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...I sent my Aaton XTR XC to England for service, battery recell etc before I start rolling with it and Alan tells me the camera can't be converted to Super16mm as the "gate and ground glass have been swapped for regular 16mm only"...... so I stopped to think.....is it really worth all the hassle converting to Super 16mm after all?... Am I going to shoot a film on 16mm film that's going to appear in a large cinema theatre screen........prob never....and if what I shoot appears on Vimeo, YouTube, and viewed on tablets and smartphones - ironically the iPad Pro screen is practically the 4 x 3 ratio - should I not just stick with standard 16mm format? .....would appreciate thoughts.....no idea on the costs at this point to get the parts I love it by the way.....the design and ergonomics and the feel of the Aaton...glad I bought it

Colorlab’s Film Contest Summer Shorts ‘17 will be accepting submissions from 12:00 PM US EST June 29th, 2017 until July 22nd, 2017 11:59 PM US EST. With sponsorship from Kodak, Colorlab is providing a unique opportunity for filmmakers to see their creations shown in beautiful 35mm film in front of a live audience. In addition to the screening, filmmakers will benefit from having their movies printed onto Kodak polyester film stocks, effectively preserving them forever. This year, the festival will have two categories, and two grand prize winners. Applications may enter only one category: COLOR NARRATIVE or BLACK AND WHITE NARRATIVE . One grand prize will be awarded for each category. The grand prizes include a 35mm film-out preservation negative, 35mm soundtrack, 35mm answer print, and a premiere showing at a local Washington DC area theater on Thursday, August 24th, 2017. Entry is 100% free of charge. Submissions must: originate on minimum 4K resolution video, 35mm film, or Super-16mm film. be provided at minimum 4K resolution. be no longer than 20:00 (twenty minutes) in length. be submitted before July 22, 2017 11:59 PM US EST. Applicants should visit www.colorlab.com/shorts for contest rules and entry form. Digital submissions are accepted, and a link (Vimeo, Dropbox, WeTransfer, Aspera, Youtube, Google Drive, etc.) should be emailed with entry form to shorts@colorlab.com. Colorlab, operating in its 45th year of business, is a full-service film preservation laboratory in Rockville, Maryland. They specialize in 16mm and 35mm processing, printing, scanning, preservation, and digital intermediates. FOR MORE INFORMATION : Ben McMurry Executive Director Colorlab bmcmurry@colorlab.com 301-770-2128 x102

Hello, I'm seeking a DP for a feature film. I'm still putting together many of the moving parts such a named actors, money and locations therefore this director of photography will become part of the package I present to financiers. Ideally, I'm seeking someone who has 10 years plus experience and has at-least 3 films to his/her credits that are theatrical releases. Why is theatrical important especially today you may ask. Good question. Someone who has films continually exhibited in theaters knows what a theatrical film should look like. I'm not seeking someone who can shoot a TV looking movie. I'm looking for a cinematographer who understands how a shot translates when it's project 20 ft height and 50 ft long and the understand lighting and color. Some of the film will be shot under water so knowledge of underwater shooting is helpful especially when dealing with lighting. Also, some very important scenes will be shot at night and I'm looking for less grain in the blacks for my night shots. I understand grain can be cleaned up however the less we have to do in post the better. If it's right when it's shot, it's better in the edit. I'm projecting starting this film in the fall or maybe spring '18. We'll know more once the dust settles. If interested, Please send, IMDB, resume, day rate, and bio. Thank so much. Dt.

