle before
loading the camera . Move the pressure pad (39) from closed to open by first pushing the pressure pad
lock '(40) and then the pressure pad toward the center drive gear until they automatically lock in the
opened position. (Always he sure to release the pressure pad lock before making any attempt to move
the pressure pad itself) . Push the footage counter arm (414) toward the back of the camera until it
catches on its spring lock. Open the sprocket guides (45, 43) by pulling the positioning pins up (35) and
swinging the guides open.

28
Load the 'Camera
Unwind about 1-1/2 feet of film. (Each spool has spare film at the beg inning and at the end to protect
the usable film). Put the full spool on the feeding sp indle (43). The film should unwind in the d irection
of the arrow on the camera body. Close the footage counter arm (44) by pressing its spring lock.
Thread the film under the upper sprocket guide (45) around the pressure pad ((9) and over the lower
sprocket guide ,(48). Pull the pressure pad lock toward the center drive gear and carefully close the
pressure pad, easing the lock forward . Be sure that the claw is engaged in the film perfo rations by
carefully sliding the film back and forth until you feel a defin ite resistance.
Form the loops by follow ing the d iagram in the camera body, and close the sprocket gu ides ,(45, 48) .
IMPORTANT: DO NOT 'lET THE FILM COME IN CONTACT WITH EITHER LOOP PROTECTION PLATE (33,41)
Pul l the film to check that the teeth of the center drive gear me engaged in the film parforations and run
the camera for a few seconds as a general check on the loading procedure.

Close the Camera

To close the camera check that the upper and lower sprocket gu ides (45, 48) are correctly closed and
that the PATHE Cock on the cover lock (27) is horizontal.
Fit the front of 'the cover on the camera, then the abck. Press on the viewtinder tubes and rotate the cover
lock counter-clockwise until it drops into its closed position.

29
ACTION ... Cont.

The most important part of making prize winning movies is ·a good understanding
of basic filming principles.
Remember that the correct exposure for a particular film depends on the dia-
phragm opening, the shutter speed, and the filming speed. A change in anyone
means a compensating change must be made in the others to maintain the same
exposure.
BASIC And never forget that good movies come to life because of the motion of the
subject, not because of camera motion . Since every movement of the camera
FILMING is greatly magnified when projecting, you should try to 'hold the camera as
steady as possible. The specially designed pistol grip is an excellent aid for this,
although a tripod should be used with the longer focal lengths.
Whenever possible, lean against a firm support, rest the camera against your
face, tuck your elbows in against your body, and push the button (or squeeze
the trigger of the trigger handle) smoothly, remembering to HOLD YOUR
CAMERA STEADY.

Both black and white and color films are available to the 16mm movie maker.
Black and white film has a remarkably wide range of exposure i almost aH the
detail in a scene is reproduced. The many different film sensitivities avail'a ble
CHOOSING make it possible to produce some unusu·a l effects that would be quite difficult
YOUR to get with color. Remember, with black and white film contrast between light
and dark is the main way of distinguishing objects i plan your shots accord ingly.
FILM
Filming in color with a PATHE is as easy as filming in black and white. Color film
has practically no grain and is very good for projection on large screens.
Wherever objects are defined by their colors rather than by contrast between
light and dark, color will give very pleasing and spectacular results.

30
 The length of a particular scene depends entirely on the action and interest of
the subject being filmed, and only you can judge that. The normal sequence,
however, lasts approximately 8 seconds on the screen . As a general rule, try
to break up scenes which require very long filming {sports events, etc.) by
changing the angle of view from time to time.
SCENE
The actual composition of each scene also ultimately depends on the individua l
LENGTH preferences of the photographer. There are, nevertheless, some basic rules which
AND serve as a general gu ide. First, do not shoot everything from eyelevel, but look
fo r new, interesting, and emphatic angles. Second, try to film some extreme
COMPOSITION closeups the results will be unusual and intriguing . Third, always film rap idly
moving subjects from a three-quarter angle or head on ; never from a right angle.
Fourth, approach a subject with a series of shots taken -in a z ig-zag line, rather
than one straight zoom . And, most important of all, do not hes itate to drastically
ed it your processed film. Change the sequence and length until they fulfill their
potential. Make the most of what you have.

