Jump to content


Photo

Aaton Penelope or Arricam LT for 2perf feature?


  • Please log in to reply
6 replies to this topic

#1 XiaoSu Han

XiaoSu Han
  • Basic Members
  • PipPipPip
  • 162 posts
  • Cinematographer

Posted 25 June 2010 - 02:00 PM

Anyone here who has used both? It would be interesting to know if there are any fundamental differences or one should rather decide on availability and price.

cheers, Xiaosu
  • 0

#2 Tebbe Schoeningh

Tebbe Schoeningh
  • Basic Members
  • PipPipPip
  • 117 posts
  • Cinematographer
  • Buenos Aires, Berlin

Posted 26 July 2010 - 06:24 PM

Would like to know the same thing.

Has anybody any detailed information about getting exposure from previous frames on the Penelope? I was told that this might be an issue.
  • 0

#3 Saul Rodgar

Saul Rodgar
  • Basic Members
  • PipPipPipPip
  • 1682 posts
  • Cinematographer

Posted 26 July 2010 - 06:45 PM

The following are broad generalizations regarding the two brands:

Having used neither on 2 perf, I can tell you that most people who use Arri cameras stick with them. I like and own Aaton cameras, but they are generally need a lot more baby-ing than Arri cameras. It drives some DPs and camera crews crazy. The Arricams are widely regarded as workhorses, and the Penelope is new enough that it does not have a rep that I know of. I would love to shoot 2-perf on a Penelope tho. And I am equally excited about Aaton's new, upcoming digimag for the Penelope.
  • 0

#4 Mitch Gross

Mitch Gross
  • Basic Members
  • PipPipPipPip
  • 2873 posts
  • Cinematographer

Posted 27 July 2010 - 10:03 AM

We have multiple Aaton Penelopes in our rental department and we have also sold a bunch and provide service and support for them. They are very robust cameras with little performance issue. The Penelope is perhaps the single most elegant film camera design I've ever seen. It is an excellent machine and we have yet to have a single AC, Operator or DP who has had anything but rave reviews for it. On every shoot it has either been the A-camera or started as a B-camera and quickly turned into the A-camera. Crews love it.
  • 0

#5 Eric Bensoussan

Eric Bensoussan

    New

  • Basic Members
  • Pip
  • 3 posts
  • 1st Assistant Camera
  • Montreal Canada

Posted 29 August 2010 - 11:56 AM

I have used both and my deduction is that each system fits it's purpose.

The major differences are


Weight : Penelope is noticeably much lighter then an Arri LT .feels like a 16mm Aaton XTR . #1 for shoulder.

Reverse : no reverse on Penelope .

Shutter : mechanical 3 positions on Penelope

Tufness : Would not clip a Penelope on a car rig or helicopter or anything with vibrations.It's tuff but not like an Arri. (got this info from a Arri Aaton certified 30 years exper. technician )

Steadicam : Penelope is lighter ,but 1 type of mag , film displacement in the mag is front to back ,so operator's will need to rebalance.

Mags : Fragile,never frame with the hand on it, tilting the mag will create friction and noise and other potential problems.Hold upright as much as possible.
Same loading time ,easy ,out of the dark loop set,firm locks (3) .

Threading : Faster on Penelope ,clip mag and shoot.

Rods : Option of screwing rods on the body (like XTR 16mm) For ultimate lightness and compactness.

Video : Penelope has USB for image capture,unlike Arri where you need the HD videotap to do the same .
Penelope doesn't have the option for an HD videotap

Menus : Penelope has an extensive menu ,but well made ,looks like there is a lot of buttons but it's easy operation. Linear navigation like the Red camera .
Penelope menu and features are more customizable then Arri's (frame position,frame color ,camera info ,timecode ...)

Batteries : Forget about it .. I mean literally...you will probably forget this camera even runs with batteries. I used the same 2 batteries on a 12h day ,8 mags 400' loads
(voltage started at 16v,still had 14.7v at the end ) Amazing and super light.

Accessories: Arri's wireless units, LDS ,electronic shutter and in-camera compensation, etc... Arri integrates more electronics, more ''options''for many uses.
Aaton is straight forward but it will look more like a christmas tree then an Arri with it's own integrated box units.so start building your own little
bracket attachments because it s basically like a 235 .
Christmas tree = wireless transmitter, wireless FIZ MDR box, cinetape ,splitter box ...

Viewfinder : Penelope doesn't have the telescope viewfinder (left to right) ,only one position but it has the same eyepiece attachment as Arri's for the medium and long extensions.



The choice can be easy or heartbreaking. HAving both system in your truck would be heaven . But you can't go wrong with either one.



eric bensoussan
1st AC
Montreal ,Canada
  • 0

#6 Mario Contini

Mario Contini

    New

  • Basic Members
  • Pip
  • 5 posts
  • Cinematographer

Posted 15 January 2011 - 07:36 PM

If you are seriously considering 2 perf, I have a couple Superamericas with speed boxes and a Bl4 for sync sound. If your looking for lightweight or crash cams I've got a couple of 2Cs with CE bases that run up to 80fps. Or for high speed I've got a BL that'll do 100fps. Do I dare say that's the fastest 2 perf camera out there?!

Yeah they might not have all the bells and whistles as the Penelope but they are all great cameras and the resulting image is the same!

At least now you know there are other options out there that wont kill your budget.
  • 0

#7 Drew Bienemann

Drew Bienemann
  • Basic Members
  • PipPip
  • 42 posts
  • Cinematographer

Posted 21 June 2015 - 02:16 AM

Not sure about the LT but i've used the penelope 2-perf from abel cine in LA a couple of times and loved it both times. Really wonderful.


  • 0


Ritter Battery

Willys Widgets

Tai Audio

Metropolis Post

rebotnix Technologies

Media Blackout - Custom Cables and AKS

Glidecam

FJS International, LLC

CineTape

Visual Products

Wooden Camera

The Slider

Broadcast Solutions Inc

CineLab

Abel Cine

Technodolly

Aerial Filmworks

Paralinx LLC

Gamma Ray Digital Inc

Rig Wheels Passport

Opal

Visual Products

Paralinx LLC

Wooden Camera

Metropolis Post

The Slider

Willys Widgets

Glidecam

Aerial Filmworks

Opal

Media Blackout - Custom Cables and AKS

Abel Cine

Gamma Ray Digital Inc

FJS International, LLC

Ritter Battery

CineTape

Rig Wheels Passport

CineLab

Tai Audio

Broadcast Solutions Inc

Technodolly

rebotnix Technologies