DIY: film processing: reversal: color

[Guest Glen Alexander]

anyone have experience processing your own color reversal film? say you have tanks big enough to process 100ft lengths of 35mm stock

 

is it possible to process in the field when there isn't a lab around or too expensive to get to a lab for daillies?

 

is there is a simple chemical "soup" that can be used?

 

take a minium of elements and pick up whatever else is needed at a local supermarket/drugstore/hardware store/plumbing store?

[K Borowski]

Yes, look up "Olexandr" on this forum, and he is a source of a multitude of Russian processing tanks that do up to 100 feet of 35mm I think.

 

B&W is definitely doable, but I'd highly recommend against doing color reversal or color prints of any kind, unless just for rough rough dailies.

 

Color is a tricky beast to handle.

[Guest Glen Alexander]

hmm, are you referring to C-41 process? or ECN? E6?

 

could i do C41 in the field?

[K Borowski]

hmm, are you referring to C-41 process? or ECN? E6?

 

could i do C41 in the field?

 

I wouldn't recommend doing any of them, but especially not E6.

[Guest Glen Alexander]

wikipedia suggests "...E-6 process can be done manually by amateurs with the same equipment that is used for processing black and white negative film or C-41 color negative film. However, unlike black and white developing, the process is very temperature sensitive; and the use of a tempered water bath to stabilize the temperature at 100 °F for the first developer and first wash is recommended to maintain process tolerances."

 

 

and they talk about the 3bath process versus 6 and some "hobby" kit.

 

you wouldn't recommend any but if you HAD to processing in the field which one is doable?

[K Borowski]

and they talk about the 3bath process versus 6 and some "hobby" kit.

 

you wouldn't recommend any but if you HAD to processing in the field which one is doable?

 

Well, the 3-bath kit is no longer made, so that matter has been rendered academic.

 

But, what the hell are you talking about E6 for? Surely you aren't cross-processing daily film :blink:

[Guest Glen Alexander]

Well, the 3-bath kit is no longer made, so that matter has been rendered academic.

 

But, what the hell are you talking about E6 for? Surely you aren't cross-processing daily film :blink:

 

 

as i'm interested in using some fuji velvia stock.

[K Borowski]

Well, unless you're doing "dailies" on E-dupe, you'd be ill-advised to process master film in a tank, on location. Why would you ever want to do this except to show off?

 

I would highly recommend leaving this to a pro lab. I'm sure you can find a good E-6 lab in the area.

[Richard Tuohy]

Actually I don't see anything difficult in diy e6 processing, especially if you can get the Tetenal 3 bath (which is still available in Europe and Australia at least in 1 litre and 5 litre size). Doing it 'in the field' is something you would have to be very dedicated to do however. I have done it, but its much easier at home in my lab. Actually getting good results in e6 is just that bit easier than bw reversal in my opinion. Go for it, but you will have a hard time finding a 100' Lomo. I have several, but they are all VERY PRECIOUS. It takes ages to find even 1.

good luck

richard

[Richardson Leao]

Actually I don't see anything difficult in diy e6 processing, especially if you can get the Tetenal 3 bath (which is still available in Europe and Australia at least in 1 litre and 5 litre size). Doing it 'in the field' is something you would have to be very dedicated to do however. I have done it, but its much easier at home in my lab. Actually getting good results in e6 is just that bit easier than bw reversal in my opinion. Go for it, but you will have a hard time finding a 100' Lomo. I have several, but they are all VERY PRECIOUS. It takes ages to find even 1.

good luck

richard

 

I agree with Richard, e6 is quite simple, I'd say even simpler than BW, specially with the 3-bath tetenal kit (that can be found EVEN in sweden). The trickiest is the temperature control, but a warm water bucket might suffice. If you can't find spiral tanks, you can always build your own (but i'd not do it in the field). THere are a few 15m x 2 tanks in ebay right now.

[Guest Glen Alexander]

Well, unless you're doing "dailies" on E-dupe, you'd be ill-advised to process master film in a tank, on location. Why would you ever want to do this except to show off?

 

Because when i got remote shooting, i mean remote shooting, there's no lab handy where i film.

[Chris Keth]

Because when i got remote shooting, i mean remote shooting, there's no lab handy where i film.

 

So store the film until it can be processed. You don't want to destroy your film because you couldn't be patient enough to wait to process it. Any of the color processes is very, very temperature sensitive. "In the field" doesn't sound like it has a temperature controlled place and temp. controlled source of water to do it with. You would only end up with inconsistently developed negative. That doesn't sound like the right thing for your masterpiece that trumps all other films.;)

[Richard Tuohy]

So it really comes down to the kind of result you want. If you want professional results with professional reliability, then you are extremely unlikely to succeed with diy in the field unless you have had a lot of experience with such work. If you are making something experimental, where the experimental processing is part of the deal, then fine - go for it. But in 35mm? Its a very expensive experiment ... and you will hardly be able to watch or transfer your material in the field anyway. The velvia stock is so expensive that I doubt you intend things to be experimental ... but maybe you do.