Please see below the used Arri Film equipment I have available for sale- ARRICAM LT 4 PERF- £7,500 GBP 1 4 perf Movement 1 Glow Mask 1 Gate Mask 1 Ground Glass 1 LT Camera Handle 1 LT Viewfinder Top (Anamorphic) 1 Eyepiece and eyecup 1 Extension Eyepiece ST 1 Frame Glow Module 1 BP8 Bridge Plate 1 Balance Plate 1 19MM/440MM Bar (Pair) 1 Camera to Battery Cable 1 Handgrip with on/off 1 LT To ST Magazine Adapter 1 LT Centre Handle 1 LT IVS (PAL) 1 400'/120M LT Shoulder Magazine 1 400'/120M LT Shoulder Magazine 1 400'/120M LT Shoulder Magazine ARRICAM ST 3 PERF - £8,500 GBP 1 Filter Mask 1 Gate (..UNI...) Format 1 Ground Glass () Format 1 ST Top/Rear Load Adapter 1 ST Top/Rear Load Adapter Cover Handle 1 ST Camera Handle 1 ST Viewfinder Top (SPHERICAL) 1 Eyepiece + Eyecup 1 ST Extension Eyepiece 1 Frame Glow 1 Frame Glow Mask 1 Footage Counter 1 Flexilight 1 BP5 Bridge Plate 1 Balance Plate 1 19mm / 440mm Bar (Long) 1 Camera To Battery Cable 24v 1 ST Rear Load Adapter 1 ARRI ST IVS Video Unit 1 ST IVS Optic 1 400'/120m Studio Magazine 1 400'/120m Studio Magazine 2 Loop Protector 2 Film Core 1 400'/120m Studio Magazine 1 Loop Protector 1 Film Core ARRI 435ES XTREME 4 PERF - £4,250 GBP 1 435 tcm 1 VIEWFINDER - AVF1 1 Filter Mask 1 Gate Mask 1 Ground Glass 1 Glow Module 1 12v On-Board Splitter (Fitted) 1 24v On-Board Splitter (Fitted) 1 Dovetail Shoe (Fitted) 1 435 Carrying Handle 1 435 Wide Angle Eyepiece + Eyecup 1 FE-3 Extension Eyepiece 1 RCU-1 TG Remote Control Unit-Digital 1 RCU-1 Cable (8 Pin - 8 Pin Fischer) 1 FEM-2 1 BP8 Bridge Plate 1 Balance Plate 1 Pair of 440mm Rods (19mm) 1 435 IVS PAL 1 IVS HEAD 1 IVS OPTIC 1 KC-20 POWER CABLE 1 435 400'/ 122m Magazine 1 435 400'/ 122m Magazine 1 435 400'/ 122m Magazine ARRIFLEX 235 4 Perf - £6,500 GBP 1 Ground Glass s185 1 235 Universal Viewfinder 1 235 Eyepiece + eyecup 1 235 Gate 1 235 Carrying Handle 1 Riser Plate 1 Camera To O/B Battery Cable 1 KC-20 POWER CABLE 1 235 - Long Extension Eyepiece 1 Shoulder Pad 1 235 24v On-Board Battery 1 235 24v On-Board Battery 1 235 24v On-Board Battery 1 24v On-Board Battery Charger 1 SBR-1 Side Bracket And Allen Screw 1 Shutter Tool 1 BP8 Bridge Plate 1 Balance Plate 1 Pair of 440mm Rods (19mm) 1 235 Media IVS PAL 1 235 200' Magazines 1 235 200' Magazines 1 235 200' Magazines 1 235 400' Magazines 1 235 400' Magazines MK2 ARRI Wireless Lens Control - £3,750 GBP 1 WMU-2 Transmitter 1 WMU-2 Transmitter 1 WZU-1 Zoom Control 1 WFU-1 Iris / Focus Unit 1 WFU-1 Iris / Focus Unit 1 Straps Fitted To Transmitter 1 Aerial x3 1 Lens Motor - CLM-2 1 Lens Motor - CLM-2 1 Lens Motor - CLM-2 1 URM-1 Receiver 1 UMC-1 Universal Motor Control 1 WAC-1 Battery Charger 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 WBU-1 7.2v Battery 1 Transformer 1 RS 3-Pin Fisher - UMC (UC-CI-S) 1 Focus Disc x2 1 Dovetail Bracket (2 Parts) MK3 ARRI Wireless Lens Control - £6,750 GBP 1 ARRI ZMU-3 Zoom Control 1 ARRI WMU-3 Wireless Main Unit (White Radio) 1 ARRI WMU-3 Wireless Main Unit (White Radio) 1 ARRI WFU-3 Wireless Focus Unit 1 ARRI WFU-3 Wireless Focus Unit 1 ARRI WEB-3 Wireless Expansion Bracket 1 ARRI WZB-3 Wireless Zoom Bracket 1 ARRI KC-105-S Cable ZMU-3A to WRS 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI CLM-2 Controlled Lens Motor 1 ARRI UMC-3 Universal Motor Controller (White Radio) 1 ARRI KC-98 Cable UMC-3A to RS Socket (3pin m Fischer) 1 ARRI KC-91-S 1.3m / 5ft Cable for ZMU-3 / CLM-2 Power 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WBU-4 Wireless Battery Unit (High Capacity 7.2V/4.6Ah) 1 ARRI WAC-3 Battery Charger for WBU-3/4 1 Fig 8 (C7) to 13a Mains Cable (UK) 1 ARRI Dovetail 3/8" Adaptor for UMC-3A to Alexa 1 ARRI Dovetail 3/8" Adaptor with Lever for UMC-3A to Alexa 2 ARRI Flat Marking Disk for Full Size Focus Knobs 3 ARRI WLCS Aerial 1 ARRI WLCS Hand Strap 1 ARRI Lanyard (Neck Strap) for SXU-1 (2 Parts) Please contact me for pictures or any further information.

