Heikki Repo Posted November 14, 2017 Share Posted November 14, 2017 There is an update now on Ektachrome in Kodakery Podcast :wub: https://soundcloud.com/the-kodakery/update-from-our-film-factory-on-kodak-ektachrome 1 Link to comment Share on other sites More sharing options...
Samuel Berger Posted November 14, 2017 Share Posted November 14, 2017 I'm listening to it right now and my heart sunk when they said there won't be any 16mm for some time. Link to comment Share on other sites More sharing options...
Premium Member Simon Wyss Posted November 14, 2017 Premium Member Share Posted November 14, 2017 It’s foolish, all Super-8 stock derives from Double-Super 8 which begins as 16mm strips. One more time officers, pen pushers, have no idea of what goes on on the works floors. Link to comment Share on other sites More sharing options...
Samuel Berger Posted November 14, 2017 Share Posted November 14, 2017 It’s foolish, all Super-8 stock derives from Double-Super 8 which begins as 16mm strips. One more time officers, pen pushers, have no idea of what goes on on the works floors. They specifically mention in the podcast that the film starts as wide rolls, then get cut into 35mm and 16mm unperfed, then the 16mm gets perfed and split as Super 8. That had me pulling my hair out saying "Just perf the doggone 16mm as 16mm already, dagnabbit!" Link to comment Share on other sites More sharing options...
Premium Member Simon Wyss Posted November 15, 2017 Premium Member Share Posted November 15, 2017 Precisely, and offer it perforated along both edges, too. In 50-ft. portions as well. On both triacetate and PETP base. On thin polyester base (2.5 mils) in double lengths. Link to comment Share on other sites More sharing options...
James Compton Posted November 15, 2017 Share Posted November 15, 2017 I listened to that whole podcast, several times. Listen closely, what they did say is that if a cinematographer places a large custom order after the 6000ft master roll is made - they will entertain such offers. Have another listen, there is hope. Link to comment Share on other sites More sharing options...
Doug Palmer Posted November 16, 2017 Share Posted November 16, 2017 I listened to that whole podcast, several times. Listen closely, what they did say is that if a cinematographer places a large custom order after the 6000ft master roll is made - they will entertain such offers. Have another listen, there is hope. So maybe Wittner or someone could supply it. But that would increase the price. I can't really see why 16mm is such a problem for Kodak. Simpler surely than super-8 to produce. Link to comment Share on other sites More sharing options...
Heikki Repo Posted November 16, 2017 Share Posted November 16, 2017 They need to start with something and AFAIK, 16mm reversal film wasn't in the last years of Ektachrome in much demand. If there is enough demand for both 35mm still film and super-8, I'm pretty confident they'll roll out other formats as well (at least 16mm MP and 120 for still). Link to comment Share on other sites More sharing options...
Premium Member David Sekanina Posted June 25, 2018 Premium Member Share Posted June 25, 2018 lovely podcast with some insights on the manufacturing of Ektachrome: https://petapixel.com/2018/06/25/chatting-with-kodak-about-its-past-present-and-future/ Link to comment Share on other sites More sharing options...
Site Sponsor Robert Houllahan Posted June 25, 2018 Site Sponsor Share Posted June 25, 2018 We are in the middle of woring on one of our Allen processors which is shortly going to be setup so it can run E6 and ECP (Color Print) in 8mm 16mm and 35mm About another two or three weeks away. 1 Link to comment Share on other sites More sharing options...
John Salim Posted June 26, 2018 Share Posted June 26, 2018 We are in the middle of woring on one of our Allen processors which is shortly going to be setup so it can run E6 and ECP (Color Print) in 8mm 16mm and 35mm About another two or three weeks away. How will you run both E-6 and ECP on the same machine Robert ? John S :mellow: Link to comment Share on other sites More sharing options...
Michael Carter Posted June 26, 2018 Share Posted June 26, 2018 Will you be copying the new reversal film onto film? Link to comment Share on other sites More sharing options...
Mark Dunn Posted June 26, 2018 Share Posted June 26, 2018 How will you run both E-6 and ECP on the same machine Robert ? John S :mellow: Robert doesn't need me to speak for him, but in case he's busy: one or the other on different days with different baths and running speeds to suit, I imagine. Link to comment Share on other sites More sharing options...
Mark Dunn Posted June 26, 2018 Share Posted June 26, 2018 (edited) Will you be copying the new reversal film onto film? It's before my time but the only reversal camera stock meant for printing had an especially low contrast and its own reversal print stock. 7252, discontinued in 1985. E100 isn't like that, it's a stills film. Again, Robert knows his trade a deal better than I, but I think copying reversal always was problematic. So he might want to give that a miss. Edited June 26, 2018 by Mark Dunn Link to comment Share on other sites More sharing options...
Site Sponsor Robert Houllahan Posted June 26, 2018 Site Sponsor Share Posted June 26, 2018 How will you run both E-6 and ECP on the same machine Robert ? John S :mellow: Actually quite simple, more tanks... this Allen was a 1979 Ektachrome machine and it has enough tanks to have the ECP Developer and stop and then E6 first and second developer, E6 doen's have a stop and the wash, fix Bleach are all able to shared between ECP and E6. So one machine both processes and we will not have to dump tanks to run either. All of our processors (we have five) are dedicated to the process they run, i.e. ECN2 or B&W and we do not unload tanks and run different things on the same processor. Link to comment Share on other sites More sharing options...
