Nathan Milford

He sold it.

Diego, There are no specific S16 aperture/picture plates for the magazines. By aperture plate, do you mean the gate? If the camera is of the factory S16 switchable generation, you should already have an S16 gate. You can identify a factory-made S16 gate by the two chromed raised portions between the outer rails and the actual aperture. If it is S16 the chromed portion to the left (facing the back of the gate) of the aperture will be thinner than the one on the right. A S16 gate is used even in an R16 configuration as the S16 area on the neg, while being exposed, will be discarded anyways in the event of transfer or printing. If you could, post a picture of your groundglass, by placing the mirror in reflex, opening up the viewfinder/eyepeice and pointing a light source in it and photographing through the gate. It is not impossible the original groundglass (and assembly/support) could have been damaged and swapped out at some point. I'd very much like to see the orientation and marking on the screen. The S16 gates are still made new by Aaton and are for sale by Aaton agents, but they're a little less than $5,000 a pop for a new one. Most Aaton agents will charge between a half hour to an hour of labor to switch you camera between formats. Converting an R16-only body to S16 is another matter entirely. Good luck, nathan

Joshua, There is a wonderful Wikipedia article on the subject here. - nathan

Or with an ARRISCAN

Fulgencio, The Xtera is an update to the XTRprod, so mechanically they are the same and have the same specs as far as speed and noise. The Xtera adds the PBY junction box to the side which includes additional accessory ports and the capacity to mount two batteries to the camera. Personally, I really like the addition of the two batteries. It adds just a bit mroe weight but it adds it further back on the camera, behind the shoulder so the camera's balance is even better. Additionally, you get a feature-packed assistant side display which gives you all sorts of information the operator-side display doesn't. I particularly like it's capacity to show the TC start and stop for each take showing duration AND if you were shooting at a speed other than 24fps it will calculate and display the runtime at that speed (how long you ran the samera at say, 48fps) as well as the screen-run time of that speed if it were projected or transfered at 24fps. You also get the VHR which is an all-Aaton designed progressive video assist that really blow the others away. It gives you a 1:1 correlation between video and film frames so you lose no temporal resolution. Some people describe it as HD-like.. which is misleading... but suffice it to say I believe you can pull focus on a 200mm prime at 2.8 by eye on the VHR. Lastly, you get a bracket for mounting a 15 or 19mm rod specifically for lens motors so they stay out of the way of the handgrip, mattebox etc... Everything else is like the XTRprod... why change what's right? - nathan

An Xtera upgrade runs around $15,000 or so and includes an overhaul as well as the installations of the new PBY junction box (add extra connectors), top rod bracket for lens motors, new assistant-side display (with some really nice features for when shooting multiple speeds or reporting timecode etc..) and the new VHR progressive video assist which just looks magnificent. Oh! And you can mount two batteries, which adds a little weight, but reallt balances out nicely as it moves the battery weight behind your shoulder so you're pulling the camera down with the hand grip rather than pushing it up. You can see a picture of what till look like with the upgrade here on Aaton's website. It's actually a pretty sweet deal. For the cost of what would once only be a new video assist you get all of the other stuff as well as an overhaul, making the camera a bleeding edge piece of engineering. For that complete package mentioned before $30K + $15K for an Xtera upgrade you have a whole Xtera kit for $45K when a brand new Xtera body (no lens, mags etc...) would run about $50K on it's own.

Howdy, Not to be a total company man, but we have a beautiful XTRprod package for $30K up on our website. See link here. Two mags, color video assist, cases, front rods, walnut handgrip, eyepiece heater, 4-pos shutter and a Canon 7/63. Cosmetically it is almost perfect and would look nice with an Xtera upgrade. - nathan

Transfer to DVCAM with timecode and keycode burnt into the video. Edit that and produce an EDL (edit decision list) Then go back to the lab and re-transfer selected footage from ALL of your footage in HDCAM based on the EDL. HDCAM is a tape format. You're looking at $120 or less for 400' (11 min at 24fps) of 16mm filmstock. You can get as low as $0.12/ft for processing and $0.12/ft for DVCAM dallies, but it might be up to $0.20/ft for either. depends on the lab and the pull you have there. So, $200 and change for 11 minutes of film. With a 10:1 shooting ratio you'll get a minute of usable footage out of that. Multiply $200 x 50 (for a 50 minute film) is around $10,000... not including tape stock... Then when you're edit is done from the dalies, you setup a color correction session at between 350-500/hr (you're not being charged by foot now, but by the time involved in transferring and finishing your film) where you'll re-transfer the selects from your EDL. You can get a supervised session where you sit in and tell the guy conforming and color correcting your film what to do or pay less for an unsupervised transfer where you tell the guy what you want and hope he understands you. The number of hours to work on your film? It really depends on too many things... I just did a D.I. at Goldcrest (John Dowdell is simply the best!) for a 20 minute short I directed and we did all of the broad color correction in a 4 hour period (and it required very little work, relatively, as my DP was spot on with exposure and I had no odd effects) with a bit of dust busting and titles the next morning. John is pretty fast and the tools he's using (ARRI Scanner, Quantel IQ) allow him to work fast so if you go with a lower end post house with older tools you may have to spend more time (for presumably less per hour) finishing it. It's been different every time in my experience... so prices vary based on this or that colorist or this or that lab or how much correction you need etc... Shoot Develop Dailies on DVCAM Edit Dailies and spit out EDL Re-transfer selects (based on the EDL) Color correct and conform. That is a typical post path.

