The Eclair NPR 16mm Film Camera

This video was produced as part of the European Research Council funded ADAPT project based at Royal Holloway, University of London. For more information about the project visit www.adaptTVhistory.org.uk
This footage was filmed in May 2015 in the television studio at Royal Holloway University of London in Egham, United Kingdom.
A team of veteran television film cameramen, electricians, and sound engineers who worked at the BBC Television Film Studios in the 1960s and 1970s recalled various aspects of their work.
Their memories were filmed using three Sony PMW-100 digital cameras and recorded using wireless microphones. The conversation was free-flowing with occasional questions and interventions from the ADAPT crew.
Cameras: Joe Burns and Zak Derler
Director of Photography: Sri Southall
Sound: John Walsh and Summer Walker
Producer: Amanda Murphy
ADAPT (2013-8) is a European Research Council project at Royal Holloway University of London. The project studies the history of technologies in television, focussing on their everyday use in production activities.
ADAPT examines what technologies were adopted and why; how they worked; and how people worked with them. As well as publishing written accounts, the project carries out 'simulations' that reunite retired equipment with the people who used to use it.
Participants in these simulations explain how each machine worked and how different machines worked together as an 'array'; how they adapted the machines; and how they worked together as teams within the overall production process.
www.adaptTVhistory.org.uk
adaptTV

[@richardlong1567]

Millions of feet - thousands of stories! A day as a film cameraman could be extremely hard, not from a technical or creative stand point....but from the shear fact of knowing you were expected to keep up with the rest of the crew while carrying and operating 25 lbs of priceless equipment - they would say some cameramen would sleep with their cameras and it was true. I filmed in 100 degree heat - full sun for 11 hrs with a camera made in America called an Auricon Pro 600 sound camera with a collective weight of 37 lbs including the 110 voltage inverter and a car battery. Still, life was fantastic..... traveling the world and making films....so incredibly rewarding.

[@Cotygeek]

I love this. As someone who prefers to shoot digital it frustrates me that there aren't more cameras that have these kinds of ergonomics. RIgs help but they only really go so far.

[@SeanAndersonMedia]

I shot my senior thesis film on an Eclair NPR in 2009. It was so easy to use and I got beautiful results! If only the script had been better :)

[@JJC1948]

Thank you so much Mr Whitson for your testimony. I completely share the way you appreciate and talk about NPR. There is a special relation with this camera. A heart was beating inside.

[@truefilm1556]

Thank you so much for sharing your experience! One day (hopefully soon) I'll get one of these beauties, converted to Super 16mm.

[@amandamurphy3962]

thanK you for all the comments... great that the camera is so widely appreciated and the wonderful David Whitson and Brian Tufano are superb storytellers

[@801ruben1]

Thanks for doing this, there is nothing like having experienced people do what they know how to do. It helped me a lot.

[@professor-josh]

As an American watching classic BBC programmes, I always liked it when the action went outside. Interiors were shot on stage with big bulky Television cameras. They weren't mobile so when exteriors were needed the scene would always switch to film. It was rarely jarring and It sometimes looked better too.

[@TinLeadHammer]

25i mixed with 25p is jarring for a non-Brit. For Brits, as far as I understand, "live" look meant indoors and "film" look meant outdoors.

[@thermonuclearcollider4418]

@@TinLeadHammer It's 50i, not "25i". SD and HD PAL TV runs at 25 fps, which can be either full, progressive scan frames or broken into 50 interlaced fields per second (50i). 50p (50 full, progressive scan frames per second) is trying to become the new standard but several EU broadcaster keep supporting interlaced.

[@TinLeadHammer]

@@thermonuclearcollider4418 25i and 50i is the same thing: 50 fields per second or 25 interlaced frames per second. They used to use simply 525/60 and 625/50 (notice no "i") during analog times.

[@bgcreations6995]

My first year of film school. Wow! Nice. Thanks for the Memories.

[@cocise53]

I'am very sorry to point out that the magazine has been wrongly loaded. The raw film goes on the left side and feed outside, than the rest of the procedure can be done outside the charging bag, in light. I'm an happy owner of an NPR since 1968 and worked fine for over 30 years. My best compliments for the film any way. An old italian Dp.

[@yutakadaimon2598]

He caught the error. It was the video editor's fault that this isn't clear.

[@yutakadaimon2598]

The editor of this video mistakes an Arriflex magazine for an NPR magazine at 10:00. Also the NPR magazine changes sides while being loaded. The 16mm crew did it right. In the words of Idi Amin as told by Barbet Schroeder, "It was the editor's fault!"

[@Jordan-yp2rp]

It would have been perfection to put parts of the documentaries they are talking (they filmed). gold channel here.

[@camtowson2915]

Really enjoyed this ...The Movie Elvis On Tour was shot with these cameras so I found this a fantastic insight thank you very much

[@patrickwebb1987]

Great little insight ! I really enjoy this video! Thanks!!

[@jasperianjones]

You know, I’ve always wondered why camera manufacturers have not tried making lens trays for modern cameras. I’m not sure how they’d do it but yah know, still be cool

[@riccardoarriola2097]

amazing

[@mwdvideo2]

The camera I learnt on, from Daf Hobson he then got an Aaton I was pleased...

[@arricammarques1955]

MDV cameraman probably thinking, I'm recording on this toy!

[@Jacksirrom]

"Man Alive" on Death Row lol

[@maciek8159]

I'm dying to get the Eclair NPR. It's hard to find film cameras. There really only two places online you can go where they sell them, repair them and update them. Unless you go through eBay but I don't trust that. And they're still expensive! You would think they'd be down to $500-1,000 but they're up in the $5,000 and up range.

[@haydenharris3059]

I'm still learning but other than using a camera support, I too like to be flexible, especially the hips so as to steady the camera so this film confirms I've got the right idea. I use a letus film adapter or a connector adaptor that means I can use all my Nikon lenses on my Sony Z7P video camera.

[@gaditanocity]

I still use film. I recently bought a 400' roll of Kodak for my NPR.

[@rams6702]

in the future we will be talking about our interchangeable lens dslrs in the same way.

[@MichaelCarter]

I love my Bolex, but really wish it was NPR, Noiseless production recorder? Is that it?

[@AdapttvhistoryOrgUk]

We believe that NPR officially stands for Noiseless Portable Reflex.

[@bertvdlast]

Never knew Michael Caine was a cameraman.

[@Stepholiv1801]

Hello, I'm looking for batteries and cords to power a 16S, to be built, used or restored? Who knows the way to make them, rather in Europe, or in France Thanks Stephane

[@yutakadaimon2598]

At 8:35 David is operating an Aaton.

[@kuyutemelkuyutemel9699]

Hi

[@Vee3000]

I don't like film soo look so old the newer cameras are really expensive but nice but film looks better I just don't like the body digital is more like the iPhone 6 the film is the iPhone 4