David Sekanina

Hi Arron - I no longer sell the tap nor the cheese plates - try AZ Spectrum for a tap.

I shot this two years ago mostly on 7219 and one roll of 7207 with my Aaton XTR Prod. I always loved the documentary and engineering footage of Project Mercury and Gemini and wanted to have a similar feel, so it made sense to me to shoot it on 16mm. When I started in this start-up four years ago, I was employee number 13. Now we are over 70 and growing rapidly. This will be fun to look back to in ten or twenty years 🙂

welcome back Stephen 🙂

The hard front on Aaton cameras (and many other film cameras) is cantilevered over the spinning mirror, making the lower half less stiff and more prone to bending when applying excessive force. Therefore I would avoid having a zoom lens attached for travel - even with support rods)

Not the case for me either. Can't find anything in the news either, and this would make the tech news I think

Just don't use the Lanparte D-tap voltage regulator. The current spike at startup of the motor is probably too high (even when during operation the camera draws less than one Amp) and the regulator just shuts down. This was the case when I tried it on my Aaton.

Frame24 still has 13 rolls of 500T in stock: https://www.frame24.co.uk/online-store/Kodak-16mm-Vision3-400ft-122m-500T-7219-p99568633

Forget the manufacturing in Asia - only a very few machine shops there can deliver the precision parts you need, and only after a lot of back and forth. You end up paying roughly the same as with a manufacturer in Europe for parts with very tight tolerances. It's fine for a quick and dirty proof of concept, but not for the final product. I agree with you Tyler, you'd have to ditch the optical viewfinder and go with a sensor for TTL viewing. The Minima's viewfinder is one of the few simpler ones, and even that would end up costing over 5K in a small batch production. Except for a very few, all of ARRI's and Aaton's patents around film cameras expired - there's no need to buy them. You could negotiate a deal to get the drawings with all the tolerances. But a redesign would make that not very useful. ARRI is still maintaining their 765 and Arricam fleet, Panavision maintains all their film cameras and will do so as long as they are rented out. I hope Andree at AM camera and Danny at Cinefacilities keep the cameras at other rental shops running for many years to come and will train a younger generation to take over the work before they retire. I'm still confident Tommy and Lasse from Logmar will surprise us one day with a new camera. As for the one I am working on, it's very niche, and still 12 to 18 months away and a money pit 😔🙂

Instead of a grid, you could shoot a fine dot pattern once, rewind, rotate it slightly a shoot it a second time. the result will be a moire pattern, and the moire will move if the camera is not steady, and can be distinguished better from the scanner's gate weave. I have never tested this though - but will give it a try one of these days.

I thought you shouldn't run print stock through your camera, as it has an polyester base which is much harder to tear than the acetate base of negative stock. Should a problem occur while the film runs through the camera, it would not tear and might damage the movement.

check your format mask box Tyler - I was surprised myself to find this

maybe your swing away arm (support) is bent and off axis.

No problem either with a Chrosziel 450-02 on an XTR Prod

This is wonderful Tyler!