Robin Phillips

Tyler do you do commercial scanning?

I've had some test stuff scanned at 4k before just to see. When using Ultra16 lenses it looks theres definitely a benefit over 2k, but I really dont think you'll get to actual 4k between the lenses and the film stock. If you were finishing a film its probably worth a 4k scan if budget permits, otherwise ya may as well just scan at 2k and upscale.

It sounds like it doesnt serve the story and you're ditching it, but I think if you wanted to do this a hybrid approach would be best - photograph the cookies under real light, then duplicate them or texture models with the lit photographs. This was one of the approaches for the tall standing rocks in the Episode 1 pod race sequence (granted rocks not fortune cookies), and has long been a short cut when budgets are tight and exact shots are known. think of it as a 2.5D (as oppose to 3D) trick.

does anyone know what restoration tools were used on the 16mm portions? it looked way too sharp to not have been majorly cleaned up

technically there was something close enough - for space shuttle missions kodak made 400' daylight spools for the SR, but those were not super 16 compatible IIRC. I suspect they were loud AF if the 100' daylight spools are any indication... *scrape scrape scrape*

These guys have archival 16mm film cans for reels up to 2000' https://www.gaylord.com/c/Storage-Boxes-and-Cans

I just got some overscanned film back shot on my Xtera, and I've noticed a subtle hue/exposure shift every 12 frames or so. Upon closer inspection, I noticed the warmer frames correlates to the Aatoncode stamping on the film. (Additionally the red aatoncode is a little fuzzy) Anyone know if theres an end user way to either disable or dim the Aatoncode writing lights?

I use a v mount plate with a d tap to 12v limiter to XLR plug. a 12v limiter is necessary, since modern V mounts actually run at like 16.8v when fully charged, which can make the camera go pop. I got my adapter from indiprotools.com you can get batteries recelled or get new batteries from Ablecine in LA btw

I got over my 16mm loading anxiety pretty quickly after watching several youtube videos and futzing with some dead rolls a friend had. Its not too tricky. Will say though, in the spirit of the original post's wishlist idea... man I'd love a 416 or an Xtera with an HD (or higher) flicker free video tap. Who wants to do a kickstarter? lol

Do an initial color pass and see if its still standing out. If so, compression may have killed it in the transcode or the scan house may have applied some kind of degrain to your dailies. Personally, if something is too grainy my go to plug in is Neat Video. Sucker can clean 16 up so much it looks digital lol

I'd talk to Girvan at Ablecine in LA. They still have spare parts / accessories for Aaton 16mm cameras and he may have a factory original solution for you

I'd shot a test roll of 200T that I tossed in the fridge to send "with the next batch" of stuff, but never shot more stuff and it sat chilled for 10 months. Recently processed and transfered it and it was fine. Now note I said fine, not great. My understanding from Kodak matches what Tyler is saying. Process ASAP for best results. But if thats not an option, then a fridge will work. I'd be curious if anyone has an opinion of fridge vs freezer If it were me, I'd process ASAP and scan later. Record off your video tap, ideally with stamped timecode if you camera will do it, and you can edit with that for now (though there will be some minor headaches thanks to most taps being 29.97 if in the US)

Hi Attila, is that an Ultra 16 or a super speed? (the B mount makes me think super speed)

Im looking for an Ultra16 12mm single lens. Anyone have one they'd be willing to sell?

Does anyone have any Aaton compatible LEMO 6 pin male connectors they're willing to part with? (specifically for the Aaton Xtera)