"From 1950 until 1990, Kodak’s gigantic Colorama photographs dominated the east wall of Grand Central’s Main Concourse. Using what was then innovative technology to print oversize photos that measured 60 feet in length and nearly 20 feet high, these images portrayed an idealized view of American life. They promoted photography as essential for documenting leisure activities as well as capturing special family moments with beautiful, richly-colored photos.”
For Trafic’s shooting (1971), Jacques Tati used a Mitchell camera. He insisted on working with this type of camera, which had a range of about 10 different models. In the Netherlands they only had the unusual ‘Mitchell Reflex’, and it seemed to give some annoying halo effects caused by the lights inside the RAI building in Amsterdam. The crew lost a lot of time because scenes had to be redone. Bert Haanstra (director at first) was annoyed about the huge costs of this camera, using the Arriflex type would have costed three times less.
Picture shows a Mitchell NCR/BNCR - Reflex, most likely the type Tati used. Bert Haanstra together with Jacques Tati and other on set pictures showing the Mitchell camera.
NCR and BNCR stand for News Reel Camera Reflex and Blimped News Reel Camera Reflex respectively.
Blimped means the housing was modified to dampen the camera sound to facilitate clearer recording of synced audio in an enclosed or studio environment.