Jump to content
Sander Ferdinand

Aaton XTR - 250D/7207 small clip

Recommended Posts

Friend and I tried 1 roll of Vision 3 250D on my Aaton XTR Plus (after it collected years of dust) with Zeiss s16 superspeed MkIII.

This was a casual shoot with nothing planned in particular, just that my friend wanted to use some of this footage for a clothing commercial.

I was mostly interested if my Aaton still worked 😀

Here is a small clip. Below are screenshots.

My friend used as much ND filters as possible to control the aperture, keeping it around T1.3 <-> T2.8. This created a nice DoF but also made the Aaton viewfinder almost completely dark. We could barely see a thing most of the time 

After film development I received 180gb of .dpx files (http://haghefilm-digitaal.nl - 2k scan). I'm not an industry professional so not sure what to do with those, thankfully DaVinci seemed to accept them so today was my first day on Resolve 16. Must say I love it, works great on my Linux workstation.

As for the footage itself, came out sharper than I expected - amazing what these old cameras can produce.

DP: Simon Ruesink

G7fLVCJ.png

 

W1QNwgn.png

 

2YwL8kp.png

 

3Tl7NtD.png

 

BeTtVAk.png

 

YqmdTUV.png

 

4mpPAmp.png

 

ujp8WDq.png

 

bWn2uYu.png

 

3tvWr31.jpg

Edited by Sander Ferdinand

Share this post


Link to post
Share on other sites

Oh nice! 

Remember, the camera doesn't create the image like digital, the film stock does. So if there is anyone to be impressed with, it's the ability of the film stock and the lenses. 🙂 

Are you making a music video with this material or something?

Share this post


Link to post
Share on other sites

Some lovely images there, nice work.

With regard to a dark optical viewfinder, the best way to avoid this is to use the slowest speed film stock that you can get away with and avoid using heavy ND filters. Kodak 50D 7203 probably would have been the stock of choice. 

You can also try rating the stock slower by setting your meter to a lower speed and thus intentionally overexposing the negative by about a stop. This generally results in a more saturated, less grainy image and then you can also get away with using less ND.

You can also ask your lab to provide Prores 4444 files instead of DPX files next time, if you prefer that workflow. Most people find them easier to work with.

Best of luck with the camera!

Share this post


Link to post
Share on other sites
18 hours ago, Tyler Purcell said:

Oh nice! 

Remember, the camera doesn't create the image like digital, the film stock does. So if there is anyone to be impressed with, it's the ability of the film stock and the lenses. 🙂 

Are you making a music video with this material or something?

The lenses (superspeeds s16 MkIII) were very nice indeed. I don't think ill ever want to use some other glass. Rental prices are OK, compared to the full-frame superspeeds.

Not sure what the plan is with this footage. Most likely slap some music over it, brand logo and call it an advert 🙂

16 hours ago, Satsuki Murashige said:

Some lovely images there, nice work.

With regard to a dark optical viewfinder, the best way to avoid this is to use the slowest speed film stock that you can get away with and avoid using heavy ND filters. Kodak 50D 7203 probably would have been the stock of choice. 

You can also try rating the stock slower by setting your meter to a lower speed and thus intentionally overexposing the negative by about a stop. This generally results in a more saturated, less grainy image and then you can also get away with using less ND.

You can also ask your lab to provide Prores 4444 files instead of DPX files next time, if you prefer that workflow. Most people find them easier to work with.

Best of luck with the camera!

50D would have been better, yeah. As for DPX, no problem with them. I can import them into Resolve and it'll play them smoothly without problem - with grading applied. Very impressed with that. 

I've also noticed that Resolve on Linux is quite fast with 2k footage. For my job I need a fast workstation so I have an AMD threadripper (12c/24t), 1070Ti, 32gb ram and a fast SSD, Resolve really benefits from that kind of hardware. Cutting in the timeline is fast and so is exporting to MP4 (I can see it uses all my CPU cores). Last time I edited videos was 10 years ago and things were different back then 😛 Had to use proxy footage and whatnot.

Edited by Sander Ferdinand

Share this post


Link to post
Share on other sites

amateur (and slightly off-topic) question: how does the 50D compare to the 250D in terms of grain? I haven't been able to find any direct comparisons with regard to grain structure. Just wondering how much grainier 250D is. Shot some rolls of 250D outside in broad daylight with a ND9 filter, and wondering, since this project is ongoing, if I should keep going or switch to 50D - would the difference be noticeable? 

Share this post


Link to post
Share on other sites
2 hours ago, Alexander Boyd said:

amateur (and slightly off-topic) question: how does the 50D compare to the 250D in terms of grain? I haven't been able to find any direct comparisons with regard to grain structure. Just wondering how much grainier 250D is. Shot some rolls of 250D outside in broad daylight with a ND9 filter, and wondering, since this project is ongoing, if I should keep going or switch to 50D - would the difference be noticeable? 

Here is some footage I found on youtube of 50D. Personally I would not mind mixing 50D and 250D. You could add some grain in post if the two stocks don't mix well together (doubt it's necessary). I don't think 250D is particularly grainy.

Share this post


Link to post
Share on other sites

Kodak stocks are made to intercut very well. 250D in full daylight is going to be low grain. 50D in full daylight will be grainless and very sharp. The colors contrast and overall look will be very similar between the two. 

Share this post


Link to post
Share on other sites

The tech sheets seem to indicate that 250D is grainier, but also sharper than 50D. It also looks to have more of a toe in its characteristic curve, so more forgiving to underexposure while having less shadow separation.

I sure miss the XTR Prod. What a handheld camera.

Jarin

Edited by Jarin Blaschke

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.



  • Visual Products



    New Pro Video - New and Used Equipment



    Glidecam



    Ritter Battery



    Metropolis Post



    Broadcast Solutions Inc



    Tai Audio



    CineLab



    Paralinx LLC



    FJS International



    Media Blackout - Custom Cables and AKS



    Rig Wheels Passport



    Abel Cine



    G-Force Grips



    Just Cinema Gear



    Wooden Camera



    Gamma Ray Digital Inc



    Serious Gear


×
×
  • Create New...