Eclair Studios

Éclair was a film production, film laboratory and movie camera manufacturing company established in Épinay-sur-Seine, France by Charles Jourjon in 1907.

Originally a production company, they started building cameras in 1912. Among their early models was the Caméréclair of 1928, then the Camé 300 Réflex, both successful studio cameras. Their real breakthrough design, the Caméflex (shoulder-held portable 35mm camera with instant-change magazines, with later 16/35mm dual format option) introduced in 1947, played a major part in the French New Wave by allowing for a freer form of shooting 35mm fiction films.

Later 16mm silent models such as the 1960 Eclair NPR (aka "Eclair 16" or "Eclair Coutant") and the 1971 Eclair ACL were documentary cinema favorites. NPR stands for Noiseless Portable Reflex and ACL comes from the letters of the names of its designers Agusti (Austin) Coma and Jacques Lecoeur. The last models designed by Eclair in the early-1980s came too late to save the company from bankruptcy and were hardly produced, if at all : the Eclair EX16 (similar to ACL with fixed viewfinder and 24/25fps fixed motor) and the Eclair PANORAM (first dual format 16+Super16 camera with "Varigate" system).

Jean-Luc Godard used an Eclair Cameflex when filming Breathless in 1959. Godard wished to film using ambient light, and the Cameflex was the only motion picture camera capable of using ASA 400 35 mm Ilford HPS still camera film. Cinematographer Raoul Coutard spliced the 18-meter still camera rolls into 120-meter rolls for use as motion picture film, and pushed it to ASA 800 during development. An Eclair 16 was used by L.M. Kit Carson (and discussed, on camera) in Jim McBride's ground-breaking film, David Holzman's Diary (1967). Two years later, the NPR was chosen by director Michael Wadleigh to shoot his documentary . Wadleigh used sixteen NPR cameras, and in Woodstock: From Festival to Feature, he explained some of the challenges he faced using a then seven-year-old camera in a manner that would have been unheard of for 35mm movie cameras, let alone the relatively untried NPR. That they succeeded so spectacularly is a testament to the NPR's sturdiness.

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