Tyler Purcell

So now that I've decided to go Aaton, I'm struggling to figure out the lens situation. I have three way's to go, each of them are pretty much the same price. 1) Zeiss 11 - 110 zoom lens PL mount (used) $4500 2) Zeiss 9.2, 12, 16, 25, 50 - 1.3, PL mount (5 lenses used) $5000 3) Optar Illumina 8, 9.5, 12, 16, 25, 50 - 1.3, Arri Bayonet mount (6 lenses NEW) $5000 So to me, it's a no-brainer to buy the Optar's and just adapt them to PL mount for the Aaton or Arri. Should I take the plunge?

Nice job Matias, looks great. I love the coloring as well.

Great, that would be awesome Bill! Thanks!

The big thing I need help with right away, is getting the word out. If you guys have a facebook page, like our facebook site and share the pinned post with the video at the top of the page. If you use the crowd funding donation, you can also hit the share tab on there as well. Support will come once people know about this initiative and get excited. I've also started advertising with facebook, but so far no click-through's Once we launch, I'm going to need a lot of help. The big thing will be articles written by professionals about certain subjects. I also need professionals in our video series, but that's harder when we're all spread out. Still, I think there is a good chance we can organize once we get money and equipment flowing.

On the main page of the website, there is a "Donate" tab, which leads to our crowd funding. All of the pertinent links are on the main website. However, here are the links separated; Website: http://www.celluloiddreaming.com Funding: https://www.gofundme.com/celluloiddreaming Facebook: https://www.facebook.com/celluloiddreaming Video:

Well, I've been keeping this secret for quite sometime and we're officially launching monday, but today we're doing a soft launch. You can read more about it here or below: http://celluloiddreaming.com My goal is to create an interactive educational platform revolving around the continued use of motion picture film. Using well produced tutorial videos, interactive hands-on training and up to date resource guide, in order to educate and preserve filmmaking on celluloid for future generations. As everyone knows most film schools have moved away from shooting on motion picture film. Digital cinematography has taken over due to it's lower cost and ease of use. This means, students and young budding filmmakers aren't shooting on motion picture film. At the same time, many of the experts are retiring or sadly passing away. It's becoming more and more difficult to find educational resources about shooting on motion picture film and the support necessary to do so. Many of the rental houses and online resources, have stopped dealing with film cameras all together. Even though there are boutique (art house) and professional filmmakers who continue shooting on film, many of them aren't sharing their knowledge to the masses. With Celluloid Dreaming, we're going to build an interactive website. We'll have manuals and online text-based guides to basic operation/quick reference guides to cameras, lenses, film stock and most accessories. Our video's will go into great detail on almost every camera on the market. Discussing bodies, lenses, batteries, magazines, storage and basic maintenance. This way, someone interested in buying a camera can watch a single video and learn all about it's operation. We'll also make video's focused on lenses, film stock, processing, lighting, metering and other basic cinematography techniques related to shooting on film. Finally, a video series all about young filmmakers experiences shooting on film for the first time will explain the pro's and con's in much better detail. We'll focus on 16mm and 35mm to begin with, adding Super 8 up the road once we get going. Our hands-on experience will be held monthly and will be free to filmmakers who already have experience shooting. The goal is to put the cameras in the hands of people without the tremendous cost of going to film school, taking specialized classes or renting. The courses will be very small, 2 - 4 people maximum per month. Each class will be jam packed and be spread over three days. The first saturday will be camera break down, learning about lenses, magazine loading and basic cinematography. Some film will be shot saturday indoors in a lighting situation with charts and single subject to shoot. Sunday will be on-location, where students can shoulder or tripod the cameras, shooting anything they want. The only cost to students will be heavily discounted film stock and processing. Film will be processed during the week and stored for the following weekend. The second saturday will be analyzation of a one light print of what was shot the weekend prior. Everyone in the class will critique each others film and be able to take the negative and positive home. Eventually we will purchase a telecine machine and go through that process as well so students can use their footage on a demo reel. Once the course is completed, students will get a certification card saying they're up to speed on our equipment. This way, when they wish to borrow from our stash, it's a simple sign-out sheet like film school and away they go. There will be a small cost for rental, just to cover our insurance expense. We'll have online scheduling system and plan to eventually have many camera bodies and different lens selections, so students partaking in our class can have a wide-range of shooting possibilities. We plan on having Super 8, S16mm and 35mm cameras. We'll also have special deals available for sound packages and eventually transfer will be done in-house by students for a much lower rate then any lab. Students will also be invited to participate in our "short film" series, where they can shoot a short film for our educational foundation. We plan on shooting one film per month and our students will be able to use that film on their demo reel. These films will be fully sponsored (no out of pocket cost for the student) and in some cases, students can earn pay for their work. Our funding comes through donations, website advertising and industry sponsorship. Since we're going to be a non-profit, we'll require substantial industry support to get us going. We plan to go live March of 2016 after we've collected enough video and film content. Thanks for reading and I really hope some of you have interest in getting involved. We need to come together and make this a reality! All of the pertinent links are on the main website, including a "Donate" tab which puts you into our crowd funding site. Here are the links separated: Website: http://www.celluloiddreaming.com Funding: https://www.gofundme.com/celluloiddreaming Facebook: https://www.facebook.com/celluloiddreaming Video:

