Production version of Aaton XTR (1999), more robust and reliable for demanding film production. Combines XTR ergonomics with professional durability.
What is the Aaton XTR Prod?
The Aaton XTR Prod (1999) is the production-ready version of the legendary XTR. It combines the ergonomic "cat on the shoulder" design with a reinforced construction for the demanding everyday life of feature filmmaking – 12-hour days, weeks of shooting, harsh conditions.
Technical Specifications
| Feature | XTR Prod | XTR Standard |
|---|---|---|
| Format | Super 16mm | Super 16mm |
| Weight (Body) | 3.2 kg | 2.7 kg |
| Dimensions | 225 × 125 × 155 mm | 215 × 115 × 145 mm |
| Frame Rate | 3–75 fps | 2–75 fps |
| Shutter | 180° mirror | 180° mirror |
| Noise Level | <22 dBA | <24 dBA |
| Mount | PL or Aaton | PL or Aaton |
| Magazine | 120m (400 ft) | 120m (400 ft) |
| Video Assist | Improved, brighter | Standard |
Improvements over XTR
- Reinforced Casing – more robust against shocks and transport
- Quieter Operation – 22 dBA instead of 24 dBA
- Improved Video Assist – brighter monitor image
- Optimized Electronics – more reliable timecode synchronization
- Better Sealing – for exterior shoots in difficult weather
Notable Films
| Film | Year | DP | Significance |
|---|---|---|---|
| The Hurt Locker | 2008 | Barry Ackroyd, BSC | Oscar for Best Cinematography |
| 28 Days Later | 2002 | Anthony Dod Mantle, DFF | Digital look on film |
| Dancer in the Dark | 2000 | Robby Müller, ASC | 100 cameras simultaneously |
| City of God | 2002 | César Charlone | Favela aesthetic |
| Half Nelson | 2006 | Andrij Parekh | Indie drama |
The Hurt Locker: Case Study
Kathryn Bigelow and Barry Ackroyd used multiple XTR Prods for the Oscar-winning war film:
- Multi-camera setup – up to 4 XTR Prods simultaneously
- Handheld aesthetic – documentary war look
- Extreme heat – reliable operation in the Jordanian desert
- Long shooting days – 14+ hours without failure
- Super-16 to 35mm blow-up – theatrical release quality
XTR Prod vs. ARRI 16SR3
| Feature | Aaton XTR Prod | ARRI 16SR3 |
|---|---|---|
| Weight | 3.2 kg | 4.0 kg |
| Ergonomics | "Cat on shoulder" | Classic |
| Noise Level | <22 dBA | <20 dBA |
| Timecode | Aaton-code integrated | External |
| Robustness | Very good | Excellent |
| Price (Rental/Day) | ~€400 | ~€500 |
| Video Assist | Improved | Standard |
Conclusion: The XTR Prod is lighter and cheaper, the SR3 slightly quieter and more robust.
Typical Workflow
Pre-Production
- Camera tests with all planned lenses
- Timecode setup with sound department
- Plan video assist cabling
On Set
- Load magazine (400 ft = 11 min @ 24 fps)
- Select lens (PL mount)
- Set focus/aperture
- Aaton-code runs automatically
- Video assist for director
Post-Production
- Telecine/Scan at desired resolution
- Aaton-code enables automatic sync
- Super-16 to 2K/4K blow-up possible
Super-16 Workflow Today
The XTR Prod was ideal for the Super-16 to Digital workflow:
| Aspect | Advantage |
|---|---|
| Scan Quality | 2K-4K without issue |
| Dynamic Range | ~13 stops |
| Film Grain | Organic, not digital |
| Cost | Cheaper than 35mm |
| Look | Indie/documentary aesthetic |
Today
The XTR Prod is no longer in production but remains available for film productions:
- Specialized rental houses offer serviced units
- Film revival brings new demand (Kodak Vision3)
- Indie productions appreciate the Super-16 look
- Documentary filmmakers prefer the ergonomics
More in the lexikon
Related terms
Manufacturers
Aaton
French manufacturer (1971–2013). Rugged 16mm shoulder camera built for documentary work…
Camera · Kameras
Aaton XTR
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Aaton A-Minima
Camera · Format
Super 16 / Super 16mm / S16
Camera · Kameras
ARRI 16SR3
The ultimate Super 16 camera (1992), quieter than 20 dBA and industry standard for TV…