Going back to the drawing board because the Phototheagraphe failed to live up to expectations, Parnaland designed and constructed a much better motion picture camera he called the #Cinépar. It was patented 9 June 1896.

Parnaland Le Cinépar motion picture camera, France, c. 1898, from Museu del #Cinema Museu del Cinema & the #TomàsMallol Collection. Shown without it’s outer wooden housing.

The 9 June patent specified “an apparatus for the #Chronophotographic reproduction of the projection of animated scenes.” In 1897 Parnaland Frères began producing films and selling cameras. Parnaland filed no fewer than four separate patents for Chronophotographic apparatus.

Parnaland called his work as a pioneer of cinematography “filmed views.” From the #foundation of his first company until the premises became the #Éclair company, in 1907, Parnaland made all #genres of film, not just actualities; scientific, comedies, historical, and trick films.

“We are thrilled to show around 40 Parnaland films at our Il Cinema Ritrovato festival. These films have been conserved and restored by Filmoteca Española in Madrid, Lobster Films in Paris, and Filmoteca de la Generalitat de Catalunya.” - Camille Blot-Wellens, Filmoteca Española

Several views of the Parnaland Cinépar #motionpicture camera from Cinémathèque française. Photos copyright Stéphane Dabrowski.

His 1897 films had Edison 35mm perforated format film. Parnaland #celluloid perforations had 2 types; 🎞️ three perforations (left-centre-right) in-between each frame (right image): 🎞️ or a centralised perforation between each frame (left image)

All the Parnaland films made between 1897 and 1907 #accumulated to over five hundred. Parnaland’s Cinépar camera could photograph up to 50 fps and was #50mm wide. Sources: Laurent #Mannoni, Luke #McKernan and Stephen #Herbert.

WATCH ‘Mât de beaupré’ (1898), one of Parnaland’s films #posted by Films by the Year. #Translated from the French as #Bowsprit Mast, it runs just 1:13.

GROSSE TETE DE #PIERROT 1900 #Ambroise #François Parnaland filmed this #clown showing us his tongue for 52 seconds using his Cinépar with up to 50 fps and film that could be 50mm wide. This is from #Filmoteca #Española.

12/12 Bonne d’enfants et militaire 1897 Time for some #pranks and practical jokes offered by Ambroise François Parnaland with his Cinépar camera. Filmed and made public in March 1897. Fifty-two seconds long. -30-

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1862 PANTOSCOPIC CAMERA JOHN R. JOHNSON AND JOHN A. HARRISON The #Pantascopic Camera was a box-form Panoramic camera capable of taking an #automatic recording of a Panoramic image. It took its photographs on glass plates.

The Pantascopic Camera had an #achromatic lens and was driven by a #clockwork motor. The images were 110-degrees on 7.5 x 12-inch flat Collodion plates. As the motor #rotated the camera, the glass plate was moved past a slot in the camera back, to make the exposure. -30-

Blackfriars Bridge (July 1896) Robert W. Paul. Just like Le Prince on the Leeds Bridge in 1888, we see the horses and carts travelling on the wrong side of the street. Screened at the Alhambra Theatre, Leicester Square. 37 seconds.

1860 STEREOSCOPIC ANIMATION SIR JOHN FREDERICK WILLIAM HERSCHEL (1792-1871) Did you know that Sir John proposed the notion of animating Stereoscopic motion sequence images in order to mimic motion, in an article published way back in 1860?

The piece he wrote was called Instantaneous Photography, and can be found in the ‘Photographic News,’ 11 May, 1860, on page 13. Google Books contains the article here books.google.ca/books?id=_alAA… or you can READ it below.

Read the first paragraph of Herschel’s article on animating Stereoscopic motion sequence images in the ‘Photographic News,’ 11 May, 1860, on page 13.

#Herschel mentions a “pretty optical apparatus” called the Phenakistoscope which shows a “succession of pictures to the eye” referring to the fact that motion has already been seen. He also describes the need for colour photography to improve.

This reference by Herschel in 1860 that at that time, they had already seen motion in animated form, is an extraordinary thought-of-significance if you think of it. Like the prancing horse and rider we see above, or the backward-somersaulting demon in the centre. -30-