With new awards and global tours, the Edinburgh Short Film Festival is a highly pro-active festival with over 20 screenings across the world AND Also offering cash prizes and industry mentoring to the film-maker who wins the Best Film AND the best Animation at this year's ESFF! We're also curating for film festivals across the world including Barcelona, DC Shorts in Washington, Fastnet Film Festival in Ireland and the Sardinia Film Festival and the winning films would be included in the programme for our international events and screenings. But the Deadline is fast approaching for entries: Monday June 26th 2017: http://www.edinburghshortfilmfestival.com/call-for-entries/

Hey guys, As my last quest for Aaton accessories on here proved successful, I thought i'd try my luck again in my search for some 15mm Aaton XTR screw in aluminium rods. Would anybody happen to have a set lying around? Ideally looking for the short ones, but not the 4", 6 would be ideal. Thanks, Nick

Hi there! Last night I watched "Kiss of the Spiderwoman", in which there are beautiful, dream-like sequences where it appears the crew was filming in daytime (there are clearly shots of the sun), but the overall effect resembles super bright moonlight due to their filming in black and white. At least I believe they are filming in black and white - in one scene it changes to colour halfway through, so perhaps they were using colour film with a filter of some kind? I am a student, so I'm not sure of all the techniques available to get the effect. I have attached some pictures so you can see what I mean. Sorry they're so LQ! Anyways, I found this effect beautiful, so I'm wondering if any of you know how I would emulate it? What film stock to use, what lighting set up, settings on the camera... anything helps! Thanks! P.S. The cinematographer for this film was Rodolfo Sanchez, in case any of you are familiar with his work!

Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake

Dear DPs, If you see this young generation of filmmakers (Quentin Tarantino, Christopher Nolan, J.J Abrams), they keep shooting their movies in film like Martin Scorsese, Steven Spielberg, … Does it mean that today, we can't get the feeling, the grain, and the warmth of film in digital ? The response is maybe in the question, right ? But I would like to know if there is a DP who tried to get this feeling of film (35mm (ex: Eastman 100T 5247),70mm (ex: 65 mm Eastman 50T 5250) in digital, especially with the Red Weapon 8K S35 ? And of course with the appropriate lens. Thanks Jean-Marc

https://www.youtube.com/edit?o=U&video_id=uIBao_l90wo A struggling engineer accidentally distorts time and receives a life altering transmission from a mysterious woman claiming to be from the future. Its unlisted so I can enter it in film festivals. Tell me what you guys think. Its like 90% done because I have to clean up some audio. Its my first film I've done and Im excited about it! The actors in the short are first time actors. BTW it has a 80's music theme.

Hello I recently picked up a Canon 814 XL and I have many questions about film speed and manual exposure. To start, Most of the time I'm going to be using Kodak film stock. 50D 200T 500T I understand these are ASA speeds correct? I read my cameras manual and i noticed that it does not read any of these film speeds. Artificial - 25 40 64 100 160 250 400 Daylight - 16 25 40 64 100 160 250 My question is, What will my camera read it as then? What does this mean for my auto exposure and manual exposure? I've read some things in these forums about over exposing manually or underexposing, if thats the case, how do i go about doing that? If someone could explain f-stops to me, or refer me to a video or something that would be great! I've seen a few videos on the subject but I'm still a little confused how f-stops and film speed coincide, and how to underexpose and overexpose, things like that. Another question. I've read about a notch hack that you can do to the Tungsten stocks to disable the filter. My question is, Why would you want to do a notch hack on a Tungsten stock when the internal filter corrects it for you?

