David Sekanina

I just did a quick test: adjusted the gain on a log 10 bit DPX film scan in the first serial node so the image clipped massively, then on the second serial node turned down the gain again. All clipped areas recovered. While the first node does affect the second, no data is lost in the process as far as I understand. I'm not a colorist either. EDIT: it's more complicated: https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=84615

I was under the impression resolve always works from the full data set, even with serial nodes, the reduction of data only happens in the final output. Am I wrong? EDIT: meaning i could have a first node that changes exposure, clipping half the image, then a second serial node counteracting the overexposure, and i get the highlights back..I have to test this

there are more than three motion picture labs in Europe, it should be around ten or even more. Kodak has a cinema tools app with a lab locator (yes, labs in 16 European countries, some countries have more than one lab) edit: oops, Tyler said three new ones, not three in total, my bad

Cinema's1.85:1 aspect ratio existed long before 16:9 TVs, and from what I read, was a differentiator to the 4:3 aspect ratio of all TVs back then, without the added cost or complexity of other cinema widescreen formats. from wiki: When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio

on film grain synthesis probably coming to streaming services soon: https://www.youtube.com/watch?v=JU-sEI4U9xM&feature

Frezzolini made some 16mm cameras for news gathering. EDIT: or are these American made?

It's for these information nuggets I come to this site, not for the bickering. Thank you Simon ♥

Uli is right, for instance the three Aatons he posted a few weeks ago were described as 'from rental house'. They're all gone now.

Cameramarket has currently an SR3HS, SR2 and an SR2HS for sale: https://cameramarket.eu/equipment.php?type=dicam_16mm

it really depends on the maximum amperage the boost converter (step-up-converter) in the middle can handle. when starting up your moviecam, it will draw more amps than when running normally. some DC-DC converters switch off electronically when this happens. so i would ask them how many amps their converter can output and measure the max amp on you moviecam.

Yashura Araki posted this a few days ago on this facebook group: https://www.facebook.com/groups/8mmand16mmfilmmakersgroup/ i don't have a facebook account to get the direct link, so you have to scroll down a bit to find it

Using a 1.3 anamorphic lens already gives you the 1: 2.39 aspect ratio on a S16 camera. 16mm film is advanced one perf hole per frame, so even if you'd have a widescreen gate, you'd still be advancing the film by one perf per frame, so you don't get a longer running time like you do with a 3 or 2 perf pulldown in 35mm. there are some 800 foot mags for the SRs and Aaton XTRs, but the film is a special order from Kodak.

please ask your camera tech to send an image of said part (from the parts manual) so I can check if I have a spare

on color grading: https://www.youtube.com/watch?v=jo0YcNRlrNA on editing: https://www.youtube.com/watch?v=oEuFP7U7tB8

eclair body on german ebay

Prices for last generation film cameras have skyrocketed in the last three years as more and more filmmakers want to shoot on film again (or for the first time). The most affected are the Arricam LT and ST, the Arri 235, Arri 416 and the Aaton XTR Prod and Extera.

I always thought "the wrestler" and "hurt locker" were shot on Aatons (except the extreme slow motion shots of the explosions in the latter).

pick the online simulator for the camera you'll be using and you can get familiar with the menu system: https://www.arri.com/en/learn-help/learn-help-camera-system/tools/camera-simulators

i measured the weight of my Aaton XTR Prod and took the weight of the SR3 from Arri's official brochure. I don't know where Tyler gets his 4lb difference. Others report a weight of 6kg with a loaded mag and an onboard battery for the Aaton (probably no video tap and lighter battery) - so that would be a 1kg/2 lb difference. ARRI SR 3 brochure

My XTR Prod with a loaded 400ft mag, NiMH battery, no lens is 6.8 kg, very close to the SR3's 7kg. The Aaton is more ergonomic on the shoulder for sure.

aimimage has 2 XTR goundglasses for sale: https://aimimage.com/product/kit-for-sale/film-accessories/aaton-xtr-ground-glass-type-31-commercls/ https://aimimage.com/product/kit-for-sale/film-accessories/aaton-xtr-ground-glass-type-28-drama/

3 perf movement for which camera? 235, 435, 535, Arricam LT or Studio?

?

I don't mind Tyler's skepticism - I have a healthy dose myself. It is a very tiny market after all. As for creating new parts for existing cameras - I could not manufacture an XTR mag for under 3-4K (all cnc machined, as die casting the housing is out of the question) in just manufacturing cost - people wouldn't pay for it.

Thank you for your thoughts Tyler. I agree with you on many points. To build an XTR style camera today would cost over 60K, as you cannot benefit from a larger scale manufacturing as Aaton did in its day - a non starter. Is there a market for a simpler A Minima style camera? I really don't know, and if there is, it won't be big. To find out, all I can do is spend 12-18 months designing one, machine two or three expensive prototypes and do a Kickstarter campaign. The servicing in 20 years also concerns me. I would probably have to release the blueprints and assembly manuals after a few years, and after I've run out of spare parts, so broken parts could be re-machined if needed, as well as the KiCad files for the electronics. The brushless DC motors from maxon should be available for the next 10-12 years, and are usually replaced by a new generation that is very similar in size after that (it just happened a few months ago with many of their current EC flat motors) But again, I agree with you, there might not be a market for it. On the other hand, all I can lose is 18 months of work, and a pretty sum for the prototypes, while working on something I truly enjoy.