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anybody? this is a very rudimentary question. Why is this forum so partial towards which topics interest everyone. I feel like every post deserves attention and anyone that can help should offer their knowledge, however uninteresting it may be to them,

if i used the TV safe markings and frame for that can I have the regular 16 frame derived in the printing process or would it be offcenter?

I hope my original post makes sense..please let me know if it doesn't

any thoughts or 'try this' would be greatly appreciated.

i currently own an Aaton LTR-x. I was told from the person I purchased it that it was both super-16 and regular 16 compatible. However, at the moment, the camera is super-16 and when i took it to Abel-cine, they told me that the gate cannot be changed to regular 16, so i would be shooting full frame anyways, even when using a regular 16 lens. I am currently prepping for a short film which I would like to shoot regular 16 because I will be editing on film and finally print on regular 16. My question is, in order to derive a regular 16 image in printing by cropping, would I need a groundglass that is centered for regular16? The groundglass I have now is only super-16, but would anyone have an idea for me to mark the groundglass so I can anticipate the extra space which will be cropped out? I know its not as simple as framing the 4:3 frame in the center of the 16:9 because the extra image is only on one side where the regular 16 perfs would be. But is there a way to know exactly where the 4:3 frame should be in order to be printed for that format? Right now I'm guessing that in the viewfinder, it would be something like the very right frame line to the inner most line on the left, but this may be the opposite(outer most line on the left to the inner most line on the right). Any information would be greatly appreciated.

haha anybody?

I recently purchased an Aaton LTR-X which seems to be an LTR 54 with some XTR features. I'm really loving this camera, but I wanted to see whether this camera has a variable shutter or not. I can't find much information on this particular camera, but did the LTR have a variable shutter? Any information, not just about this, but about the LTR-X in general would be greatly appreciated! Thanks so much and Merry Christmas!

WOW, thank you always for your comprehensive advice! It is extremely helpful. I will try your method out. Thanks again!

I have marked an Arri 16s ground glass with masking tape before and would like to do the same thing with the Arri SR fiber optic plate. However, seeing that I am unable to examine what I am taping when I pull the fiber optic plate, would anyone have any suggestions as to how I can go about accurately marking the plate for 16:9? Would it be best to simply measure the plate once I have pulled it out of the camera? Any suggestions on this procedure will help me greatly. Thanks and all the best!

I understand your refusal to go to film school. Some people do not like to learn under those conditions. I have friends who have gotten internships or assistant jobs. Even in film school I feel that you learn most from being on set, even if your job is directing traffic. I suggest that you find shoots around your area and even volunteer to help on as many productions as you can. Good luck and I assure you that you will have fun along the way!

Thanks for your reply! I'll definitely try that out. This is the first time I have seen this problem with my particular mag, but would this cause an issue with the image? I'm a little bit nervous about the footage i sent to the lab that I haven't gotten back yet.

What is your rational behind shooting specifically on Panavision? Yes, lens has a prominent roll in "making your film look beautiful' which is a extremely vague statement in itself. Although I am still a humble film student it seems extremely irrational to begin a full fledged 35mm production when zoom/prime lens basics and the functions of a cinematographer are not understood. I feel that film production is more complex than simply renting out a camera and shooting haphazardly. I would suggest you take time- takes years- to seriously study the art before you embark on such an ambitious endeavor. That would certainly help get the results you like and make your "film look beautiful".

One more question, this does not have to do with the pressure plate, but when I run film through the mag, sometimes I find that there is some kind of gunk on the edge of the film. I am thinking that this is from the bottom padding of the feed side that is old and is being scraped off by the film as it runs through. I am not sure of this, but would there be any other explanation? Is this a serious issue when it comes to the image? Any thoughts or possibly solutions would be appreciated.

The pressure plate on my Arri SR seems to getting a bit loose. I know that the floating pressure plate is suppose to be freely moving to a certain extent, but it seems to be jiggling up and down and side to side pretty loosely every time I load film. Should I be worried about this? Is there a way in which you are suppose to calibrate it after however much usage?

What about the image quality of the two?

I found this listing on Ebay http://cgi.ebay.com/ANGENIEUX-9-5-57MM-ZOOM-LENS-16MM-F1-6-ARRI-MOUNT-/260787524343#ht_500wt_1156 I currently have a Ziess 10-100 T3 T* coated lens I use on my Arri SR-1. How does this Angenieux lens compare to the ziess? It is faster so would it be wrong to assume that the Ang would perform better? Any comparative input on the two would be much appreciated.

how stark is the difference between r-16 cropped and super 16?

Tanks for your reply. I have read about Ultra-16, but i am also under the impression that there are only certain transfer houses that can deal with this format. Is this true? If so would it be better sticking to R-16 cropped if I can get super 16 conversion?

Thanks for your advice, but I do understand that production design is the prominent factor in achieving any sort of aesthetic, but my question was about the film stock specifically. My question was with regards to the elements beyond production design, if there is any way to achieve a closer aesthetic through film stock I want to employ it. Of course I am not purely going to depend on film stock choice to achieve this look. I am only asking about this because that is the element I need advice on. I also understand there will be a difference in 16 and 35 but I am also not trying to replicate a Kaurismaki film. I was using him as a reference. I would like to believe that even within the 16mm realm there are certain film stocks that will better realize what i am going for. Thank you for your concerns though.

I currently have a arri SR-1 that shoots R-16 and I crop down to achieve the 16:9 aspect ratio. I am starting to consider a upgrade to super-16 and wanted some input as to which camera house in the US, preferably the LA area would do the best job and also how much it would cost and if the difference is worth investing in. I think 16:9 cropped from R-16 is 59.21sq. mm whereas super 16 yields 88.17sq. mm which seems like a stark difference, but I want some opinions to see if the cost of an upgrade is worth it for a student like myself.Thanks for your time and all the best!

Do you know if there is a stark qualitative difference between the Vision 2 stocks and the Vivid or the Eterna? If so can you point out the advantages of the Vision that will allow me to closer emulate his style?

Because of the source I am obtaining my film from, I am limited to the Reala or Eterna stocks. Would you be able to inform me on the qualitative difference between using the 250D stock and the 250T stock using an 85 filter under a daylight source and also the qualitative difference between the 250T and the 250D using an 80 filter under a tungsten light source. Do the two stocks have a specific tendencies, qualitative differences?

Also, do you think even with its soft quality the 500D will have the appropriate contrast to achieve the deeper pastel-tone colors as seen in Kaurismaki films?

Thank you for your advice daniel. I definitely plan to test out the film stocks, but I wanted input before I actually ordered the rolls. If I were to shoot outdoors on daylight balanced film, would I still need filters?

however, I should mention that I still do appreciate fair color saturation.