[K Borowski]

Yeah, and how the hell are you going to dry it without making a huge damned dusty mess in the field?

[Ira Ratner]

I enjoyed doing it at home as a hobby thing. I'd shoot some stills then process.

 

But for cine film--I don't think I would want to take a chance with important work like that.

 

The final wash and drying has to be a b**** with 16mm or 35mm. For a roll of 35mm still, it's no big deal.

[Guest Glen Alexander]

So it really comes down to the kind of result you want. If you want professional results with professional reliability, then you are extremely unlikely to succeed with diy in the field unless you have had a lot of experience with such work. If you are making something experimental, where the experimental processing is part of the deal, then fine - go for it. But in 35mm? Its a very expensive experiment ... and you will hardly be able to watch or transfer your material in the field anyway. The velvia stock is so expensive that I doubt you intend things to be experimental ... but maybe you do.

 

There are some things I want to film and need to know quickly as possible if i need to shoot again. I'll shoot some SLR to experiement and get the process down then jump into the 100ft rolls. Fuji doesn't make any big cinematic rolls any more so I'm going to get the 100ft rolls of velvia and have them cut in half for 16mm. I'm intrigued with this stock that results in such saturated colors. What's expensive the stock? or a once in a lifetime shot?

[Guest Glen Alexander]

Yeah, and how the hell are you going to dry it without making a huge damned dusty mess in the field?

 

I don't know yet but think of something Karl you're a smart guy.

[Guest Glen Alexander]

So store the film until it can be processed. You don't want to destroy your film because you couldn't be patient enough to wait to process it. Any of the color processes is very, very temperature sensitive. "In the field" doesn't sound like it has a temperature controlled place and temp. controlled source of water to do it with. You would only end up with inconsistently developed negative. That doesn't sound like the right thing for your masterpiece that trumps all other films.;)

 

 

how sensitive? how much thermal mass is needed?

[Patrick Neary]

Fuji doesn't make any big cinematic rolls any more so I'm going to get the 100ft rolls of velvia and have them cut in half for 16mm.

 

If that's your plan then field processing is the least of your worries.

 

It should make very interesting noises while running through your 16mm camera.

[Paul Bruening]

I thought I had the craziest ideas on this site.

[Guest Glen Alexander]

I thought I had the craziest ideas on this site.

 

:lol: :lol: :lol:

 

let's say i've seen some real bad crap from even "professional" labs...

[Guest Glen Alexander]

If that's your plan then field processing is the least of your worries.

 

It should make very interesting noises while running through your 16mm camera.

 

what are you referring to? there is a professional shop in Los Angeles that specializes in cutting down 35mm film.

[Guest Glen Alexander]

So store the film until it can be processed. You don't want to destroy your film because you couldn't be patient enough to wait to process it. Any of the color processes is very, very temperature sensitive. "In the field" doesn't sound like it has a temperature controlled place and temp. controlled source of water to do it with. You would only end up with inconsistently developed negative. That doesn't sound like the right thing for your masterpiece that trumps all other films.;)

 

Ah, yes the VV, have finally finished the titles and credits, and deciding on whether to go straight to a VV wet gate print or optical to 70mm 5-perf... unfortunately for next film, i can't pack in a 75lb VV camera, 50lbs of film, 60lbs of battery, 30lbs of lenses and 30lbs of fluid head. if it was possible i would but it's not.

[Richard Tuohy]

There are some things I want to film and need to know quickly as possible if i need to shoot again. I'll shoot some SLR to experiement and get the process down then jump into the 100ft rolls. Fuji doesn't make any big cinematic rolls any more so I'm going to get the 100ft rolls of velvia and have them cut in half for 16mm. I'm intrigued with this stock that results in such saturated colors. What's expensive the stock? or a once in a lifetime shot?

 

Unfortunately you can't cut 35mm in half to get 16mm. You can only cut one 16mm roll out of a perforated 35mm roll. Velvia is available in 16mm however.

As karl pointed out, you will need to have a system for drying worked out. When you say 'in the field' you don't mean in a tent of course, so wherever you might be you will have to set up a nice environment for drying the film. I would suggest you make a drying tent to put around your drying rack to cut down air movement around the film. This helps reduce dust.

rt

[Guest Glen Alexander]

Unfortunately you can't cut 35mm in half to get 16mm. You can only cut one 16mm roll out of a perforated 35mm roll. Velvia is available in 16mm however.

As karl pointed out, you will need to have a system for drying worked out. When you say 'in the field' you don't mean in a tent of course, so wherever you might be you will have to set up a nice environment for drying the film. I would suggest you make a drying tent to put around your drying rack to cut down air movement around the film. This helps reduce dust.

rt

 

 

oh yes, momentary lapse of reason, i was looking at 8mm gear when i wrote that.

 

in the field, would most probably mean a hotel room on one of those lonely roads in the middle of nowhere or in some small spanish village.

Edited November 18, 2008 by Glen Alexander