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Mike Sulzberger

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About Mike Sulzberger

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    Ames, Iowa, USA

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  1. No, this is my own Avid. It’s more of a question of whether there’s something inherently better about DaVinci for color grading than Avid.
  2. I’m a long time Avid editor working in broadcast tv. I know Avid inside and out including it’s color correction mode. I’ve been experimenting with shooting on film and am about to shoot a project on it. Is this the time to learn DaVinci for the grading of this film? To put it another way, is there something DaVinci can do that my Avid can’t? Really don’t want to learn another program but will do it if there’s a reason to. I’m shooting Vision 3 500T on an Aaton LTR Ultra 16. Scanning on a Spirit at 2k, C-Log at ProRes444. Finished film will be DCP at 1.85 aspect ratio.
  3. I'm hoping to be the DP on a student directed (my son) feature to be shot in September. I have an Aaton LTR modified to shoot Ultra-16 with the original Aaton lens mount. Would like to rent some faster and wider primes for this project. Anyone have some lenses they won't be using in September? I'd pay for Fedex overnight shipping each way. Shoot is expected to be 20 days but would like to rent the lens(es) for the month. Please let me know what you have and a price for the month.
  4. It looks like your image was not perfectly centered on the screen when you pulled the corners out to pin them. So the right side had to pull further than the left side resulting in a distortion.
  5. Are you saying that the project settings of your non linear edit system were set at 25fps when you digitized the footage? If so, what system are you on?
  6. If the ladder already has a hole in it (as they often do to hold a paintbrush handle or other tool) attach the ball of your tripod head directly to the ladder.
  7. I've done this with as simple a setup as a 12'x12' net overhead and a 1.2k HMI. This was for one person not moving much. As you add more people and get more complicated, you're going to need a bigger net and and more HMI. One of the keys to a smaller overhead net is shooting with as shallow a depth of field as possible. That way the inconsistent sun that is seen in the background not covered with your controlled net and lighting is all soft and blurry. With no defined area of the background for your eye to focus on, you can get away with a bit of difference in the background with out the avera
  8. Update: I took the lens and magazine off and, using the inching knob, watched the claw in relation to the shutter. Indeed, the claw is in the middle of the pull down when the shutter opens. Talked to Bernie at Super16Inc who tells me the older Aatons use a belt while the newer Aatons used a chain. My serial number is in the 200's, so clearly an older camera. The camera is now on it's way to Bernie for a thorough going over. Hope this info can help the next Aaton owner when trouble crops up.
  9. Thanks Matej, John and Gregg for your insight. I got the negative back today. The camera did indeed jump out of sync with the shutter. All of the footage after about 35 seconds has a double exposure on it. I've sent the sample off to Bernie at Super16Inc. I'm guessing he is going to tell me to send the camera in. I actually think I had two problems. As Matej pointed out, I think I had too small of a loop when I loaded the magazine and that is what caused the initial jitter. I've since found some information that says the magic number is 14 frames of loop for an Aaton LTR. That may have then c
  10. I recently purchased an Aaton LTR and got the first roll of test footage back. This is Vision 3 500T processed at CineLab. The person I purchased the camera from said he had been using the camera regularly with no problems. As you can see in the clip I've linked to, there is excessive jitter. At about 35 seconds, the film jumps out of sync to the shutter. At least I think thats what happened. From there on, you will see I am getting a double exposure. I am thinking I messed something up in loading the magazine. I could only find a good video tutorial for loading an Aaton XTR. It had me do two
  11. Have you talked to the park? Surely theyve done this before. I have done shoots at Disney World and they have a dedicated car pre rigged for a camera that they just add on to the coaster. It has one of the two seats removed and a 2 inch or 3 inch pipe bolted to the floor and then welded to the center divider. The pipe has a plate welded to the top with holes drilled in at several places to accommodate a variety of tripod heads If you have to rig the car yourself, Id use this as the ideal and replicate it as best you can. Start with a metal pipe with a base plate welded on to the bottom and you
  12. I am loading a 100 foot reel on to my Aaton LTR for the first time. I figured out how to remove the large core on the supply side so the 100 reel would fit. But on the take up side, if I use the empty spool that is on there (from a 400 roll), once the 100 of shot film goes on there, the whole thing will be too big to go back in the original box the film was shipped to me in. How do I ship the film to the lab? Is there a smaller spool out there that I should have? Do I just take the 400 spool with 100 of shot film on it and stick it in a light proof container and ship that way to the lab? Or is
  13. Thanks to everyone who read and responded to my post. I have found an Aaton LTR54 that has been converted to Ultra16 and comes with a Zeiss 10-100. No videotap. Seller priced it at $2,500 knowing it hasnt been serviced in a few years. At this price, I can send it to Bernie and know that Ill have a camera ready to shoot. Again, thanks to everyone and Im sure I will have more questions as I go forward.
  14. I talked to them about it. It doesnt have a lens and its BNCR mount. I couldnt find any BNCR mount lenses for less than several thousand dollars.
  15. The Ultra16 package isnt available, so still looking.
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