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cml-general@cml.news | Messages
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Re: Seeing colour..

Guy Mastrion
 

Back in my art direction youth this was a major task, matching client brand colors accurately. Before the era of computers it created a lot of manual labor. For example, working on a major beer brand, the label was a white field rimmed in gold, there was an interior shape in the center of the label of dragons or some such, theses were also gold, on white and the typography was blue. The gold was metallic. To match this and make it all look as good as possible we worked to scale the logo from approx 2.5” to nearly 2 feet across, we then did gold draw downs with silk screens to match the gold and the blue. We created countless variations and put them to the test under studio strobe lighting (this was for a stills shoot). Testing various lighting and film stocks. We worked like this for weeks until we managed the best possible match, then the final giant label was made. This was also done for the collar label around the neck of the bottle. The final image was of a bottle shaped out of candles with the labels in their proper place. The candle were made from copper tubing crafted to look like bottle green, lit, melting candles.  We filled the tubes with lamp oil and achieved and even burn. We tried various real candles but the intensity and heat and inconsistent burning made for poor results. Once we achieved a good final image. A die sublimated print was made and then the retoucher would go to work fine tuning the print by “painting” directly on the print where needed to bring the colors up to matching even more closely to Pantone swatches of client approved colors. Then the final art was once again shot to deliver a final image which was released to the printer.

Of course.... then it was run on various printing presses on various stocks and never really looked spot on when released but we did our job. I really enjoyed this project despite the hassles we created something very unique for the brands 200 anniversary.
--
Guy Mastrion, DP, Creative Director, Professor

Re: Seeing colour..

 

Fascinating Bernie.  It’s still a pain today with some clients logos. I believe especially  when the supply then as CMYK files not RGB.

If I remember rightly Red was an issue in PAL because the R-Y channel was nearest to the sound subcarriers, and at maximum level it could (on some TVs) leak into the sound and cause a buzzing - I think that’s right.

Michael

Michael J Sanders

London based Cinematographer/DP 
Mobile: +44 (0) 7976 269818   
Web: www.mjsanders.co.uk


On 26 Feb 2020, at 11:26, Bernard Harper <bernieharper@...> wrote:

But is that right? Anyone know if this was just a PAL problem, or were all analogue TV systems flawed in some weird way? 

Re: Seeing colour..

Bernard Harper
 

Yes, subject colour failure was an issue then. The major producer of flower seeds in the UK photographed the adult plants using 5x4 monochrome stills. The colour printing plates were made by artists using using the pantone color system to match directly to the real flower in daylight. This would be added by hand to the monochrome print to show the printer (an actual human!!) what the final colour reproduction should look like on the packaging.  If they had used 5x4 Ektachrome, one species of rose might photograph like another because its RGB layers did not have the subtleties of litho printing systems with over 12 separate layers. I would guess people shooting commercials and pack shots must have been driven crazy with this stuff at the time?  

I remember politicians complaining about having to wear make-up on live TV. But if they refused, they risked looking so ill on camera people would think they were suffering from a serious illness. I am not sure why red chrominance was such a problem . A colleague said the tubes on analogue TV cameras (and presumably telecine machines?) were over-sensitive to IR and reproduced them in the visual range on screen as excessive redness. But is that right? Anyone know if this was just a PAL problem, or were all analogue TV systems flawed in some weird way? 

Bernie Harper PhD

www.bernieharper.co.uk

  

Re: Seeing colour..

 
Edited

Your welcome Bernie.  Some really interesting nuggets of info in there I thought.
 
Love the stuff about colour failure.  Especially the Borgias! Must have been fun keeping the red colour from causing a buzz on the sound, or was it so dull it wasn’t a problem in the end?
 

Michael Sanders
 
Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...
+ 44 (0) 7976 269818
 

On 25 Feb 2020, at 16:31, Bernard Harper <bernieharper@...> wrote:

Thanks Michael, Anya is the real thing: Someone who loves imagery and wants to understand everything about it. She once told me stereo pairs deliver more colour information than either of their individual 2D frames. This led me to the discovery that stereo also has 40% more resolution than 2D and that people and objects significantly change shape when we compress them down to 2D dimensions. We planned to work on a new 720P/72 3D camera for NASA in 2001, but the funding fell through. Same old story.... 

