Sean Dahlberg

I recently received scans back and noticed this very slight jitter in some of the dailies, maybe. It's possible this is normal but I don't believe I've noticed this prior to this specific project, it almost looks like I'm slightly bumping the camera mid shot. I'm wondering if this is possibly due to the loop being a bit too tight when loaded? I did have a loader who was new to the XTR and was loading the mags slightly tighter than I usually do, she was allowing for about 13-13.5 frames where I usually loop a solid 14. Any insight into this would be appreciated! https://vimeo.com/740033487/c1b06f3b50

I think this is the correct place to post this as this problem was discovered in post... So I'm on a two camera shoot right now, (2x Arri Alexa Mini LF's) and after shooting an interview we realized that B-Camera was much warmer than A-Camera. The cameras were matching all settings EXCEPT T-stop, and one camera was wearing an external ND .3 while the other camera was clean. I guess my question is would the external ND cause for this shift in color? The A camera is always a stop closed down compared to B camera on this shoot. Would it be wise for us both to match external ND filters (whether we use them or not) and make all necessary exposure adjustments via the internal ND's and the ISO? Originally we wanted to keep the cameras the same ISO as I know that shifts the dynamic range of the sensor but maybe that would be the way to go next time? Thank you for the responses, any and all help is appreciated. Cheers!

I have a fairly rudimentary question regarding shooting grey cards but I want to make sure I'm going about this the correct way. Let's say I'm shooting 7219 and I want to overexpose the stock +2/3, for a thicker negative when processed normal in the lab, which I would later print down in the color grade (let's assume this is a "normal" look). My question is, when shooting the grey card, would I light/shoot this card at 320ASA since that is ultimately what I'd be lighting my scene to? This way, the film is overexposed +2/3 of a stop when processed but my colorist would know to they need to bring everything down -2/3 of a stop to get the image back to a "normal"? Thank you!

Two parter question here...I’m going to be shooting a feature in the Eastern Bloc, to avoid flicker in the lights I plan on either shooting 24fps/172.8 shutter angle OR 25fps/180 shutter angle, either of these will be safe from flicker while shooting? The other question I had is we have a scene with a few old CRT PC Monitor’s and am debating the specific shutter angles needed to be safe while shooting either 24/25fps (whatever distributor decides). Any and all help would be appreciated since I can’t physically go scout/test in the location prior to shooting.

Posted this in 16mm but maybe it belongs here... I'm about to DP a short film where the director and myself would like to shoot 4x3...I've always finished 1.66 or 1.85 with my XTR Prod and the 2k scans have been great for that but I don't believe they would be large enough scans for a true 2k DCP finish? A 2k DCP finish for 4x3 would be 2048x1556 (?), so in order to completely fill that frame I would need 4k scans, correct? Thank you for the insight

I'm about to DP a short film where the director and myself would like to shoot 4x3...I've always finished 1.66 or 1.85 with my XTR Prod and the 2k scans have been great for that but I don't believe they would be large enough scans for a true 2k DCP finish? A 2k DCP finish for 4x3 would be 2048x1556 (?), so in order to completely fill that frame I would need 4k scans, correct? Thank you for the insight!

Evan, thank you for this response, super helpful. Do you know if they still make that double sided LW 15 clamp? If I could find this, I'd settle for my left grip being the Wooden Camera one...I'm going to do my own searching but figured I'd ask anyways. Thanks again man!

Two questions that may be a bit elementary but I can't seem to find these items anywhere. 1. Does anyone make an extender for the right Aaton handgrip (as in the photo)? 2. Did Aaton every make a left wooden handgrip? Currently I use a Wooden Camera one that's "similar" but it feels like a toy compared to the Aaton version. Thank you for the help!

I'm playing around with finishing super16 for a 2k 1.66 crop in Premiere Pro and I want to make sure I'm doing this correctly. I believe a 2k finish for 1.66 would be a sequence size of 2048x1228 but when I do this I'm still seeing parts of the film gate, I have to scale up to 103% in order to get rid of it. Now, I also made a sequence that was 1800x1080 and the image "fit" nicely into that but for some reason it doesn't feel like this is the correct sequence setting for a true 2k 1.66 finish. If anyone can correct this brain fart I'm having it would be much appreciated, thank you!

