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At that time (1942) all 35mm newsreel and documentary
        footage was being shot in black and white, while the only
        practical  colour  film  for  front  line  use  was  16mm
        Kodachrome*.  So,  all  the  major  US  war  documentaries
        wereshot on that stock. These classics including The Battle
        of Midway: The Fighting Lady: The Memphis Belle (the
        brilliant  documentary,*  not  the  feature  film):  and
        Thunderbolt, were all outstanding records of real front line
        action  all  shot  on  Kodachrome  using  Albert  Howell’s
        wonderful invention the light weight spring wound camera
        (no batteries to recharge in the heat of battle).

        Hand held or used on a light weight tripod – these 16mm
        B&H Filmos, Cine-Kodaks and Victors produced results
        that were enlarged up to 35mm Technicolor for cinema  A vintage Kodahrome 50ft
                                                           magazine film package.
        release  all  over  the  free  world.  Many  of  these  amazing
        sequences of living history would be used in major feature  Cinepix Collection.
        films for years after the war. Sadly it was a use that resulted in the loss of some priceless
        original footage.           Apart from documenting the front line action, Kodachrome was
        required for a multitude of training and general use where colour was essential.


                                                    Perhaps this GSAP camera filmed
                                                    the  battle  action  at  Midway  in
                                                    one of the Aircraft Carrier Planes.
                                                    Note the Service Name Plate and
                                                    the company that made it – Bell
                                                    and Howell -- an electric one this
                                                    time -- missing its’ frame speed
                                                    dial.




        The huge scale on which Combat Cameramen and Photographers were needed to cover
        all of this action stimulated the rapid expansion of training schools in all branches of
        the  armed  services.  Anyone  with  any  photographic  experience  or  knowledge  was
        offered a crash course in specialized battle field instruction, handed a camera and was
        sent off cover the war wherever --.

        In most cases it was a disaster. The movie film sent back by the Cameramen could not
        be edited – it consisted of longshots, slow pans, fast pans, static close-ups of faces and
        worst of all “Hose piping!” Most would need training on how to tell a story with a
        camera – movie or still – so an urgent recall was issued for further training of the
        Cameramen.


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