Last I saw they were using Panasonic SDX900's

You can order that type of XLR4 from Switchcraft. They may make you buy in bulk, so you may want to contact Optical Elctro House, Whitehouse AV or Du-All which may have them in stock and won't force you to buy 15.

I've sent copious amounts of 16mm and 35mm Cinelab with absolutely no problem. This is because I (or my producer) have communicated, clearly and directly, with one person who was responsible for my projects. I do this with the Postworks, Technicolor and Duart etc... I'd have to agree with Douglass. You seem a bit of the novice to make the assumptions that you did. I hope that, whether you use Cinelab again or not, you will have learned from the experience and will schedule and communicate with a bit more care. With that said, your harsh tone is a bit unfounded and you come off more like a whining child in a supermarket than a professional trying to produce a film. By bringing your dirty laundry into such a public place (that is searchable by potential employers, collaborators and perhaps service providers who will see you as a problem client) you belittle yourself and your project. With the volume that Cinelab processes and develops, scans and ships (dozens of clients on this board alone I'm sure) with little or no report of problems, did it occur to you to look inwardly for the problem before you potentially slandered a pretty reliable lab?

Negative. MK II Superspeeds for 16mm have three iris blades which causes the triangular bokeh. The MK I and MK III's have more blades which cause a more spherical bokeh.

I've actually read your post. And I agree with Phil (he's usually right though...), you'll lose what you invest in it plus the time invested.

HAH! Max Jacoby, eat your heart out.

I believe Alexander used EIR in it's end sequences. I'd have to poke around for a source or confirmation, but I'm pretty sure they ran out and shot on something else and matched it in DI.

I've seen quite a few boat anchors in my time where the new owner just flat out refuses to accept my evaluation of it and gets really nasty with me because it looks cosmetically clean. Claims we're trying to scam him etc...

It's a fairly common thing to shoot with 35mm format glass on a 16mm format camera. Cooke and Zeiss have shorter focal lengths for the S4's and Ultraprimes specifically built for Super 16 with the assumption that you'll use the longer focal lengths from the 35mm format offerings when shooting S16. Why build two complete sets of lenses that cover the same focal lengths. But, there is a wealth of information about the subject in the archives. I suggest you hit up the search function for some previous threads.

They fit on the Aaton. If you want to use some of the newer larger barreled lenses, use an Aaton (any model) or a 416

Aaton's will do single frame by hitting the test/inch button. It will give you a 1/4 second exposure. Arri SR's will not do this.

I get why you were trying it with film cameras. For fun... But why with 3CCD DV cameras when they already do this in the camera? Isn't it redundant? Get a few B&W lipstick CMOS cameras and mount them in an array with filters and point them through your prism scheme. then record out to a deck.

http://www.panavision.co.nz/main/kbase/ref...lenseqvform.asp Give that a try >8)

I have a photo of an A-Minima that was ran over by a tank from the set of Iron Man. I have it pinned above my bench.

I used to do I.T. work and Network Security Analysis (paid cracking). Then I went to film school. Abel wanted to hire me to work with HD cameras because of my IT and film school background, but I spent the whole interview waxing poetic about old film cameras. They trained me in-house. Brought in people from the factory etc... If you're in NYC I am sure I can forward your information along to my employers. At the moment I am the ONLY film guy at Abel. A bit depressing, but I'll manage. Ultimately you'll have to intern in a rental facility, scrubbing cases and cleaning stuff. I believe Bernie O has some sort of workshop on basic camera maintenance, but I haven't heard anything about it.

Super 35 refers to using the whole width of the negative, perf to perf, not reserving space for the soundtrack as in Academy/Regular 35. It's akin to Super 16 in that you need to recenter the lens, ground glass and viewfinder. It's really just shooting full gate/silent aperture. 3-perf, while typically centered for Super 35, refers to a 3-perf pull down instead of a 4-perf pulldown. When speaking in terms of 3-perf, you're automatically assuming the camera is optically centered for Super 35. But when shooting Super 35 you may be shooting 4-perf or 3-perf.

There is a long thread about it on the CML.