31
ACTION ... Cont.

PANNING

Pann ing is the method of shooting a scene by swiveling the camera around a fixed point. Like any
other mov ie-makinq technique, panning is only effective when it is used for a reason i it must never
be abused.
There are two main types of pan shots - the stationary pan and the swish pan. In making a stationary
pan be sure that you : (1) have a solid support, (2') use a camera speed somewhat faster than normal
(32 fps), and (3.) accurately determ ine the beginningan-d ending po ints of the pan . To give a feeling of
smooth continuity, start filming without moving the camera, then swivel the camera very slowly and
smoothly (allow 10-12 sec for panning through 90°), stop the camera, and continue filming for a short
time. Always pan in one direction only, and never pan backwards.
A swish pan is used primarily for filming very fast moving objects (racing cars; galloping horses, etc.)
The only difference between a stationary pan and a swish pan is the fact that in a swish pan the camera
is swung very quickly to follow the motion of the subject. The back ground is blurred in such shots,
but this is actually an advantage since it leads to a very real impression of speed .

32
 FADES AND DISSOLVES

A fade-in is the smoothly gradual change from complete darkness to

the correctly 'e xposed scene. This slow transition prevents your audience
from being suddenly blindei::! by an annoyingly brilliant picture on the
screen.
To make a perfect fade-in, place the variable shutter on « closed ».
Press the shutter release and gradually swing the variable shutter to
« open ». This should be done in a predetermined time, usually two or
three seconds.
A fade-out is the gradual change from a correctly exposed scene to
total darkness. It is made by simply reversing the operation of a fade-in .
Move the variable shutter from its fully open position to the fully
closed position instead of the reverse.
If you are filming two consecutive scenes of different brightness, try
ending the first scene with a fade-out and starting the second scene
with a fade-in. This transitional fade will greatly increase the natural
appearance of the change of place or action.
A lap dissolve is one of the most pleasing methods of creating a tran-
sitional effect between two scenes. In a lap ·d issolve the picture of the
first scene gradually disappears as the picture in the second scene gra-
dually appears. This remarkably soft transition 'is mode by superim-
posing a fade-in on a fade-out.

33
 ACTION ... Cont.

Filming one frame at a time has a number of important uses, such as cartoons,
SINGLE titling,animation, and motion analysis. 'fO'r the best results eliminate camera
motion by using a tripod and a cable release.
FRAME
Using the filming switch, you can choose betwen instantaneous single frame
FILMING exposure and time single frame exposure, depending on the filming situation
and your particular needs.

Superinposed exposures are often used to increase an effect or emphasize a

cert'a in idea. A superimposed exposure is two or more separately filmed scenes
on the same length of film.
To make a double exposure with each scene having the same intensity, simply
give each scene 1/2 the correct exposure. The easiest way to do this is to set
SUPER the camera for the correct exposure with the variable shutter wide open, then
film each scen.:! with the vari'a ble shutter 1/2 open. Similarly, to make a triple
IMPOSED exposure with all scenes having the same intensity, give each scene 1/3 the
EXPOSURES correct exposure, etc.
To make a douhle exposure with two scenes of different intensity, give the main
scene more exposure - for example, 3/4 of the correct exposure for the main
scene, and 1/4 for the secondary scene.
Be careful! Any superimposed exposure must be care,fully framed to produce
definitive pictures rather than complete confusion . But the results are well worth
the effort.