For sale is a gorgeous Ekran Anamorphic Zoom lens, 40-120mm F2.5 T3.1 35mm format with PL-mount (model number 35OPF19-1A, serial number 850003). http://www.ebay.com/itm/Ekran-Anamorphic-Zoom-40-120mm-F2-5-T3-1-PL-mount-35OPF19-1A-Russian-35mm-Lens-/182554997311

Hello everybody, I was hoping to find the Kodak Super 8 film camera at the NAB2017, but I haven't have any luck. Does anyone knows what happened to that project? MOY

Hey Guys, I've recently become the proud owner of an Aaton XTR Prod, however the camera unfortunately has a few items missing, which i'd like to acquire. With that said, i'm on the lookout for original Aaton accessories including: - Walnut handgrip & cable - 2x screw in 15mm rods (short) - Heated eyepiece cable As the purchase of the camera used up a fair amount of my budget, i'm looking for reasonable prices, however I completely understand that these are getting harder to come by, so happy to play fair. I also have a few accessories that I don't think i'll be needing - such as the Origin timecode device, that i'd be happy to swap if people are searching for one (tend to slate anyway). I'm based in the U.K, if that helps too. Thanks! Nick Lee-Shield www.nicholasleeshield.com

For sale is 1200ft (3x 400ft cans) of 35mm Kodak Vision3 500T 5219. Freezer stored, sealed cans, packaging intact. $400 for all. Terrible iphone photo included.

Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/

Hello, I am wondering if anyone can tell me what mount this could possibly be. I purchased this Angenieux 9.5-57 thinking this was a PL mount, but it's far too small for the opening. Ultimately I would like to use it on my PL mount camera, but if it's not capable I would try to sell it, but knowing the mount type would go a long way for both plans. any help would be appreciated!

Selling 4 cans of new, unopened 16mm Kodak Vision3 250D film. Bought from Kodak three weeks ago, stored in temperature-controlled condition. $150 (+ shipping) per can Pickup possible in Los Angeles 90012

Ok, more than ONE question, I admit! :) I am a VERY beginning filmmaker who has not an iota of filmmaking and directing experience. Yet I have the dream of creating this huge, complex, well-polished independent short film using motion picture film and professional movie cameras. I am tempted to laugh at myself and say to myself, "Dude! You have no experience! Snap into reality and realize: you will not make this film and make it how you want it, without some type of filmmaking, directing, and cinematography experience." I am sure that is true and so.... I have no video camera except a cheap phone that has barely any memory on it so that is not an option. I do not have the money to buy a DSLR with video capabilities that I could use, either. BUT, I do have a Super 8 camera that someone gave me. So I figure, why not work with what I've got?! So, for any people out there who have made, or like to make, Super 8 films, what would be the best quality, least-grainy super 8 film out there? I would want it to be as clear and as close as possibly to standard 35 or 16mm as I can get, color-wise as well. I am guessing that the only way to do cuts is in-camera, correct? My camera has a tripod mount which I think is AWESOME, as I will definitely be using it! I am wanting also to do slow motion and time-lapse with the film, which leads me to my main question! Am I correct in guessing I would have to do that post-filming, using an optical printer?

This is the first of MANY posts I am probably going to do, on this and also on other filmmaking website. I have a huge (very SPECIFIC dream) of an independent motion picture I want to make, and have all these ideas knocking around in my head, and am overwhelmed and unsure where to begin. These forums would appear to be my only savior in making sense of all of this and getting advice I can use on my Film Adventure! :) Therefore, the first two of the many questions are these: 1) I have noticed in many older films (1980's and prior) white artificial lights will have a bluish hue to them, including headlights, when in the dark or low light situations. I love that effect and want to achieve that on my film. I have heard something to the effect of that you can get that effect if you use tungsten film as opposed to daylight (something about the emulsion color balance, I would assume). So, is that necessarily the case, and if not, what do I do to achieve that effect? (WITHOUT using a CTB) 2) I am not going to be using any special effects at all. My film will be straight-up, 100% film sent through the camera and then processed. I want my film to have a specific hue, graininess, and even color balance that was common in films from the 80's, and more of an extent in the 1970's and 60's. Below I will include a link to a clip of a 1975 movie that shows a close representation of the look I want. The question therefore, is what brand/type/speed (and any other specific data) of film do I use to get that look? If that is even possible. Thanks so much for all of your help and answers! I feel intimidated by all of the talented cinematographers with all their experience, but at the same time count myself lucky as I can avail myself of it! :)

