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Ektachrome 100 is BACK!!


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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!"

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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.

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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).

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  • 7 months later...

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:

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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.

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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 by Mark Dunn
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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.

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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

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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.

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  • 1 month later...

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.

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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 by Scot Myers
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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.

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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 by Jon O'Brien
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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.

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