Thanks for the info guys! Will, I'll for sure be buying PL mount glass for myself no matter what. I just need more then one camera package. I'll be filling you guys in on the reason tomorrow! :)

Can I show you guys something else? http://www.ebay.com/itm/151853247958?_trksid=p2060353.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT I also want to purchase an MOS 35mm camera for playing around. I purchased a bunch of old stock and I wanna just play around. I noticed these lenses were old Arri mount. The guy selling the Aaton has arri mount adaptor to Aaton mount. So unless I'm missing something... why can't I buy those two antique 35mm cameras, make one of them work with all those parts and use the glass on the Aaton as well, assuming it's not in rough shape. I know it's a stretch here, but it sounds intriguing and cheap! If it's just junk, I'll just resell.

Thanks for your input guys, it's much appreciated. I'm waiting for some full package quotes right now, one SR3 and one XTR. Depending on what they look like, I might forego everything and try this LTR for shits and giggles. It's a very low entry price AND glass cost will be peanuts compared to PL mount stuff. I need more then one camera, so I may just grab the LTR anyway.

Kenny, click on the eBay ad... See what he's talking about.

Really? So the camera has timecode out, multi-channel XLR (audio) inputs and headphone output for monitoring right there on the body? This is what that connector is for: http://www.red.com/store/products/pro-io-module http://www.red.com/store/products/dsmc2-redvolt-expander In our modern world of shooting with video cameras, it's amazing people don't want/need audio pre-synced to the image so they don't have to re-sync later. I have actually, but I let the professionals at the rental house put the package together. After careful examination, I saw no way to mount a V mount battery to the back without blocking the I/O port. Sure you can screw the V mount battery onto the back of the I/O module, but for what reason? It's a modular system, the REDVOLT battery system works fine for me. In the real world, it's an unusable workflow. So no Bill, it doesn't work. You can't really edit using RED Code, you can tinker, but actual editing is pretty much impossible. My point is that Pro Res is integrated and does work fine with multiple streams because it's designed specifically for multi-stream playback, spreading the load amongst the processor cores instead of gobbling up all the GPU like RED Code.

Ohh and about the registration pin? Does the Aaton still have decent registration? How do they technically control registration? I know there are ways to get the pulldown claw to hold in place before pulling down, do they use a method like that? I'm starting to think Aaton could be the way to go. I did some research about the mags and they are far superior to the old SR mags for sure. I really like the design of everything. I just never thought the French could make such a nice camera! That's been the business of Germans forever! LOL :)

Media Logic Crystal Sync Speed Control I've never had to use an external speed control system, I don't know how they work. Even the Arri III I use to shoot with, had an on-board speed control. Does this box need to be plugged in at all times, or can you set it and unplug it?

Can you post pictures of a RED with a V mount plate physically attached to the back of the camera with screws? I'd like to see how the big I/O port on the back isn't blocked by the V mount... because wait a sec... it would be completely blocked if you did that. What I know is that port is kind of important for add on's like recording audio and syncing timecode. My earlier point was what a poor design the camera is and how everything they make is highly accessory driven. I'd be more then happy to discuss the other issues like THE OPEN PORTS ON THE TOP OF THE BODY!!!! HELLO!!!! and of course the need for an optical low pass filter to fix the color issues the cameras have. This is is what one of my typical timeline's look like with Pro Res, playing in real-time, direct off our Blackmagic cameras with AMA link (no importing). I'd love to see 12 tracks of native realtime playback of RED code in any software package. We're barely able to play one stream at a time in Premiere at 1/4 resolution. The moment you add two streams and some transitions, the system you've gotta knock down the res to 1/8.