   She was surprised when I told her about subject colour failure in analogue photography. The example I saw myself was the orange Kit Kat wrappers that only had the perfect shade of red after they had been filmed and telecine'd. But the dozens of dark brown papal costumes made for the Borgias were perhaps the biggest revelation. They were shown at a BBC costume exhibition at the V&A and nobody could believe how dull and wrong they looked in reality. When roadcast however, they magically transformed into the cardinal red we now see with modern colour cameras. I was wondering if anyone here has seen iconic colours (like flowers, aurora or Cadbury purple etc) that refuse to photograph naturally and still have to be faked to look "real?"

Bob Iger to step down as Disney CEO, effective immediately

Bob Kertesz
 

Apparently, the technology has finally matured sufficiently to unfreeze
Walt.

Can 'Song of the South II' be far behind?

-Bob

--
Bob Kertesz
BlueScreen LLC
Hollywood, California

Engineer, Video Controller, and Live Compositor Extraordinaire.

High quality images for more than four decades - whether you've wanted
them or not.©

* * * * * * * * * *

ARRI in Albuquerque

Art Adams
 

Thanks, Colemar! I appreciate your kind words. Tell everyone. 😊 Hopefully we’ll be doing a few more shows around the U.S. and Canada this year.

 

-Art

 

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.


From: <cml-general@...> on behalf of "Colemar Nichols via Cml.News" <colemarnichols=gmail.com@...>
Reply-To: "cml-general@..." <cml-general@...>
Date: Friday, February 21, 2020 at 1:21 PM
To: "cml-general@..." <cml-general@...>
Subject: Re: [cml-general] ARRI in Albuquerque

 

Art,

   Thank you for last night’s event, very informative and well done!

 

Colemar Nichols

DoP

ABQ

sent from the phone

 

This message is confidential. It may also be privileged or otherwise protected by work product immunity or other legal rules. If you have received it by mistake, please let us know by e-mail reply and delete it from your system; you may not copy this message or disclose its contents to anyone. Please send us by fax any message containing deadlines as incoming e-mails are not screened for response deadlines. The integrity and security of this message cannot be guaranteed on the Internet.

Re: Seeing colour..

Bernard Harper
 

Thanks Michael, Anya is the real thing: Someone who loves imagery and wants to understand everything about it. She once told me stereo pairs deliver more colour information than either of their individual 2D frames. This led me to the discovery that stereo also has 40% more resolution than 2D and that people and objects significantly change shape when we compress them down to 2D dimensions. We planned to work on a new 720P/72 3D camera for NASA in 2001, but the funding fell through. Same old story.... 

   She was surprised when I told her about subject colour failure in analogue photography. The example I saw myself was the orange Kit Kat wrappers that only had the perfect shade of red after they had been filmed and telecine'd. But the dozens of dark brown papal costumes made for the Borgias were perhaps the biggest revelation. They were shown at a BBC costume exhibition at the V&A and nobody could believe how dull and wrong they looked in reality. When roadcast however, they magically transformed into the cardinal red we now see with modern colour cameras. I was wondering if anyone here has seen iconic colours (like flowers, aurora or Cadbury purple etc) that refuse to photograph naturally and still have to be faked to look "real?"

Bernie Harper PhD

Vision Scientist & Stereographer UK

www.bernieharper.co.uk

  

Seeing colour..

 

People might be interested in this edition of “The Life Scientific” broadcast on BBC Radio 4 this morning.

"As a professor of visual neuroscience at Newcastle University, Anya Hurlbert is one of our most respected researchers into the way we see colour. In a career as a physicist, physiologist, neuroscientist and physician at some of the great research institutes on both sides of the Atlantic, Anya’s investigations into how we perceive the colour of objects has transformed our view of how our predominantly visual brains function.

She explains how the multidisciplinary approach to research in vision from physics to psychology, and encounters with some leading Nobel Prize winners, has fostered a love of the slippery nature of colour. When, a few years ago, an online image of a blue and black striped dress spun virally out of control, it divided us all. Half of us were adamant the dress was white and gold, and the other half convinced it was blue and black, and it caused us all to question the objective way we think we see the world as it really is. Colour is, Anya argues, made in the mind, not just out there in the world and we don’t always see it in the same way.

And as she reveals to Jim, with recent technological advances in LED lighting, she’s turned her attention to the nature of light itself, and how by controlling its components, it could have a profound influence on both our state of mind and the appreciation of our rich world of colour.”




