Auricon cameras are 16 mm film Single system recording Single system sound on film motion picture cameras. Designed to be portable, the camera preceded ENG video cameras as the main AV tool of television news gathering. Auricon cameras are notable in that they record sound directly onto the same film as the image is photographed thus eliminating the need for a separate audio recorder. Image Auricon with magazine and lens.jpg thumb Modified Auricon Cinevoice CM 72A with Angenieux Zoom Lens and 400 foot Mitchell magazine History Auricon cameras were first manufactured by the E.M. Berndt Corp. Est. 1931 which soon became Berndt Bach. Berndt Bach changed its name once again to Bach Auricon Inc. They manufactured many cameras including the Cinevoice, Pro 600 and Super 1200. All of these models could be adapted or originally purchased to record sound on magnetic striped 16mm film , when that technology became available in the 1950s. Magnetically striped camera stock is no longer manufactured ... of such a low price. It made little sense to design and build a whole camera when Auricon would sell a Cinevoice camera body to whoever wanted to buy them. Auricon changed their ways very slowly ... the demand with chopped off converted Cinevoices that were offered to filmmakers. Auricon s http ..., Auricon improved the Pro 600 with the Pro 600 Special which was lighter 24 instead of 36 pounds , and took 400 ft. magazines. Another Auricon camera was the Super 1200. It was designed for long ... Auricon also manufactured 16mm sound on film cameras for the US Army during WWII such as the CT 70 . Auricon cameras that could record single system optical sound on film tracks contained a Mirror galvanometer ... early. Eugene Augustin Lauste succeeded in recording sound on film as early as 1911. Auricon also manufactured ... movies.groups.yahoo.com group Auricon Sound Auricon User Group http www.owyheesound.com auricon.html ... http www.city net.com fodder auricon index.html Basic Instructions for Auricon Cameras Category Movie ... more details
The CP 16, CP 16A, CP 16R, CP 16R A and CP 16R DS cameras are 16mm motion picture cameras manufactured by the Cinema Products Corporation of Hollywood California . A range of cameras of Auricon ancestry. They were primarily intended for television news filming and were quite popular with local and national news agencies before the advent of portable videotape Electronic News Gathering , ENG formats, as well as documentary and drama production. They featured a compact magnesium alloy body, a crystal locked drive system, interchangeable lenses, and a magnetic audio system with a built in mixer that recorded onto special pre striped and now discontinued 16mm single perf magnetic sound film. It accepted both Mitchell and Cinema Products 400 foot film magazines. The CP 16 series used a special 12 120mm Angenieux zoom lens with a prismatic viewfinder. The CP 16R series used a spinning mirror shutter. CP 16 non reflex 180 shutter, C lens mount, Sepmag SPEMAG or COMMAG. CP 16 A as above but with integral automatic COMMAG amplifier. CP 16R 156 shutter reflex, CP miniature BNCR lens mount, SEPMAG or COMMAG with amplifier separate from camera. Later type has 170 focal plane shutter plus mirror reflex. CP 16R A as CP 16R but with integral COMMAG amplifier. CP 16R ADS as CP 16R but for SEPMAG double system sound only. CP 16s are still often used in small productions and in film schools. Many of these cameras were donated or sold off when news crews adopted videotape. References http www.whitehouseaudiovisual.com images singleitem imgs lgdetail01.jpg image of a CP 16R http www.evergreen.edu medialoan aps docs cp16manual.pdf CP 16 manual Category Movie cameras it CP 16 ... more details
Unreferenced date December 2009 Single system audio is the system of recording sound on film or SOF . There are two methods of recording, the older method, optical and the later method, magnetic. SOF was primarily used for news film prior to the advent of portable videotape recording, but was used until recently for documentary film recording. Optical For Optical recording, the film only had a single perforation and the area where the other set of perforations would have been was exposed to a small bright lamp inside the camera controlled by an amplifier usually in a separate box that would vary the area of recording RCA type , by means of shutters pulled back by variation in current, or variations in intensity Western Electric type . Editing involved painting or taping over the optical track for the distance the sound led the film through the camera and projector. This would avoid the popping sound, but would result in a second of silence. Magnetic Magnetic recording had magnetic media in the area where the optical sound track recorded on optical SOF or on release prints. The principal recording stripe was approximately 2 mm wide. A smaller balance stripe existed to compensate the thickness of the recording stripe to keep the film wound evenly. Auricon and Cinema Products Corporation were two popular manufacturers of this type of camera, which were made obsolete by the takeover of video for news shooting in the late 70s. To edit single system magnetic film, it was necessary to first run it through a displacement recorder which would read the audio and re record it backwards 24 frames behind the point where it was recorded. This put the audio in dead sync with the picture. The film was then edited. After editing the film was run through the displacement recorder again, forward this time which put the audio back at the location where the audio playback head would be in the film projector. See also Double system recording DEFAULTSORT Single System Recording Categ ... more details
of the company was acquired by Auricon Beteiligungs AG. ref http www.alacrastore.com deal snapshot Auricon Beteiligungs AG acquires Jenbacher Werke from Unicredito Italiano SpA 44403 Auricon ... http www.alacrastore.com deal snapshot GE Power Systems acquires Jenbacher Werke from Auricon Beteiligungs AG 340776 GE Power Systems acquires Jenbacher Werke from Auricon Beteiligungs AG May 12, 2003 ... more details