John Salim Posted June 26, 2018 Share Posted June 26, 2018 Actually quite simple, more tanks... this Allen was a 1979 Ektachrome machine and it has enough tanks to have the ECP Developer and stop and then E6 first and second developer, E6 doen's have a stop and the wash, fix Bleach are all able to shared between ECP and E6. So one machine both processes and we will not have to dump tanks to run either. What a great design Robert ....simply re-thread and you're away ! Thanks for sharing that. John S Link to comment Share on other sites More sharing options...
Site Sponsor Robert Houllahan Posted June 26, 2018 Site Sponsor Share Posted June 26, 2018 What a great design Robert ....simply re-thread and you're away ! Thanks for sharing that. John S Our three Allen Products processors are really great reliable machines and very flexible in terms of configuration. As we get closer to running I will post some pics. Link to comment Share on other sites More sharing options...
Scot Myers Posted August 2, 2018 Share Posted August 2, 2018 Haven't seen anyone post about this before: https://www.kodak.com/US/en/motion/Products/Production/ektachrome/default.htm It seems Kodak has confirmed that in addition to 35mm still and Super 8, Ektachrome will also be available in 16mm! 100ft spools and 400ft rolls! Link to comment Share on other sites More sharing options...
Premium Member Simon Wyss Posted August 2, 2018 Premium Member Share Posted August 2, 2018 Would be stupid to not offer it in these formats. 16 will for sure pull mightily off. Link to comment Share on other sites More sharing options...
Doug Palmer Posted August 2, 2018 Share Posted August 2, 2018 Indeed yes... and let's hope all this work they've been putting into it will produce something even better than before. For me I'd like slightly less contrast, and less of the reddening that seems to happen on caucasian faces. Link to comment Share on other sites More sharing options...
Jon O'Brien Posted August 2, 2018 Share Posted August 2, 2018 I'm wondering how the new Ektachrome will look scanned, compared with, say, 50D. Either way, I will have to get a 16mm projector up and running. Link to comment Share on other sites More sharing options...
Scot Myers Posted August 2, 2018 Share Posted August 2, 2018 (edited) I have never shot the old 100D Ektachrome. I just projected some old ASA 10 Kodachrome from the 40s/50s the other night and holy cow its the sharpest, most colorful film Ive ever seen. I also projected some best light workprints I had made at Fotokem from Vision3 50D (overexposed a stop at 25 to tighten the grain, but processed normally, no pull processing) and I would say that it is the second sharpest 16mm Ive ever projected. 50D has a beautiful color palette, but still cant touch that old Kodachrome look. So I hope this new Ektachrome looks even better than the 50D. There are some negative aspects like the lack of exposure latitude and the fact that youre running the original film through the projector. Edited August 2, 2018 by Scot Myers Link to comment Share on other sites More sharing options...
Premium Member Will Montgomery Posted August 2, 2018 Premium Member Share Posted August 2, 2018 I shot a ton of 16mm 100D and loved it projected. Fine scanned, but amazing projected. Color was rich but not overly saturated; very realistic and accurate. I also shot Kodachrome 16mm and loved that even more for the non-realistic but beautiful pastel-like color it got. Due to the nature of the stock itself it doesn't scan very easily (see tons of posts about Kodachrome 35mm slide scans) but projected it was just gorgeous. Certainly less exposure latitude than negative stocks but honestly if you're in the ballpark without extremes (going from shadow to bright sun at the same exposure) you're ok. I would always suggest good, hi-res scans before running through a projector but you owe it to yourself to see it projected. Honestly, its such a pain to get out the projector you won't do it very often. I've made 16mm prints from negative stocks with good results but the prints never seem to have the jump-off-the-screen color that E100D or Kodachrome had. Link to comment Share on other sites More sharing options...
Jon O'Brien Posted August 3, 2018 Share Posted August 3, 2018 (edited) As I've said on another thread here, I once used to attend film nights at an amateur movie club in Brisbane, and whenever on came a new film shot on Kodachrome 16mm I was just thrilled beyond compare with the vibrant, sharp image of the projected 16mm. The colours and image quality were something I never forget. I think sometimes that's something we've lost or somewhat forgotten about in the world of the moving image. We've lost track of the sheer magical effect of projected film in a darkened room. Before you even got to any content or meaning of whatever the movie was about, the sheer technical process of projected film was in itself magic. That only added to the whole package. I'm really excited by the return (soon, I hope) of Ektachrome, another great film, pretty much right up there with Kodachrome. My challenge is going to be figuring out how to modify a projector to S-16. Edited August 3, 2018 by Jon O'Brien Link to comment Share on other sites More sharing options...
Nick Collingwood Posted August 3, 2018 Author Share Posted August 3, 2018 I've only been shooting Super 8 for a few years now but I've shot a handful of E100D, E64T and some Fuji 100D all in Super 8 and it really is remarkable seeing good color reversal projected (Agfachrome is an acquired taste but it's at least something... way too grainy for me). I'm pretty excited for E100 to return! I did start this thread after all haha. All three of those stocks are quite sharp when shot in the right camera and still great looking in a soft camera haha. I generally get it developed at Dwayne's then sent straight to Gamma Ray for a 2k scan then sent to me before any projection happens. That way I have that pristine scan and don't feel quite as bad about running it through my Elmo 1200HD which is generally considered gentle on film. I have seen a few 16mm color prints from Vision3 and I do have a hand it to... it? It looks stunning. So lifelike. I feel like I'm at the movies. But there's a certain aesthetic to Ektachrome that I love. I've only seen like 1 Kodakchrome film projected so I can't comment on that sadly. E100 in 16mm should be absolutely gorgeous! It's already so good in S8! And as far as exposure latitude, I've had good results even in bright daylight with an XL S8 camera on auto so I think it should be ok. Link to comment Share on other sites More sharing options...
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