Michael Sanders

Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...
+ 44 (0) 7976 269818



Re: Film Ferrania 16mm BW film hopefully available summer 2020

Guy Mastrion
 

I’d certainly be interested in getting my hands on it, if it shows up as suggested. 
--
Guy Mastrion, DP, Creative Director, Professor

Re: Film Ferrania 16mm BW film hopefully available summer 2020

Tim Sassoon
 

They originally promised reversal, right? We haven’t seen it yet...


Tim Sassoon
Venice, CA





On Feb 24, 2020, at 6:13 AM, Stephen Perera <ulookretro@...> wrote:

Hi all…..Film Ferrania P30 will be available in 16mm format hopefully summer 2020 I was told by them. 
Would love to hear some thoughts and anecdotes about this film and hopefully generate the interest this deserves……
Hope this is interesting to you all….Im certainly looking forward to use it in projects to come.
Stephen
……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com


Re: Film Ferrania 16mm BW film hopefully available summer 2020

Stephen Perera <ulookretro@...>
 

ok let's change ‘available' to ‘they’re producing the first batch of’….still…..its being done…source Film ferrania themselves to me via email.
……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com
instagram.com/stephenperera
vimeo.com/stephenperera



On 24 Feb 2020, at 15:13, Stephen Perera <ulookretro@...> wrote:

Hi all…..Film Ferrania P30 will be available in 16mm format hopefully summer 2020 I was told by them. 
Would love to hear some thoughts and anecdotes about this film and hopefully generate the interest this deserves……
Hope this is interesting to you all….Im certainly looking forward to use it in projects to come.
Stephen
……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com


Film Ferrania 16mm BW film hopefully available summer 2020

Stephen Perera <ulookretro@...>
 

Hi all…..Film Ferrania P30 will be available in 16mm format hopefully summer 2020 I was told by them. 
Would love to hear some thoughts and anecdotes about this film and hopefully generate the interest this deserves……
Hope this is interesting to you all….Im certainly looking forward to use it in projects to come.
Stephen
……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com
instagram.com/stephenperera
vimeo.com/stephenperera



Coming to the UK to work.

 

Looks like the UK govt are tightening up on the rules on who can come into the UK from outside the EU to work in the creative industries.


From the looks of things (don’t take my word for it - do check!) it looks like they haven’t gone full US style I visa/B1/B2 mad, which means if you are coming to the UK to do a short shoot for your local client you won’t need a visa. 

It would be interesting to hear from those that have been here before to know how different these new rules are.

Michael.


The Camera Channel podcast - available on Apple Podcasts and Spotify.


Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.


+ 44 (0) 7976 269818







Re: Netflix: Locke & Key

Nick Morrison
 

Thanks Jonathan.

Looks amazing.

_______________
Nick Morrison
EP/Director/Writer (WGA)
nick@...
O: 718-210-3711
C: 646-236-7884
smallgiant.tv

On Fri, Feb 21, 2020, 1:09 AM Jonathon Sendall <jpsendall@...> wrote:
Alexa Mini LF

Jonathon Sendall
DP
London UK

Re: ARRI in Albuquerque

Colemar Nichols
 

Art,
   Thank you for last night’s event, very informative and well done!

Colemar Nichols
DoP
ABQ

sent from the phone

Re: Podcasts

Dave Young
 

Thanks Nick

I'll give you a call.


Dave Young
Producer Director 
UK
07966 185 345
http://podfilms.tv

On 21 Feb 2020, at 12:51, Nick Millen <nick@...> wrote:

Hi Dave,
 
There’s only one expansion port and it’s used for the EU-V1 and V2 backs as well as the EVF-V50, so you can only use one at a time.
 
You could always use one of these https://store.zacuto.com/canon-c500-mark-ii-z-finder/ with the supplied LCD unit.
 
We have a camera in our showroom if you fancy coming over for a play? Alternatively, I’m happy to send it to you for 24 hours to have a play.
 
Cheers
Nick
 
 
 
 
Nick Millen|Business Development Manager
PROAV
Proactive UK Ltd
Unit 1 Eastman Way
Hemel Hempstead
Hertfordshire
HP2 7DU
United Kingdom
Office: +44 (0) 1442 29 29 29
Direct: +44 (0) 1442 29 29 37
|Mobile: 07791616319|www.proav.co.uk
<image455515.png>
<image544372.png>
<image474542.png>
<image476740.png>
Proactive UK Ltd is a company registered in England and Wales. registered number: 3647770. Registered office: Unit 1 Eastman Way, Hemel Hempstead, Hertfordshire, HP2 7DU. This message and any attachments are private and confidential. If you have received this message in error, please notify us and remove it from your system.


