I'm back again with some more cam sets. This is a set of TV cameras for oval tracks created by the people at Assetto Corsa NASCAR Mods FB group. This pack includes proper TV cams for: - Atlanta - Indianapolis - Chicagoland - Darlington (new addition) - Daytona (new addition, from Reboot Track. Ubuntu contains lots of drivers out of the box. For most hardware you don't need to get things from the manufacturer's disks or website. Try using an application like cheese to see if the camera works.

12 MP rear camera at ƒ/1.8 aperture with OIS, and 7 MP selfie cam paired with TrueDepth FaceID hardware 64 GB of onboard storage (128 GB and 256 GB optional configs) Broad cellular band support with eSIM capability and 802.11a/b/g/n/ac Wi‑Fi w/MIMO + Bluetooth 5.0 + NFC. Selfie Camera + AR. Talking Tom Cat. Dans votre nouvel Intermarch Issy Bords de Seine. I have recently installed Ubuntu 16.04 on a Macbook Pro, everything works fine except the camera does not work/ is not found. Both Google Hangouts and the Cheese application say 'no device found'.

Eclair, formerly Laboratoires Eclair, was a film production, film laboratory, and movie camera manufacturing company established in Épinay-sur-Seine, France by Charles Jourjon in 1907. What remains of the business is a unit of Ymagis Group offering creative and distribution services for the motion pictures industries across Europe and North America such as editing, color grading, restoration, digital and theatrical delivery, versioning.

The company produced many silent shorts in France starting in 1908, and soon thereafter in America. The American division produced films from 1911-1914 such as Robin Hood, one of the first filmed versions of the classic story in 1912.

Deutsche Eclair, now Decla Film, was established as its German studio branch. In 1909, Eclair took part in the Paris Film Congress, an attempt by major European producers to form a cartel similar to the MPPC in America.

Originally a production company, Eclair started building cameras in 1912. The company is made up of two entities: Eclair Cinema and Eclair Media.

Studios in the United States[edit]

An Eclair studio, the Eclair Moving Picture Company,^[1] was established in Fort Lee, New Jersey. It suffered a devastating fire in 1914. A western studio set was also established in Tucson, Arizona.^[2]Jules Brulatour was involved with the company and Dorothy Gibson one of its stars.

Eclair films made in Tucson[edit]

• Over the Cliffs, 1913
• The Reformation of Calliope, 1913
• The Aztec Treasure, 1914
• Mesquite Pete's Fortune, 1914
• At the Crucial Moment, 1914
• The Renunciation, 1914
• The Jackpot Club, 1914
• The Return, 1914
• The Cross in the Cacti, 1914
• The Dupe, 1914
• The Caballero's Way, 1914
• When Death Rode the Engine, 1914
• The Heart of Carita, 1914
• The Squatter, 1914
• Dead Men's Tales, 1914
• Within an Inch of His Life, 1914
• The Stirrup Brother; or, The Higher Abdication, 1914
• The Blunderer's Mark, 1914
• A Tale of the Desert, 1914
• The Bar Cross Liar, 1914
• The Ghost of the Mine, 1914
• Into the Foothills, 1914
• Fate's Finger, 1914
• Smallpox on the Circle U, 1914
• The Line Rider, 1914
• Till the Sands of the Desert Grow Cold, 1914
• Whom God Hath Joined, 1914
• The Girl Stage Driver, 1914
• The Jewel of Allah, 1914
• The Wondrous Melody, 1914
• The Price Paid, 1914
• The Yellow Streak, 1914
• The Devil Fox of the Orth, 1914
• The First Nugget, 1914
• The Bar Crossed Lier, 1914
• The Blunderer's Mark, 1914
• Terror, 1915
• The Thief and the Chief, 1915
• Saved by Telephone, 1915
• Romance in Bear Creek, 1915
• The Oath of Smoky Joe, 1915
• The Answer, 1915
• Lure of the West, 1915
• The Lone Game, 1915

Cameras[edit]

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. The NPR also saw considerable use in television production and was the standard camera used by 16mm film crews in the BBC's Film Department. Due to its light weight and ergonomic design, which housed the film spools at the back of the camera rather than on top, the NPR was seen as a considerable improvement over its predecessors. For 16mm cameramen out in the field, this ease of use and maneuverability was vital to capture the right shot, often in hostile conditions.^[3] 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)

The instant clip-on design of the camera magazine of the Caméflex and later the NPR, ACL, EX16 and PANORAM models' coaxial pre-threaded loop magazines revolutionized filmmaking, in particular documentary films, since magazine changes could now be made in seconds without the need to spend time threading the film through the camera.^[4] The ACL model used a focal plane shutter for exposure and a side-to-side oscillating mirror for reflex viewing to keep the camera body size to a minimum ^[5]

Famous camera users[edit]

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.^[6] A handheld Eclair camera was used in the shower scene in the 1960 film Psycho.

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 Woodstock. Wadleigh used sixteen NPR cameras. 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.

Later company history[edit]

The company was acquired in late 1968 by UK-based Canadian film producer Harry Saltzman who then founded the Éclair-Debrie (UK) Ltd. company and moved production to the United Kingdom. Meanwhile, Soremec-Cehess took over the French side of the company and resumed production in France, so English Eclair cameras (similar to the French product with minor differences) were manufactured simultaneously for a few years until Éclair-Debrie (UK) Ltd ceased activities in 1973. Production then continued in France with a good degree of success, but the company eventually declined in the late-1970s and early-1980s until it was eventually sold to Aaton S.A. in 1986 who ceased all camera production, offering only a license for maintenance of the many existing cameras.

