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Robert Houllahan

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    1979
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About Robert Houllahan

Profile Information

  • Occupation
    Industry Rep
  • Location
    Providence / East Coast /Globe
  • My Gear
    Film Lab / XTRprod / PhotoSonics 16mm / Nikon R10/ More Film Cams /C500 / Komodo
  • Specialties
    All Analog Film work and processes / 16mm and slow motion 16mm analog film / Interviews / Music Videos /

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  • Website URL
    http://www.cinelab.com

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  1. Probably a sort of standard 10%-20% of the original cost i.e. $45K-$85K
  2. Could very well be poor turbulation / agitation the developer in ECN2 is very agitated in processing not only by the film traveling in a continuous processor but also by wands driven by pumps that agitate the tank.
  3. Ok I can share this now, all Push 5222 some +1 and some +2
  4. We made them some 16mm prints from digital for on set 16mm projection / props. Have not got around to watching it yet.
  5. That has not been our experience with X-Processing VNF in ECN2 and it can look really great once it is graded.
  6. Well that is true but also some people will want to use it for it's unpredictable and damaged texture or look if they shoot is as I was for my friends with the Plus-X. Here is that vid, a mix of 1962 Plus-X neg some R8 Fomapan and Canon C500. digi. And then there are found films which need to be developed. For the found or shelved films which need to be run it often comes down to a simple will it work question? We ran a set of EXR Color negative films in ECN2 last year that had been in the fridge of a museum since 1984 and the results were quite good in ECN2 in a PhotoMec processor. With mild color shift and quite reasonable fog levels on almost all the rolls and just two had a bigger color shift. Some of the films were outside in bright sun and some were shot within the submarine the museum had acquired and so they were in darker lighting. Once scanned they were brought into quite good color balance. I have noticed that films with latent images tend to have less fog than unshot stocks.
  7. XX22 can look really great but you have to use the right developer and do a good target test. We just ran a huge pile of 35mm for a Beats commercial and a number of rolls were Push +2 shot in hard contrast lighting so lots of falloff into shadow and it really looked great. The right developer bath can really make the grain really nice on the stock. ECN converted to B&W never looks right to me.
  8. I would just add that B&W Stocks just do not have the "falloff" that color stocks do. I shot a music vid for some friends a few years ago and used a can of Plus-X 16mm negative that had expired in 1962 and in bright sunlight the stock looked really spectacular rated at 40iso which was a stop down from the can 80iso rating. I think the big driver of color stock fade and fog is the dye couplers being a bit more volatile and without them B&W really stays more stable over time.
  9. VNF really cannot be run in a linear E6 machine we always do a X-Process in ECN2 for VNF,
  10. We do them but honestly if you want to use or sell the stock I would not bother. If you have a production that expects it to be perfect you or they should / would buy fresh stock. Expired stock is great for music vids or ad work that wants more texture. I shot a MV for my friends and used a can of 16mm Plus-X negative that expired in 1962 and it looked fantastic. We are running a bunch of VNF 16mm as X-Process in ECN now for a pretty serious film that the DP wants the specific look for and it can look amazing with the right touch and that stock is quite expired indeed.
  11. It is fussy to run and E6 chemistry is more complex and gets exhausted faster than ECN so all around it is a miracle that we even have Ektachrome is 2022.
  12. Ten years is really not all that old and if you figure overexposing a stop per decade the stock should be in ok shape. Also people do like aged stock for certain types of work as it will have more texture.
  13. Hey what exactly is the point of this? Can this be kept to a specific area of optical sound and not go all over the place? Its a million posts now. it seems that there are a few ways to approach optical sound recording. 1. analog semi free run D to A i.e. the subject header. 2. Analog with sync to an encoder so analog data can be correlated to run of the capstan. 3. Digitizing with picture taking imager (AEO) 4. Digitizing with a separate track reading camera. not to diminish the possibilities of optical analog sound but if wow and flutter can be eliminated 3/4 of these the approaches all seem like they are workable depending on the amount of post work to be done. ymmv
  14. https://dft-film.com/products/oxscan14k/ Uses either the 12K or 14K Sony Pregius 16bit CMOS sensor in Monochrome and RGB IR Sequential illumination. It uses Oxberry 65mm / 70mm Pin Registered gates and Sprockets.
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