Auricon

Auricon cameras were 16 mm film single-system sound-on-film motion picture cameras manufactured in the 1940s through the early 1980s. Auricon cameras are notable because they record sound directly onto an optical or magnetic track on the same film that the image is photographed on, thus eliminating the need for a separate audio recorder. The camera preceded ENG video cameras as the main AV tool of television news gathering due to its portability–and relatively quick production turn-around–where processed negative film image could be broadcast by electronically creating a positive image. Additionally, the Auricon found studio use as a 'kinescope' camera of live video off of a TV screen, but only on early pre-NTSC line-locked monochrome systems. Auricon cameras were used primarily by news and documentary filmmakers. They had also found favor with independent and experimental filmmakers such as Paul Morrissey because of their ability to record long takes with sound on film. Eventually, they were replaced by lighter, self blimped battery powered reflex cameras such as the CP-16, which also had the ability to record sound on film.

Auricon cameras were 16 mm film single-system sound-on-film motion picture cameras manufactured in the 1940s through the early 1980s. Auricon cameras are notable because they record sound directly onto an optical or magnetic track on the same film that the image is photographed on, thus eliminating the need for a separate audio recorder. The camera preceded ENG video cameras as the main AV tool of television news gathering due to its portability–and relatively quick production turn-around–where processed negative film image could be broadcast by electronically creating a positive image. Additionally, the Auricon found studio use as a 'kinescope' camera of live video off of a TV screen, but only on early pre-NTSC line-locked monochrome systems. Auricon cameras were used primarily by news and documentary filmmakers. They had also found favor with independent and experimental filmmakers such as Paul Morrissey because of their ability to record long takes with sound on film. Eventually, they were replaced by lighter, self blimped battery powered reflex cameras such as the CP-16, which also had the ability to record sound on film.

History

Camera models

Then there is the Magnasync Nomad, a mechanically coupled dual-system, circa 1960. It used split-16 reels (2.5" diameter, 100') of magnetic tape, sprocketed for 16mm film. A camera (Bolex, Kodak Cine Special, B&H 70, Pathe Webo; and factory-modified Auricons or Arris) is docked to the top of the Nomad. A mechanical transmission interlock cable to the single frame-per=turn gear of the camera, and to the Nomad. The spring of the camera thus also turns the mag tape reels of the Nomad. Alternatively, a 24 fps sync electric motor docks to the Nomad, and turns the camera gears. A connected external amplifier and control handset connects to the Nomad. The tape drive had extension arms for larger 400' mag tape reels. It was a marvel of engineering from the ubiquitous vendor of editing suite 16mm and 35mm sync editing.

Double-System Recorder Configurations

The Auricon System could alternatively function for 'double-system' sound recording provided that the camera motor drive was a synchronous motor.

Amplifier Models

Common attributes of the Auricon amplifiers were input connections for microphones, a headphone monitor, sound track meter for optical models; a volume meter; and battery tests. In operation external amplifiers and cameras were coupled via an umbilical signal cable delivering recording power and modulated sound to the camera galvanometer (optical) or recording head (magnetic). Magnetic amplifiers and cameras had the additional capability to monitor the recorded sound by a return signal from the camera.

Auricons in the Digital Era

Beginning with the 1980s, self blimped 16mm cameras like the Auricon were replaced by portable video camera recorders for news gathering. Nonetheless, they retained their popularity with independent film makers well into the 1990s: Auricons were for many years the most affordable self blimped 16mm sound cameras available on the second hand market. In the mid-1990s, Eastman Kodak discontinued 16mm magnetic striped film, making magnetic Auricons obsolete for sound-on-film recording. These models still found use in post-production recording of sound onto magnetic sound stock. As long as 16mm film stock and processing remains available, the Auricon is still usable for filming both picture and recording optical sound-on-film (despite its lower fidelity compared to magnetic and digital recording). An active collector market exists as well. Auricon collectors often check for the following when acquiring a camera on the secondary market: Inspecting the interior film chamber for either a magnetic recording pulley, or optical galvanometer with lamp. The power cable for the camera motor, which has proprietary connectors. An umbilical signal cable between the camera and amplifier. Included lenses and viewfinder optics/masks. Included microphones, headphones and cables (XLR or Jones) If the camera and/or amplifier are delivered with the original suitcase. This is an indication that the equipment may be in good shape, and may include some other supplies like spare lamps and filters. Drive belts to run the takeup motor on the external film magazine.

Feature length films shot primarily with an Auricon

Narrative films: My Hustler Chelsea Girls Flesh Trash Women in Revolt Heat Lonesome Cowboys Maidstone Wanda Pink Flamingos Documentaries: Monterey Pop Gimme Shelter Home for Life

References

External links

Auricon Optical Sound Users Group Walter Bach Demonstrates the Auricon 1200 Owyheesound Website Basic Instructions for Auricon Cameras Auricon Building Demolition - 2005 Auricon Camera Models

Text derived from https://en.wikipedia.org/w/index.php?oldid=1375902496 under CC BY-SA 4.0; modifications have been made.