AAton XTRprod, User Manual

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stops of 4 and above, when possible.
6.3.3 Lighting
It is recommended not to cut corners with your lighting package for
the sake of the budget. Those scenes which rely in the speed of the
lens to compensate for minimal lighting will produce more grain
than scenes which are amply lit and use a less critical lens aperture
(T4 and higher).
6.3.4 Exposure
When shooting Super16 for blow-up, avoid underexposure and pu-
sh-processing whenever possible, In fact, slight overexposure of the
negative will produce a blow-up with less grain and increase color
saturation and detail in shadowed areas. For best results, it is recom-
mended to overexpose the negative anywhere from 1/3 to one stop,
depending on the stock and the desired look.
When shooting Super16 for video transfer, slight overexposure is re-
commended for the same reasons, but care must be taken. Overex-
posed negatives on a telecine require a higher gain, which increases
video noise. The benefits of an overexposed negative, however, out-
weigh the additional noise introduced if the overexposure is kept wi-
thin one stop or less.
6.3.5 Camera Moves
If a Super16 film is to be viewed on a large screen, any camera mo-
vement becomes intensified. Therefore, it is best to keep camera
moves subtle and handheld activity more controlled than when
shooting in 35mm.
6.4 SUPER16 FIELD CONVERSIONS
All XTR cameras, including the XTRprod are capable of both
16mm and Super16 operation. These cameras are designed to be
field convertible; switchable between formats by the user in a few
85
SUPER16