Baltasar Thomas

If you use the Shape shoulder pad, aren't you able to attach 15mm rods to the back? That would allow for some mounting options to the bottom of the rods. Other options that come to mind are adapting your LTR to take v-mount batteries, or wearing a battery on your belt. The base of your LTR looks modified and huge, what is that? Looks peculiar! It protrudes into the section where your shoulder normally goes.

Like David has pointed out, you only need a grid really. However! I do have a chart that was kindly sent to me by forum member and Senior Technician/Designer) at Visual Products @Paul Scaglione. I'm sure Paul does not mind me sharing, PM me your email and I'll send it over :).

Willem, hit me up if you need help - I have experience in both Resolve and Premiere Pro. Personally I don't see the need to do anything frame by frame. In your NLE, change the resolution of your timeline to the resolution you would like to finish your project in and fit/frame/crop the content you place in the timeline to your liking. Very curious to see more frames of your short btw!

Hi Scott, thanks for the offer, I'm already a proud owner of one of these by now though ;)!

I can recommend Onno Petersen in Amsterdam: http://www.onnopetersen.com/digitaliseren/index.html.

Just wanted to chime in and say: excellent work Sam. This is something that could be quite a game changer for those among us who process at home and/or are part of small, independent film labs. Lomo tanks are great, but very fragile and expensive because the are scarce. The bakelite tanks break easily and the spirals can't withstand heat very well (if you use homebrew drying constructions). If the design could be extended to tanks and different sizes, I would not only print them, I would purchase them. And I don't think it's hard to offer reasonable prices compared to 100ft Lomo tanks.

Hi Satsuki, thanks for taking a look. I was afraid that it might be light coming through the eyepiece. I read about the possibility of that happening last week, but I was definitely unaware during shooting. I actually remember taking my eye of the eyepiece a few times during the making of this film, there's a lot of fixed shots so I felt confident to look around for a bit at times. I was very careful while loading and unloading the magazines so I would be very surprised if that would be the problem. All the film was fresh stock. Yes, I agree, I suspect it's too far gone to save the shot so creative editing or re-shooting would be my best options. Thanks Bruce, it's definitely worth taking a look so I'll ask the lab :). Fingers crossed.

Hi everyone, I recently shot my first short narrative film, written and directed by a friend of mine. It was shot on 16mm (an Aaton LTR). I found the analog workflow quite challenging but it was a lot of fun at the same time and hearing the film run through the camera with my ear to the magazine was quite something :). Initially I was happy with how the film came back from the lab, it seemed exposed properly! However, right now it’s with the editor and they’re discovering some weird things that I had not accounted for. The biggest issue is some sort of blue fogging in a crucial scene. It comes and goes. https://vimeo.com/431845218/3386d6d51a Does anyone recognize this sort of fogging? Any idea of the cause and do you think something magic can be done in grading to correct it? Thanks for looking.

Hi, Looking for one of these Sekonic Lightmeters. Preferably in Europe! Thx

Hi, Looking for the 6x9,5B zoom to complement my 10x12 zoom, in Aaton mount. If you happen to have it and are willing to sell, preferably in Europe, hit me up! Thanks, Baltasar

Happened to be figuring this out with my newly acquired Aaton and wanted to make a small but important addition to Robert's explanation. In the feed side of the magazine, in the top left corner, there's a small thumbscrew screwed into the bottom of the magazine. This screw serves two purposes: you can actually use it to unscrew the core (of course you could also use a flathead screwdriver). it screws on top of the 100ft daylight reel once you've placed that on the shaft. This is actually quite important because it keeps the reel from moving around inside the magazine, which would make it noisy and could cause other problems.

Thanks.

Hi Carl, what's that mount, cameflex?

Very cool to hear these kids speak so enthusiastically about shooting on film. Celluloid Dreaming must be a rewarding endeavor, Tyler :). Will be tuning in for the next epsiode.

Does anyone happen to have a service manual saved to their hard drive? Nothing to be found at aaton.com (suspect it's been that way for a few years) and the only manual I can find is this instruction manual: https://tfma.temple.edu/sites/tfma/files/site-pdfs/AatonLTR.pdf. Thanks!