Aaton XTR Prod S16mm Camera Package All components have just been serviced and in great working order. From rental inventory and has been regularly maintained for the life of the camera. I have 2 comparable packages available. Package Includes: Aaton XTR Prod S16mm Camera Body VR46 Color Video Assist 1.78 Ground Glass Standard Viewfinder (short) Heated Eyecup Extension Finder Carry Handle w/ 2 Aaton Tools Right Side Grip w/ Start/stop 15mm LWS Right Ride Rosette Dual Rosette Grip Extension Arri 15mm Studio Baseplate 2x 6" 15mm Screw Type Mini Rods (not pictured) 2x Coiled Eyecup Heater Cables 8" 2pin to 2pin Start/stop Cable (not pictured) Mag Port Cover Lens Port Cover 3x 400' XTR Magazines w/ Throat Cover Flight Case For Camera Body (ATA Style) Flight Case For Magazines (ATA Style) $3895 I have On-Board batteries and chargers available upon request (fresh re-cell at time of sale). NP-1 style battery adapters that allow use of modern NP Li-Ion batteries as on-boards. Additional 400' and 800' magazines. Large selection of high quality used S16mm Primes and Zooms. Please PM with questions. Located in Hollywood, CA. I am happy to demo the camera in person. Willing to ship at purchasers expense.

Hi everyone, first post, long time lurker. I recently bought an Aaton LTR-7 and have just ran my first test film, the result is as follows: https://vimeo.com/210062910 (Excuse my great readings...) We shot with a standard 16mm Angénieux 12-120mm but recorded to super16 as we knew the long end of the lens would cover the s16 frame and wanted to see the extent of the vignettes. What we were not expecting were the red light leaks that crop up on both sides but more so the right side of the frame... I wonder if there any tell tell signs to this type of light leak? I did the S16 conversion myself via instructions from http://cinematography.net/edited-pages/Aaton16mmRegtoSuper.htm - I have a sneaking suspicion the leak could be from where the viewfinder seats on to the top of the camera, I had to move the 'wedge' over and reseat the VF to complete the s16 conversion.. I would love to know your thoughts, - Francis

Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.

Greetings I am doing some Spring cleaning/clearing and I am parting ways with My Konvaii. (Plural for multiple Konvas cameras?) Anyway, here is is what I have left of my gear: Konvas 2M 35mm camera body - UBER NICE / CLEAN - 1993 - 1:37 gate - viewfinder: GOOD Konvas 2M 35mm camera body - UBER NICE / CLEAN - 1993 - 1:37 gate - viewfinder: GOOD 17AK-EP CRYSAL SYNC MOTOR #1 - GOOD 17AK-EP CRYSAL SYNC MOTOR #2 - METAL CHIPPED - SEE PHOTO # SPARE FUSES FOR SYNC MOTORS Sound barney for Konvas 2M CAMERA BODY, 200FT/60M MAGAZINE, 400FT/120M MAGAZINE and 17AK-EP CRYSAL SYNC MOTOR NON SYNC MOTOR FRENCH FLAG #1 FRENCH FLAG #2 KOMPEDIUM MATTE BOX #1 KOMEPDIUM MATTE BOX #2 UP DOWN CONVERTER BATTERY 3 PIN XLR - NEEDS RE-CELLING - ANAMORPHIC GATE MEDIUM FORMAT LENS ADAPTER M42 LENS ADAPTER CHANGING BAG 600FT OF RE CAN FILM - KEPT IN MY FILM FRIDGE DIRECTOR'S VIEWFINDER 4X 400FT MAGAZINES - 2: MINT 2: USED 60FT MAG - GOOD 2X SCREW ON HANDLE FOR STEADY HAND HELD WORK. $1200 shipping will be in 3 large boxes http://www.ebay.com/itm/282393879383?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 http://www.ebay.com/itm/282396634065?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649

Not to be confused with a ‘stylized look' LUT – I created the BozBMDFilm_to_Rec709 Utility LUT to bring out the organic contrast and color values captured by the BMCC / BMPCC in Film LOG or RAW modes. In addition, the LUT strives to preserve highlight and shadow detail [with emphasis on softer highlight roll off] while safeguarding image quality and integrity. [RAW video by John Brawley] Though it's not free, It's still cheaper than a Golden Arches Meal and definitely worth a look even if it's just to see more examples of how the LUT works. Download Page: https://bulentozdemirfilms.wordpress.com/downloads/bmcc-bmpcc-bozbmdfilm-to-rec709-lut/