https://peertube.dngr.us/videos/watch/139b52d4-1ae6-4082-bc48-455f602dddc1 Help us preserve, scan and post more rare and endangered films on Patreon: https://www.patreon.com/PeriscopeFilm Join this channel to get access to perks: https://www.youtube.com/channel/UCddem5RlB3bQe99wyY49g0g/join This film "Stay Put!" (1960s) demonstrates the efficiency and automation of the Monotype Corporation's new Rotadon, a revolutionary process camera for the printing industry. It was designed to minimize operator movement and streamline the production of line negatives, halftones, and color separations. The camera automatically adjusts for enlargement or reduction, eliminating the manual effort and calculations traditionally required. Features like a rotor scale for sizing, interchangeable lenses, vacuum-assisted film holders, and built-in color filters allow for precise and quick setup. The camera’s design enables the entire process to be completed in just over a minute, significantly improving productivity. Its advanced capabilities and ease of use have made it a widely adopted tool in multiple countries. 00:00: the benefits of a Rotadon camera, emphasizing reduced operator movement and automated functionality. 0:48: How the camera brings the copy or film holder to the user with a switch, akin to rubbing Aladdin’s lamp. At 1:21, controls and dials are explained, simplifying settings with minimal effort. By 1:36, the narrator explains determining the correct enlargement or reduction using scales and how recent designs streamline the process. At 2:15, the Rotadon’s scales are shown to be in percentages; a rotor scale tool helps calculate reductions accurately, as demonstrated with examples at 2:46 and 3:25. By 4:01, it’s explained how to use an alternative scale for enlargements beyond 200%. 4:36, the camera’s automation is showcased, with the copy holder switching to the film holder via a button. At 5:02, a color-tinted guide helps position the copy, and pieces with the same reduction can be grouped. By 5:39, the automation replaces the need to physically move to the other end of the camera. At 6:00, dial adjustments for lens positioning are detailed for achieving specific reductions (e.g., 37.5%). Manual fine-tuning ensures precision. 7:15, film is secured with vacuum holes regulated for size, followed by steps for exposure using a footswitch and then unloading for development at 8:12. The system is reset for the next cycle at 8:34, concluding the basic routine for producing a line negative. At 8:52, the transition to halftone work is discussed, which starts similarly but includes a 120 screen and adjustment of lens and extension dials. Screen positioning, film vacuum, and exposure steps are shown again. By 10:24, a control for a 9½-inch lens is mentioned, and a flash lamp is introduced for halftones. Another halftone job at 11:08 uses a contact screen, replacing the 120 screen shown earlier. 11:57, a supplementary scale aids fine readings around the 100% mark. The vacuum system is adjusted to hold both film and screen, and all settings are finalized before exposure at 13:02. From 13:29, it's explained that taping one edge of the screen allows continuity for multiple exposures without realigning. 13:50, color separation, involving filters selectable via a switch to introduce red, green, yellow, or blue for separation negatives. By 14:38, lens switching is demonstrated: from a 12-inch lens for 30–265% range, to a 9½-inch lens for 20–375%. 15:05, transparent copy requires reversing the light path, and with correct orientation and calculations, enlargements up to 500% are possible. The reversed setup flips the distance ratio (e.g., 25% becomes 400%), covered at 16:00. After positioning, vacuum and cold cathode lighting ensure proper exposure. 17:59: electrical controls on the instrument panel are introduced, including fuses and an emergency switch. 18:28: Operating the Ratodon requires minimal effort, has international use, and confirms its value through repeat orders. At 19:34, the efficiency is proven—producing a line negative in 74 seconds from start to finish without operator strain. 20:57, the operator seamlessly begins developing the film, something not possible so quickly with traditional cameras. Motion picture films don't last forever; many have already been lost or destroyed. For almost two decades, we've worked to collect, scan and preserve the world as it was captured on 35mm, 16mm and 8mm movies -- including home movies, industrial films, and other non-fiction. If you have endangered films you'd like to have scanned, or wish to donate celluloid to Periscope Film so that we can share them with the world, we'd love to hear from you. Contact us via the weblink below. This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com Source: https://www.youtube.com/watch?v=2RlGFO-_iOs Mirrored from Periscope Film (https://www.youtube.com/@PeriscopeFilm) Tue, 16 Jun 2026 13:21:32 GMT https://validator.w3.org/feed/docs/rss2.html PeerTube - https://peertube.dngr.us https://peertube.dngr.us/lazy-static/avatars/41a6fee9-7f57-42d0-a5fc-5db4f1af2e31.png https://peertube.dngr.us/videos/watch/139b52d4-1ae6-4082-bc48-455f602dddc1 All rights reserved, unless otherwise specified in the terms specified at https://peertube.dngr.us/about and potential licenses granted by each content's rightholder.