The film processing and post-production side of Éclair continues to operate.

References[edit]

1. ^'FILM FACTORY BURNS WITH $800,000 LOSS; Many Valuable Reels Destroyed in Eclair Company's Fort Lee Plant'. The New York Times (Special to The New York Times). 20 March 1914. Retrieved 2 August 2019.
2. ^The New Historical Dictionary of the American Film Industry. Routledge. Feb 25, 2014. ISBN9781135925543 – via Google Books.
3. ^Ellis, John; Hall, Nick (2017): ADAPT. figshare. Collection.https://doi.org/10.17637/rh.c.3925603.v1
4. ^Miller, Arthur; Strange, Walter, eds. (1969). American Cinematographer Manual Third edition. Hollywood, California: American Society of Cinematographers, Hollywood. p. 139-42. LCCN71-88212.
5. ^John, Ellis; Nick, Hall (2017-11-09). 'ADAPT'. Figshare. doi:10.17637/rh.5987551.v1.
6. ^The Criterion Collection. Breathless DVD. Special Features, disc 2. Coutard and Rissient. 2007.

External links[edit]

A recent report from the French Ministry of Transport highlights the growing success of the speed camera network.

According to the report, the cameras picked up over 25 million infractions in 2016, an increase of over 20% on the previous year, and a new annual record.

Revenues from the cameras has reached around €1 billion a year, ten times the figure generated in 2005, and more than half of all revenues generated from road traffic offences.

Much of the increase is down to the wider deployment of the cameras, with the number on the roads having quadrupled since 2005 to around 4,700 in 2018.

The cameras are also more reliable, precise and versatile, with more extensive use in recent years of mobile, autonomous cameras (pictured) that are being used where roadworks are taking place. The cameras can operate in both directions and they are also able to discriminate between different types of vehicles.

Whereas in 2015 the autonomous cameras flashed around 80,000 times, in the last couple of years the figure has bounded to over 1 million drivers flashed.

Drivers in France have dubbed the cameras “sérial flasheurs”, such is the frequency with which drivers are being caught by them.

Some of the cameras are now also being deployed where there is otherwise the need to slow down traffic on a temporary basis.

In the overwhelming majority of cases the presence of a fixed speed camera is indicated by a roadside sign, but the distance between the sign and the camera itself can vary from several hundred metres to 2 kilometres. There may also be more than one camera on the stretch of road, although they may only be signalled by one notice.

The use of specific equipment to detect radars or other equipment that gives the location of radars is outlawed in France.

Foreign Vehicles

Of course, a flashing camera does not always end up with the driver being fined, either due to the plates not being clearly visible, an inability to trace the driver, or because it was a foreign registered vehicle. Around 25% of French registered vehicles and over 30% of foreign registered vehicles that are flashed escape a fine due to an inability to enforce.

Since 2013, agreements have been reached with a growing number of countries in Europe to supply driver address details, so that they can be sent a penalty notice, with enforcement possible in their own country. The UK opted out of the directive, but it was extended to them in May 2017 by virtue of a ruling in the European Court of Justice, for UK drivers speeding in Europe. The DOT has stated publicly it will not apply it after Brexit. See an earlier article we wrote on the issue at Cross-Border Driving Offences.

Departmental Records

Those departments heading up the list with the greatest number of infractions are Paris, Rhône and Alpes Maritimes, which between them clocked up over 2 million flashes.

By contrast, those departments with the lowest number of flashes were the Lot, Hautes Pyrénées and Aveyron, who collectively had 88,000 flashes. Not only is the amount of traffic lower in these areas, but they generally have far fewer cameras installed on the roads.

Nevertheless, the most cautious drivers (or most ineffective cameras?) are to be found in the department of Sarthe (Pays de la Loire) where the 22 cameras installed only each flashed an average of 1,560 times.

The highest rates per camera were located in Seine Saint Denis (Ile-de-France), where each of the 15 cameras flashed an average of nearly 30,000 times.

Blackspots

Most of the best performing cameras are generally located on motorway networks, where traffic is higher and a change in the maximum speed limit is often indicated. Others occur in those locations where roadworks are taking place.

The most successful camera last year was located on the A9 autoroute at Montpellier, direction Perpignan, where the speed limit had been reduced from 100km/hr to 90km/hr, and where the camera flashed 159,200 times.

The top twenty of the best performing cameras is shown on the table below.

Source: Sécurité Routière

Drivers Seine Cameras Pictures

If you are caught speeding then the level of the fine and nature of the punishment depends on the gravity of the offence, ranging from €45 (if paid promptly) to €1500. The highest fine is only payable if you are exceeding the speed limit by more than 50km/h, when you may also incur suspension of your licence for up to three years and six points on the licence (out of 12), confiscation of the vehicle and mandatory attendance on a driving course.

Although EU nationals resident in France are not required to drive on a French licence, those who suffer a points penalty are required to obtain one. In practice, this does not always occur for, as is so often the case in France, the administrative and judicial apparatus cannot keep pace with the laws they are supposed to implement.

In July this year the maximum speed limit on roads without a central reservation is being reduced from 90km/h to 80km/h, and there is every prospect that many drivers will be caught out by this measure.

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