page_title: Auricon
section_title: Competition, and Post-Auricon
hierarchical_section_title: Auricon / Camera models / Competition, and Post-Auricon
caption_attribution_description: English: Magnsync Nomad recorder with Bolex 16 Camera
context_page_description: 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 as 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.
context_section_description: Subsequent to the CM-77, several potential models were in development. 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. Neither of these developmental models got beyond the pre-production stage of development. Both of these cameras were magnetic-only, as were the potentially competing Cinema Products CP-16A and CP-16R.
  Single-System sound entered the consumer market in 1959 with the Fairchild Cinephonic 8 - using magnetic-striped 8mm film. 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.
  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 Arri's) 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.
caption: Magnsync Nomad recorder with Bolex 16 Camera
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