From: cml-general@... <cml-general@...> On Behalf Of Dave Young via Cml.News
Sent: 21 February 2020 11:51
To: cml-general@...
Subject: Re: [cml-general] Podcasts
 
Do you know whether the OLED EVF-50 can still be used in conjunction with the extension unit?
 
This could be a deal maker / breaker for me.
 
Thanks
 
Dave Young
Producer Director
UK
07966 185 345
http://podfilms.tv


On 20 Feb 2020, at 11:34, Michael Sanders <lists@...> wrote:
 
Thanks Dave.  Really appreciate that.
 

I’m seriously considering one myself now :-)

Michael


Michael J Sanders


London based Cinematographer/DP 
Mobile: +44 (0) 7976 269818   
 


On 20 Feb 2020, at 10:37, Dave Young <dave@...> wrote:

Just had a listen and very informative thanks. I was considering buying a C500 mk2 and now you’ve made my mind up!
 
Thanks
 
Dave Young
Producer Director
UK
Pod Films Ltd
07966 185 345
http://podfilms.tv


On 20 Feb 2020, at 09:49, Michael Sanders <lists@...> wrote:
 
A bit of self promotion I hope Geoff doesn’t object to..
 
So I’ve gone and done something new, I have started doing a podcast called The Camera Channel.
 
The first episode is a conversation with UK DP’s Tim Sutton, Owen Scurfield and Patrick Smith about the Canon C500 MKII. And its already garnered some high praise :-)
 
Although the podcast is primarily aimed at people who use cameras to capture moving images, I’m hoping there will be an appeal for a wider audience such as producers and directors who want to keep up with the latest trends. 
 
Future episodes won’t be so product specific - and I’m already working on the next episodes, one of which is about how we in the camera dept can help the industry go green.
 
As of this morning you can find us on Apple podcasts by searching for The Camera Channel
 
Enjoy and let me know what you think.
 
(And be gentle!)
 
Michael Sanders
 

Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...
+ 44 (0) 7976 269818
 
 
 
 

 

 
 
 


Re: Podcasts

Nick Millen
 

Hi Dave,

 

There’s only one expansion port and it’s used for the EU-V1 and V2 backs as well as the EVF-V50, so you can only use one at a time.

 

You could always use one of these https://store.zacuto.com/canon-c500-mark-ii-z-finder/ with the supplied LCD unit.

 

We have a camera in our showroom if you fancy coming over for a play? Alternatively, I’m happy to send it to you for 24 hours to have a play.

 

Cheers

Nick

 

 

 

 

Nick Millen|Business Development Manager
PROAV
Proactive UK Ltd
Unit 1 Eastman Way
Hemel Hempstead
Hertfordshire
HP2 7DU
United Kingdom
Office: +44 (0) 1442 29 29 29
Direct: +44 (0) 1442 29 29 37
|Mobile: 07791616319|www.proav.co.uk
Facebook
Proactive UK Ltd is a company registered in England and Wales. registered number: 3647770. Registered office: Unit 1 Eastman Way, Hemel Hempstead, Hertfordshire, HP2 7DU. This message and any attachments are private and confidential. If you have received this message in error, please notify us and remove it from your system.


From: cml-general@... <cml-general@...> On Behalf Of Dave Young via Cml.News
Sent: 21 February 2020 11:51
To: cml-general@...
Subject: Re: [cml-general] Podcasts

 

Do you know whether the OLED EVF-50 can still be used in conjunction with the extension unit?

 

This could be a deal maker / breaker for me.

 

Thanks

 

Dave Young

Producer Director
UK
07966 185 345
http://podfilms.tv



On 20 Feb 2020, at 11:34, Michael Sanders <lists@...> wrote:

 

Thanks Dave.  Really appreciate that.

 

I’m seriously considering one myself now :-)

Michael


Michael J Sanders



London based Cinematographer/DP 

Mobile: +44 (0) 7976 269818   

 



On 20 Feb 2020, at 10:37, Dave Young <dave@...> wrote:

Just had a listen and very informative thanks. I was considering buying a C500 mk2 and now you’ve made my mind up!

 

Thanks

 

Dave Young
Producer Director

UK
Pod Films Ltd
07966 185 345
http://podfilms.tv



On 20 Feb 2020, at 09:49, Michael Sanders <lists@...> wrote:

 

A bit of self promotion I hope Geoff doesn’t object to..

 

So I’ve gone and done something new, I have started doing a podcast called The Camera Channel.