34
UNLOADING

When the film counter shows « 0 » there is no film left on the spool. However, it is still necessary to run
the camera fora few seconds to wind all of the protective leader around the exposed 'film. After this has
been done, open the camera, remove the spool of exposed film, and immediately put it in its metal can.
Never do this in direct sunlight. If you cannot conveniently use a shaded place, shade the camera
and film with your body by turning your back to the sun.

35
 MAINTENANCE

MECHANICAL
The guideway (3)7) and the pressure pad (39) must be kept per-
fectly clean to avoid any damage to the film . Do not let any
dust or bits o'f emulsion denosit on the gate opening . A clean
cloth dampened with a good non-scratching cleaning agent and
the special brush supplied with the camera are all that is neces-
sary to keep it perfectly clean.
Aftera'bout 40 to 50 rolls of film, or after long inactivity, the
camera should be oiled at the places shown.

OPTICAL
Keep the exterior surfaces of your lenses absolutely clean . Use
lens tissue and a good commercial lens cleaner. Do not clean
the lenses too often, and be careful not to get finger marks on
them . When not in Use protect them with lens caps.
VERY IMPORTANT - One of the necessary parts of the conti-
nuous reflex viewfinder, a very thin glass . p'late, is directly behind
the gate aperture. To keep dust out and to avoid the possibility
of damaging this plate, it is advisable to keep either a lens or a
lens cap over -this aperture.
It is strongly recommended that you do not attempt to clean this
glass since it is very fragile. If it is absolutely necessary, use a
very soft camel hair brush and be extremely careful.

STORAGE
Before storing the camera let the spring run down completely
and then wind it one or two turns.
36
 The « golden moments » fly . Donn let them slip away and be lost forever. Record them for PLEASURE and
PROFIT with your dependable PATHE camera.

A lazy afternoon spent with your family and friends will be magically transformed by your PATHE camera into
an important treasure; a permanent reminder of happy moments, familiar faces, remembered scenes that can
be brought back to vivid, vibrantly colorful life again and again . Make PATHE a part of your everyday life. It
will contribute importantly to your future happiness.

Your PATHE camera can also be an important profit-making tool for you . Some PATHE owners have found that
one simple « shot » paid for their entire 'investment in PATHE equipment.

In today's fast-moving world . rapid, accurate communication is most important - often extremely valuable.
Because PATHE cameras are so dependable they can be used for spot TV News coverage. In fact, television sta-
tions o,ften pay hard cash for good « news » fI1m. PATHE cameras are also used in time-study work; in industry;
in laboratories; -in education - in fact, in any file where precise, dependable cinematography is used and valued .
Look around - where you live; where you work; where you play. With a little thought you:II find countless
opportunities for using your PATHE PROFESSIONAL REFLEX 16 for PLEASURE and PROFIT.

38
 Complete choice of the best PATHE SOM Or. if a zoom lens is what you need _ just make
Berthiot and PATHE Angenieux lenses are your choice from a variety of the famous SOM
It's here - the ideal, tru' y professionaL availab!e wifh standard "c" mount. Berthiot zoom or Angenieux zoom lenses : You will
lightweight 16 mm reflex camera, the world- When' your assignment calls for a Kom- save by not buying the viewfinder for these lenses
famous PAT HE I lust a 6 lb. handfull .. . pendium (matte box - filter ho:der _ bel- because P'ATHE is the smaUest professional camera
but every ounce a .. pro " . No other camera lows) complete with base you can ever to offer: continuous reflex viewing (directly
of its s ~ ze offers you all th ese features! add it by simply tightning one screw I through shooting lens, without parallax), and further ...

Without conversion of any kind, PATHE

is designed to accept a 400' ma-
gazine adaptable in seconds I
The PATHE magazines are of a distingui-
shed - practical design. Their two separate
housings allow for handy cutting and chec-
king of desired portions of film . PATHE'S
unique, versatile magazine system cuts down
Or. providing you want to utilise with your on the weight and expense for when more
electric motor any speed from 8 to 80 frames magazines are needed . For any need. profes-
per second, just add the 8-80 PATHE
unit (motor with tachometer, battery and sioncrl or amateur, we build a better camera.
AC converter - charger). But that's not all.