I'm curious about this furnie blanket (that's what it looks like) "rig" C. Doyle is using at around 4:12 in this video. I'm curious if this is just a rolled up furnie blanket taped up with a work belt threaded through the middle? Has anyone done any DIY type stuff like this to sort of support the weight of the camera while on your shoulders? I'm very interested in hearing your ideas/solutions if so, thank you!

This specifically an XTR Prod question but I'd figure I'd comment here rather than starting a new thread....What is the proper way to ease the stock back into the feed side? Every time I do it I feel like I'm forcing the film back in there and I don't love it. Does anyone have a suggestion? Thank you kindly.

Thank you Bruce and David for your responses this was exactly what I needed to hear.

I recently conducted a pretty large lens/camera test that involved an Arri Alexa Mini and an Aaton XTR Prod. Now, I want to be able to compare them side by side as well as be able to show directors the differences/similarities between film and digital. Both the film scans and the digital dailies are in LOG and I would love to give them a similar grade so that I'm not influencing the look of either camera systems. Now, the Alexa Mini dailies attach a 709 LUT when imported into premiere, my question is: is there anyplace where there's a sort of 709 for Kodak Vision 3 stock that I can apply to my Log film scans? If not, how would you recommend I can grade these so that I'm not "influencing" the look of either?

I am trying to figure out ways to rig my AB battery plate & Core Hypercore Slim 98 to my Aaton XTR Prod. The only way that seems to make sense is by sticking it to the side of a magazine via dual lock. My question is, is this a bad idea to put a little weight onto one side of the magazine?

The house I get my scans done at only do 2k and 4k I believe. In that situation which would you go with? I don't believe scanning at 2k would allow me a 2048x1536 without scaling the dailies up, correct?

Thank you, Tyler! So, this would be a situation when scanning 4k wouldn't be overkill?

Thanks guys, this was sort of my thinking. Appreciate the responses.

Hello, I own an Aaton XTR-Prod and have shot pieces for a 1.77, 1.85 or 2.35 crop. I recently came across my first project where the director wants to shoot STD 16, my question relates to how this would be done the smartest way without wasting too much of the negative. I was under the assumption that I would shoot normally while framing for 4x3 crop...later at the post house I would get a 1.33 scan and a raw full aperature scan. If I'm correct so far, what would be the correct 2k sequence settings in Premiere Pro for a 1.33 finish.? 2048x1536? Would the cropped neg cover this whole area? Thank you for clearing up some of the confusion, I feel like I'm over thinking this a bit.

Hello All, I was wondering if there may be a better place than Ebay to search for film stocks that are no longer in production? I absolutely LOVE Vision 3 but I've got an itch to shoot other stock. I've seen some Fujifilm Eterna on Ebay, is this probably my best bet? Thank you for your responses!

Thanks Nick, this is super helpful, sorry I’m just seeing this now. Could you resend that spec breakdown? It seems I have missed the opportunity to download it and this is something I can definitely use. I appreciate your help my friend!

Does anyone know if these are available to rent anywhere in the NYC area? I've searched a good deal but haven't come up with anything. Thank you! Edit: Will the 1.3x anamorphics made for 35mm do the trick, it should right? If so, I know I can rent them in NYC.

I have shoot this week where I'll be out all day without access to a camera car or a refrigerator (anything where I can safely stash my exposed film cans). My question is, if I have a black tote bag and keep it in the shade, will the film be ok for the day until I arrive home to stock it in the freezer? Thank you for the help! Sean Dahlberg

Thank you Phil for the helpful reply, what you said is making some sense to me Just for my own curiosity, if I were to make a timeline in Premiere I would make my 16x9 option 1080x608 and my 1x1 option 1080x1080, correct?

Hello All, Does anyone in here have experience in shooting super 16 for an Instagram finish? If so, in what ways were you able to achieve this without degrading your images? For an upcoming shoot, the client wants both a 1.85 finish and a finish for Instagram; what's the smartest way to go about this? Thank you for your help and consideration in answering this question!