 

The first episode is a conversation with UK DP’s Tim Sutton, Owen Scurfield and Patrick Smith about the Canon C500 MKII. And its already garnered some high praise :-)

 

Although the podcast is primarily aimed at people who use cameras to capture moving images, I’m hoping there will be an appeal for a wider audience such as producers and directors who want to keep up with the latest trends. 

 

Future episodes won’t be so product specific - and I’m already working on the next episodes, one of which is about how we in the camera dept can help the industry go green.

 

As of this morning you can find us on Apple podcasts by searching for The Camera Channel

 

Enjoy and let me know what you think.

 

(And be gentle!)

 

Michael Sanders

 

Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...

+ 44 (0) 7976 269818

 

 

 

 

 

 

 

 

Re: Podcasts

 

Hi Dave.

I’m not sure, I only had the camera for about four days and can’t remember if I tried that.

There are two extension backs, there’s the small one EU-V1 and then EU-V2 which adds V lock and 2 additional XLR inputs.  But none of the three I spoke bought that so won’t be able to help.

The main UK dealers like Top Teks and CVP will be able to help though I’m sure.


Michael Sanders

Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...
+ 44 (0) 7976 269818







On 21 Feb 2020, at 11:50, Dave Young <dave@...> wrote:

Do you know whether the OLED EVF-50 can still be used in conjunction with the extension unit?

This could be a deal maker / breaker for me.

Thanks


Re: Podcasts

Dave Young
 

Do you know whether the OLED EVF-50 can still be used in conjunction with the extension unit?

This could be a deal maker / breaker for me.

Thanks

Dave Young
Producer Director
UK
07966 185 345
http://podfilms.tv

On 20 Feb 2020, at 11:34, Michael Sanders <lists@...> wrote:

Thanks Dave.  Really appreciate that.

I’m seriously considering one myself now :-)

Michael

Michael J Sanders

London based Cinematographer/DP 
Mobile: +44 (0) 7976 269818   


On 20 Feb 2020, at 10:37, Dave Young <dave@...> wrote:

Just had a listen and very informative thanks. I was considering buying a C500 mk2 and now you’ve made my mind up!

Thanks

Dave Young
Producer Director
UK
Pod Films Ltd
07966 185 345
http://podfilms.tv

On 20 Feb 2020, at 09:49, Michael Sanders <lists@...> wrote:

A bit of self promotion I hope Geoff doesn’t object to..

So I’ve gone and done something new, I have started doing a podcast called The Camera Channel.

The first episode is a conversation with UK DP’s Tim Sutton, Owen Scurfield and Patrick Smith about the Canon C500 MKII. And its already garnered some high praise :-)

Although the podcast is primarily aimed at people who use cameras to capture moving images, I’m hoping there will be an appeal for a wider audience such as producers and directors who want to keep up with the latest trends. 

Future episodes won’t be so product specific - and I’m already working on the next episodes, one of which is about how we in the camera dept can help the industry go green.

As of this morning you can find us on Apple podcasts by searching for The Camera Channel

Enjoy and let me know what you think.

(And be gentle!)

Michael Sanders

Cinematographer, London.

Broadcast - Docs - Commercials - Corporate.

michael@...
+ 44 (0) 7976 269818









Re: Aaton XTR 400ft magazine problem...help?

Stephen Perera <ulookretro@...>
 

I have the Aaton XTR XC model Charles…..anything you can say about this version!? has no electronics…I figured this model would be partially unused in its lifetime as would obviously be the ’spare’ to the XTR Prod and I also figured no electronics = greater lifespan! I don't shoot with monitors or anything anyway…..just a handheld light metre and look through the viewfinder….I like being in the private space that gives me….I like to hear my breath…I can concentrate…..

……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com
instagram.com/stephenperera
vimeo.com/stephenperera



On 20 Feb 2020, at 22:04, Charles Pickel <cp@...> wrote:

I agree with Cynthia that the Aaton system is extremely robust and not entirely deserving of the reputation for fragility it has with some folks.
For the general info of Aaton owners everywhere, here is a nearly-complete list of differences/upgrades/design changes among and between LTR and XTR magazines:

Mods During LTR Production:
-Door clips changed to hinges all around
-Drum/light trap roller redesign (flopped 90 degrees different angle for improved Super 16 film handling)
-At least two different pressure plate/claw plate designs (For improved S16 film handling)
-Door baffles introduced to aid light-tightness (change in T/U door casting)
LTRX/XTR/XTR+/XTR Prod :
-Change from spline gear drive to magnetic take-up drive
-Introduction of magnetic magazine recognition by camera (up to 3 mags identified and elapsed footage memorized by XTR LCD readout)
-Feed clutch upgraded from leather pad to 3x spring loaded adjustable felt tip elements
-2 (possibly 3) more pressure plate/claw plate designs
-2 or 3 different film guide bar designs in mag throat
-Film spindle core-clamp hubs changed from molded plastic (which always split) to machined aluminum.
  Serious Gear has replacement aluminum hubs of our own manufacture
-Drive sprocket mechanism changed from bi-directional to uni-directional about mag # 3000
-Various guide roller configuration changes
-Magnetic ID system upgraded from ID for 3 mags (A,B,C) to ID capacity for 6 mags (up to letter "F")
-Sound dampening lining material changes, at least 3. Laminated material in some XTR Prod mags has tendency to dry out and curl, impinging on film path.
  Serious Gear Co. offers replacement/upgrade with CNC-routed high density monolithic acoustic material.
-Entire magazine casting re-designed for late-production XTR Prod & Xtera camera systems.

Cyntbia, I am thrilled you obtained such great performance from your LTR system. When you decide it's time for a little freshening, I offer those services, right through to vacuum lubrication of critical movement bushings. And at very reasonable rates (with many factory parts in stock).

All the best,
-Charles Pickel
 Seriousgear.com
 Seattle USA
-

On 2/20/2020 10:13 AM, Cynthia Brett Webster wrote:
Once you do solve the issue properly, you should expect the mag to be problem free for a lifetime.
Probably a good investment as I put over a million feet of film through my Aaton LTR 54 without ever having 
an issue or either of two magazines serviced.
So that's roughly 500,000 feet (mainly single-perf) through each mag.  The LTR magazines are near identical to 
the XTR mags with the exception of the external main drive gear; an actual gear with teeth, which was replaced 
with the magnetic entrapment system on the XTR.

Such a Great Camera!

Cynthia Brett Webster
DP in Los Angeles


On Thu, Feb 20, 2020 at 9:11 AM Stephen Perera <ulookretro@...> wrote:
Thanks to everyone coming in on this…appreciate the time you have taken…...I’m going to send it in as advised!!!!! the good thing is I have a spare one to keep shooting with!!!! I am in no way able to do the reassembly thats for sure!!!! the diagram does show loads of parts!!!!!!!
……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com

On 20 Feb 2020, at 18:07, Mitch Gross <mitchgrosscml@...> wrote:

There’s a clutching mechanism buried under the platter and it sounds like this is misaligned. The problem is that there specific tensioning levels needed that require a proper gauge tool and honestly I can no longer recall the process or the correct tension values. It’s likely best to send it to a technician familiar with Aatons. Unfortunately these days it may be less expensive to just buy another mag. 

Mitch Gross
Cinema Product Manager 
Panasonic System Solutions Company of North America
New York

On Feb 20, 2020, at 11:04 AM, Stephen Perera <ulookretro@...> wrote:

Hey Jeff moves smoothly with finger…which is why I'm mystified!

……………………………

Stephen Perera
Design + Photography

4 North Pavilion
South Barrack Parade
Gibraltar, GX11 1AA

T: +350 22221051
M: +350 22240028
M: +34 667661936

ulookretro.com

On 20 Feb 2020, at 17:03, Jeff Kreines - Mindspring <jeffkreines@...> wrote:


Does the feed core spin smoothly or is it too tight?

Jeff Kreines

Sent from iPhone. 

On Feb 20, 2020, at 9:59 AM, Stephen Perera <anthonystephenperera@...> wrote:



Hi all....(also posted on cinematography.com)....shooting last week towards the end I had a problem with the magazine......there is something in the highlighted part that doesn't allow the film to pass through as fluidly as normal....its as if I was holding the film on the feed side fighting for the mechanism not to pull it though the gate normally......the drive is attempting to pull it through and the film stutters quite violently.......like a hacking noise......

so...send it in or...dismantle the part myself and see if there's an obstruction or anything in there??????

I tried with some dummy film and I can thread the film through from feed to the other side no problem...the roller is smooth.....I can even loop it as normal and attach to a spool.....but when i check the film pulls as normal its too tight.....there's something holding it back......

Stephen Perera
Design + Photography
Gibraltar
T: +667661936

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-- 
Regards, 
Charles Pickel
SeriousGear.com
Tel (206) 285-4776