40
 ~ATt-iE LENSES

There is ·something very special about PATHE SOM Berthiot and PATHE
Angenieux lensos _ These ,lenses were designed and produced especially
for PATHE by SOM Berthiot and Angenieux - two of the world 's ,l eading
... Fully variable shutter (from O~ to 180 0 ) manufacturers of fine photographic 'and optical equipment_ Because
... 8 to 80 frames per second . .. and other these lenses w ,e re .especial'ly d,esigned for PATHE, they become an integral
essential professional features. If you r part of PATHE cameras; camera and lens become one superb unit _
job calls for a motor drive, add
either the 16 - 24 PATHE unit (motor,
battery, and AC converter - charger) ...
CODE PATHE ANGENIEUX CODE PATHE SOM-BERTHIOT
165 10 mm F. 1.8 120 10 mm F. 1,9
167 15 mm F. 1.3 12~ 25 mm F. 1.4
170 25 mm F. 1.4 130 75 mm F. 2,5
175 25 mm F. 0,95 135 100 MM F. 3,5
177 5,0 mm F. 1,5 140 145 mm F. 4,5
180 75 mm F. 2,5
182 100 mm F. 2,5
CODE PATHE ACCESSORIES 183 150 mm F. 2,7

&00 Set of 400' Magazines

650 One Magazine , 400' CODE PATHE ANGENIEUX ZOOM
700 Kompendium With Base V, F,
701 Base only 185 ANG-ZOO M 17- 68 mm F. 2,2 W IO
702 Kompenrium W IOut Base 190 ANG-ZOOM 17- 68 mm F. 2,2 WITH V, F,
710 16-24 24 Volt Motor 191 ANG-ZOOM 12-1 20 mm F. 2 WIO V. F,
720 16-24 Rechargeable Battery
730 16-24 AC Converter & Charger 192 ANG-ZOOM 12-120 mm F. 2 WITH V, F.
715 8-80 Wi! Motor With Tachometer
725 8-80 Rechargeable Battery
735 8-80 AC Converter and Charger CODE PATHE SOM-BERTHIOT ZOOM
740 Hyp ergonar-Cinemascope Lens
7.50 Base for use of above W IKompd . 150 PAN CINOR 17- 85 mm F. 2 W IO V.F .
760 Projector Adapter (Hypergonar) 160 PAN CINOR 17- 85 mm F. 2 WITH V.F.
770 Base (Hyper) for elec. Motor 145 PAN CINOR 25-100 mm F. 3,4 W IO V.F.
780 Extension Tubes (Set of 4)
790 Camera Table Release 155 PAN CINOR 25-100 mm F, 3,4 WITH V.F.
795 Camera Pistol Grip
800 Camera Compartment Case
802 Camera Eveready Compartment Case
805 Turret Lock Screw
41
PATHE CINEMASCOPE

If a photog raph ic lens cou ld be call'ed a mh acle - that le n,s is t he Hy pergonar

PATHE Ci,nemascope lens used on the PATHE Pro~essional Reflex-16 . The Hyper-
gona r is a formule dev,e lopped by Professor Hen ri Chretien, the famous French
1
astronomer and optical scientist whose inventions revolutionized Hollywood mo-
vie-mak ing by adding new ,lire" di'mension and excitement to the movie screen .

This is the co mpressed

1
picture you r came ra snaps
when the PATHE Ci nema·
Scope lens has been
attached.

2
This is the magnified
picture , with pano ramic

2 sweep , you flash on the

screen with PATHE Cine·
maScope len s projecting.

42 We rese rve the rig ht to alter designs and specifications. Printed in France - Bourson - Compiegne
 GUARANTEE

Your new PATHE equipment has been carefully assembled by highly skilled European
craftsmen; the thorough checking and testing it has 'been spb jected to before leaving the
factory guarantees its perfect optical and mechan ical operation.

