Auricon
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.
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.
John Maurer worked at RCA Labs in New Jersey on sound recording technology in the early 1930s.
The December 1939 American Cinematographer has an ad for a Berndt-Maurer synchronous motor drive for the Kodak Cine Special.
A 1939 Berndt-Maurer catalog shows the B-M Sound-Pro camera: 16mm, single or double system, four-lens turret and ground glass focusing.
This forced camera operators to rely on either fixed focus lenses with an optical viewfinder (aided on some models by ground glass rack-over focusing that was possible only when the camera was not operating), or using prism-reflex Angenieux zoom lenses that came with their own viewfinder.
In response to all the smaller companies that modified CineVoices, Auricon improved the Pro-600 with the "Pro-600 Special" which was lighter (24 instead of 36 pounds), and took 400 ft. magazines.
In this respect, Auricon was taking cues from the market in a roundabout way, relying on the cottage modification industry to signal demand for a given feature.
It also offered several professional-type options, such as a variable shutter and rackover ground glass focusing (the latter possible only when the camera was not operating).
In the mid-1950s, Auricons were also offered with "Filmagnetic" a Bach Auricon-patented method for recording magnetic sound using a single-system camera and "striped" film, produced by Eastman Kodak.
Walter Bach closed down the business in the late 70's because the advent of portable video for TV news eliminated his key market.
CM-75 (1955), a 600' external capacity model, dubbed "Pro 600", which incorporated a synchronous motor and was suitable for single- or double-system filming.
CM-77, a 400' external capacity model, dubbed "Pro 600 Special", which incorporated a synchronous motor and was suitable for single- or double-system filming.
This model utilized a mechanical take-up system patterned after the earlier CECo and Yoder "chop top" conversions.
CM-80, external magazine model, incorporating a synchronous motor, integrated amplifier (the Bach 800), and reflex mirror finder.
These included a 400' external capacity non-reflex camera with improved ergonomics over the CM-77 and which retained the 115 volt ac powering requirement, and a 400' external capacity reflex camera which incorporated a dc motor and crystal control, possibly intended to compete with the Cinema Products CP-16R.
The real expansion of single-system sound was enabled by Kodak's Super-8 platform with mag striped film in several emulsions in the late 1970s through 1980s.
A camera (Bolex, Kodak Cine Special, B&H 70, Pathe Webo; and factory-modified Auricons or Arri's) is docked to the top of the Nomad.
Alternatively, a 24 fps sync electric motor docks to the Nomad, and turns the camera gears.
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.
Auricon collectors often check for the following when acquiring a camera on the secondary market: Narrative films: Documentaries:
