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(by Dave Hildebrand)
The Kodak 'Cine Special' was first introduced in 1933. It brought the realm of professional film making to the average photographer. A fully adjustable shutter allowed fades, and lap-dissolves (my experimental film "Death of a Teletype" was shot with a 'Cine Special' camera), as well as speeds ranging (variably) from 8 fps to 64 fps. Another useful feature was the 'back-wind,' most often used for over-lapping scenes (typically used in conjunction with the variable shutter). A 'single-frame' shutter release provided the capability for shooting animation, and "pixelation." Two input shafts gave the user more options -- external motor-drive, or hand-cranking. One shaft opened the shutter once per revolution, making it useful for animation, and time-lapse photography (when coupled to an intervalometer). The other shaft opened the shutter eight times per revolution, and was mostly used for hand-crank operation. (Note that the most commonly made after-market drive-motor made by CECO coupled to the 'single-frame per turn' shaft, with a speed of 1440 RPM for a speed of 24 fps.)
Normally fitted with a one-hundred foot magazine, an optional two-hundred foot magazine made the 'Cine Special' even more verstaile. A two-lens turret added the convenience of a second lens (typically used for 'close-ups'). A 'reflex' viewer for critical focusing is yet another one of its many features. (Note that the 'reflex viewer' may only be used prior to each run, and not during operation.)
There were various accessories available for the 'Cine Special' camera. Besides a multitude of lenses, there were various types of viewfinders one could fit onto it. (One particular viewfinder, however, was permanentlty installed by the factory onto the 'hundred-foot' magazine.) Another useful accessory was the mask kit, which allowed one to shoot various vignettes, and both vertical & horizontal split-screens.
There were also a few after-market accessories made for the 'Cine Special,' including a 'Pan-Cinor' zoom-lens with a reflex viewr (most commonly made by Som Berthiot), 110VAC (synchronous, and variable, or "wild") and 12VDC ("wild" only) drive-motors by CECO (Camera Equipment COmpany), and a (now rare) 'four-hundred foot' magazine conversion kit which modified the existing 'hundred-foot' magazine.
Although not as popular as its contemporary, the Bell & Howell 'Filmo' (as well as a bit heavier), the 'Cine Special' was very versatile as a news camera. Nearly ten years after its first introduction, like many other movie cameras in its class, it would prove itself on the battlefields during WWII. Much of the footage we watch today was acquired by 'Cine Special' cameras. (Watching some of the war footage closely, one may actually see a soldier laying down on a firing-line, shooting his 'Cine Special' next to others shooting their M1s.)
Today, the 'Cine Special' is yet another 16mm. camera used by do-it-yourself film makers. Considered too heavy and/or bulky by many, its ruggedness and reliability (not to mention reasonable cost on the used market), make it highly versatile for film experimentation.