Correctly handled, your new equipment will g ive you a lifetime of superb service. And
you can be sure that PATHE, the world 's most trusted manufacturer of fine movie equip-
ment, will absolutely stand behind the materials and workmanship of its products.

However, to protect yourself against the possibility of some human error, even during
transportation and handll'i ng, to aid you in case of loss or theft, 'a nd to obtain your
guarantee, we strongly urge you to mail the enclos(~ d registration card . If it is not ma iled
within ten days after the date of purchase, the guarantee is vo id.
NEWEST MODEL ,, , ~

The PATHE Professional Reflex 16-AT, which you have just acquired, is the latest
model. Therefore, its newest features are not described in the enclosed booklet
but are explained herein.
 PATHE
PROFESSIONAL
REFLEX
16-AT

The PATHE Professional Reflex 16-AT will work

anywhere you will. That's because it's tough -
made from the same durable alloy used in jet-
craft landing gear.

It's impervious to sweltering jungle heat, frigid

Alaskan temperC!tures or salt water air. Above A
all it's automatic. Trim the film, introduce the
film to the automatic threading device, run the E
camera, attach film to take-up spool - all in
thirteen seconds.
Fig. 1

PATHE PR 16-AT starts the system - simply and ecanorically. Add to it anytime: 400 ft. magazine, motors, compendium or
other accessories when you need them without extra e pensive back-to-factory cost. Versatility at its best!

AUTOMATIC FILM THREADING

?-,-""",,-TRtMMiNG THE FilM. Before any attempt ~

Fig. 2
made to thread the film it must be trimmed. The
cutter is located below and to the right of the
~B
film sprocket. Place the spool of film on the top
spindle so that the film will unwind clockwise.
Hold the film between the thumb and index
~~.--'-'ir-~.--•• ----=-
finger of the right hand and pass it through the
knife; engage the sprocket holes jn the two
guides "A" and "B" (see figure 2). Hold the
film in place with the index finger of the right hand and ith the index finger of the left hand depress the cutter bar. Be sure
to throwaway the cut end of the film to prevent its passi g through to the mechanism.

INTRODUCING THE FILM

1. Set the loop formers by pulling back the

slide "A" (see figure 3).
2. Film gate must be closed and locked (see
II A", figure 1).

3. Introduce the film into the opening indicated

by the arrow (see figure 3).
4. Depress the camera release button and run
the mechanism until approximately 10 inches
of film have passed through the lower film
guide and stop.
5. Release the loop formers by depressing the
small button "B" (see figure 3).
6. Attach the film to the take-up spool and run
the camera for a few seconds to see that
the loop formers are open, the film gate is " \
\ \
secure, the spools are properly seated and \ I
, I
the film is taking up. I I
I I

AUTOMATIC SAFETY
--_ / I
\.----".... ",/
Should you forget to release the loop formers tf\ey will be released automatically when the cover is put in place.
 Fig . .4

To clean the sprocket and aperture plate proceed

as follows:
1. Release the loop formers by depressing the
small button "8" (figure 3).
2. lift lower and upper film guide locks"e" and
"0" and open both film' guides (see figure 4).
3. With the thumb and index finger of the
hand grasp the automatic threading
nism above and below the film guides and lift
up gently.
4. Lift pressure plate knob "E" (figure 1) and open
film gate.
5. With a suitable brush carefully clean the aper-
ture plate and film gate.
6. To reinstall the automatic threading device
simply reverse the above procedure making
certain that the guides "F" and "G" (figure 5)
on the threading mechanism fit into the recesses
"F" and "G" (figure 4) In the camera mecha-
nism plate.

CAUTION
Never hold the automatic threading mechanism Fig. 5
by the loop formen "H" and "1" (figure 5), doing
this, could throw the automatic device out of
adjustment.