Refimprove date December 2008 Cinema Products Corporation was an American manufacturer of motion picture camera equipment. History The company was formed in 1968 by Ed DiGiulio, a former director and vice president of the Mitchell Camera Corporation . Their first product was a Silent Pellicle Reflex conversion of the Mitchell BNC 35 mm Motion picture camera. The company expanded into the 16 millimeter news camera market with the introduction of the CP 16 . The CP16 was based on the film advance mechanism used in the older Auricon 16mm Sound on Film Bach Auricon sound on film cameras, but re configured in a lighter, more ergonomic self blimped body configuration. It became one of the most widely used sound on film cameras in the TV News industry until it began to be superseded by the color professional video formats of the late 1970s. 3 4 inch field decks & the early Betacam & M format component analog tape systems. Products XR35 In motion picture equipment, the Mitchell BNC conversion to reflex was followed by the studio quiet XR35. The Cinema Products XR35 had a Mitchell NC camera inside a light weight housing or blimp. The blimp was so close in size to the original camera, it looked small compared to the blimps made for Mitchell or Arriflex cameras. The XR35 was a crystal controlled 35mm motion picture camera considerably lighter than the Hollywood studio owned blimped Mitchells. The X stood for crystal, the R for reflex. The reflex system was based on a spinning mirror shutter. During the mirrors revolution at one point the film would be exposed, then the operator would view the image in the mirror as the film was advanced to the next frame, at 24 times a second. Cinema Products did their best to buy up all available 35mm Mitchell NC cameras on the market as the XR went into production. Later, Cinema Products sold their remaining Mitchell inventory to a Japanese company Citation needed date December 2008 when the XR35 was challenged by competitors but s ... more details
A long take or oner is an uninterrupted shot filming shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. It can be used for dramatic and narrative effect if done properly, and in moving shots is often accomplished through the use of a dolly or Steadicam . Long takes of a sequence filmed in one shot without any editing are rare in films. ref cite book last Henderson first Brian editor Bill Nichols title Movies and methods an anthology url http books.google.co.uk books?id OnnZICLGGzYC&pg PA316 volume 1 chapter The Long Take isbn 9780520031517 year 1976 ref Background The term long take is used because it avoids the ambiguous meanings of long shot , which can refer to the framing of a shot, and long cut , which can refer to either a whole version of a film or the general editing pacing of the film. However, these two terms are sometimes used interchangeably with long take . When filming Rope film Rope 1948 , Alfred Hitchcock intended for the film to have the effect of one long continuous take, but the cameras available could hold no more than 1000 feet of 35 mm film . As a result, each take used up to a whole roll of film and lasts up to 10 minutes. Many takes end with a dolly shot to a featureless surface such as the back of a character s jacket , with the following take beginning at the same point by zooming out. The entire film consists of only 11 shots. ref Miller, D. A. Anal Rope in Inside Out Lesbian Theories, Gay Theories , pp. 119 172. Routledge, 1991. ISBN 04 1590 237 1 ref For a complete analysis of Hitchcock s hidden and conventional cuts in Rope , see David Bordwell s text Poetics of Cinema , 2008 . Andy Warhol and collaborating avant garde filmmaker, Jonas Mekas , shot the 485 minute long experimental film , Empire 1964 film Empire 1964 , on 10 rolls of film using an Auricon camera via 16mm film which allowed longer takes than its 35 mm counterpart. The ... more details
South Asian cinema This article primarily discusses the Sinhala language cinema in Sri Lanka. For information on Tamil language cinema in Sri Lanka, see also List of Sri Lankan Tamil films Sri Lankan Tamil cinema . Sri Lankan cinema encompasses the films made in Sri Lanka. It is a fledgling industry that has struggled to find a footing since its inauguration in 1947 with Kadawunu Poronduwa produced by S.M.Nayagam of Chitra Kala Movietone.Sri Lankan films are usually made in the Sinhalese language, the language of the majority Sinhala people.. In the first nine years most films were made in South India and followed the conventions of Indian cinema. Studio shooting was the norm, with Indian style sets erected in film studios. Even though it is popularly held that Rekava , made in 1956 by pioneer director Lester James Peries , was the first Sinhala film to be shot completely out of studio, it was really the film Gambada Sundari , made in 1950 which was the first film shot outside studios. It was also the first Sri Lankan film where, like in Rekawa , the dialog was recorded on the spot. This was because the film was shot on 16mm , using an Auricon sound on film camera which recorded the sound on the 16mm film optically, unlike in the case of where the sound was recorded on a Sound follower Models Kinevox 35mm magnetic recorder . The film was later blown up to 35mm and was screened in Colombo in 1950. Though Rekawa was acclaimed by local and international critics, the film failed to find an audience in the country and was a box office failure. Films continued to follow formulaic storylines borrowed from India up through the early 60s despite such efforts as Sandesaya and Kurulu Bedda . In 1964, Lester James Peries again contributed to the development of Sri Lankan cinema with Gamperaliya film Gamperaliya which was the first Sinhala film to feature no songs and like Rekava shot completely outside the studio. It garnered massive praise for portraying Sinhala culture in a r ... more details
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