For me, it's more about the body then anything else. Lenses are easy to find and adapt. Plus, Ive been told the Aaton's will take larger barrel lenses. So when I eventually buy a URSA mini and 35mm coverage glass, there is potential that glass can work on the Aaton right? Adrian explained to me recently that the SR's can't take those lenses because the larger barrel hits the viewfinder. The Arri SR's have a registration pin and the Aaton don't? The SR3 viewfinder is so-so, I can't remember the Aaton viewfinder being much different. The SR battery system is A+, love it! But Aaton has a similar on-board kit, is it any good? The SR mag's are easy to work on, I have no idea how the mag system works on the Aaton. The SR3 has an integrated electronics package, the Aaton has an external one. Does this mean I always need to wear that belt for shooting standard 24, or can you set it and unplug the belt pack? In terms of parts... I mean, wouldn't Arri be more expensive no matter what because they're the hundred pound gorilla and these older Aaton's are pretty cheap, so if you need parts, just buy another camera body?

Hey David, could the problem with wide shots on S16 be directly attributed to the glass? I think 'Moonrise Kingdom' used Xtera with modern 35mm Zeiss superspeeds and as you pointed out, it didn't have many problems with the wide shots. I also didn't see very many problems with 'Hurt Locker' or 'Beasts of the Southern Wild' either.

Well, I'm getting back into film production in a big way. (more about this in a different thread) But of course, like everyone in film production, I need to spend money on stock, processing and transfer instead of cameras and lenses. In order to save A LOT of money, I was contemplating buying a cheaper body, something like an Aaton LTR, where I can use Nikon glass instead of very costly PL mount glass for the Arri. I haven't used an Aaton before, I've been an Arri guy since I was a kid, S, M, BL, SR, IIC, III etc. So I know all about Arri/PL mount, I know all about how they work, I can load the mag's in the dark with my eyes closed... get it, in the dark, eyes closed... I crack myself up. Anyway, are the cheaper LTR cameras any good? I've got a guy selling one on ebay right now, which seems to be a good deal and I don't wanna pass it up. http://www.ebay.com/itm/Aaton-LTR-Super-16mm-S16-Camera-Package-/221886480549? What'd ya'll think? thanks!

You're right about one thing, I did forget the SSD module had an EVF output. Again, my point is that you can't put a V mount battery receptacle onto the back of the actual camera body without disrupting critical resources. It's not a big deal, you can always run cables all over the place on your rig. If you followed RED's accessory guide, you'd have a nice clean camera without all that mess.

Bill, how do you use the very important SEARAY connector, if it's covered up by a battery? How about the DSCM module for the EVF?

You're thinking too much into this. Gamut is not a technical word, it simple means a range of something. So in the case of cinema, we can show you a Gamut chart which maybe shows the visible eye's color rage vs RAW RGB. Or maybe, we'd show you a Gamut chart of RGB and in side that, show the lower bit rate's. https://en.wikipedia.org/wiki/Gamut

Gamut is a term usually used to express the range of colors a certain device can represent, not directly associated with bit depth.

Ohh that's too bad. :(

Isn't that new Italian film company planning on making reversal black and white?

I signed and put up on my facebook page. I hope it makes a difference.

I agree with Bill about the key light. One of the most important things when shooting a music video is to have your subject look absolutely outstanding at all times. Even outdoors, you need to control the lighting, which will bring consistency to her face. Plus, when you control the key light, you can then stop down a bit, instead of opening it up to make sure her face has enough exposure. In terms of the edit. Going from super wide to head and shoulders, it's too much of a stretch. You need steps between ultra wide and head/shoulders. I also missed an ultra wide at the river location, that would have been nice. More B Roll would have helped as well, you don't need to see the singer singing as much. Finally, this is a real bugaboo... coloring. Her face was quite blue/pail at some points and inconsistent throughout the piece. This makes her not look so good. Brightening and warming her face will bring a whole new look to the piece. I use DaVinci (which is free) and build traveling mattes on actors faces, so I can isolate their coloring. On a nice music video like this, you'd probably want her face to be warm and pretty, very easy to do with DaVinci and even if you didn't light it right, you can fix at least 80% of the lighting issues through the use of traveling mattes. Over-all good job, you're very close to a decent product. If you wanted to send me a high res quicktime, I'd be more then happy to color a few shots and show you what it could look like. :)