Robert Houllahan

Can you post some pics? Do you want to make prints with the Model C printers? Do they have tape readers?

This also works to re-plasticize older films I have a seal-able lab chamber I put films into with camphor tablets and it works really well for films which are starting to turn.

I would definitely recommend us, but I am biased. www.cinelab.com We have two LaserGraphics Scan Staton scanners and an Arriscan and we run 16mm in ECN-2 / E6 Ektachrome / B&W Reversal and Negative all in their own individual linear processors. If you want to email we can put a complete film and processing / scanning quote together.

Thanks the 16mm film recorder has really come along nicely if I can say so myself 😉 I have more refinement to do on the software side but pretty decent now in Version 3 Working on a 35mm version now in addition to the aging Arrilaser(s) and the Imagica recorders I have.

I built the 16mm recorder V3 around a Mitchell 16mm pin registered camera for best possible steadiness. I am building a 35mm version which I hope to possibly use a 8K D-ILA (LcOS) imager for but will probably start with a Eizo medical imaging panel first.

HI I put this academy standard countdown leader together and recorded it to 16mm. I have both 2.5K and 5K scans of it freely available. 5K Scan: https://drive.google.com/file/d/1nOw8Jga41eSlQvwgD7fA2-7xsXVH0QAJ/view?usp=share_link 2.5K Scan: https://drive.google.com/file/d/1nU3RRve3KJe5nu6SBeAhPQiSlnVKVMhP/view?usp=share_link

OK sounds good let me check the camera and let you know.

I would try new stock fresh from Kodak these stocks might be older and have built up some base fog. Then I would opt for a higher res Log scan 3K 4K etc. on a new scanner like a Scan Station and grade the files from there.

I have a CP-16 at Cinelab would like to update it so consider that a order.

We have done plenty of digital to 16mm with an anamorphic squeeze, most for recording and re-scan. It would not be a problem to make a squeezed 1.33 print with sound and de-squeeze it in projection with a anamorphic projection lens, there are plenty of them on eBay. Just be aware of the very narrow sound on 16mm which is mono and frequency and DR limited.

I just received the 1600ft of NC500 16mm from Orwo.

I have shot some S8mm 100D carts in basic auto exposure camera with good results and in general we recommend rating it at 80iso or as others have said 64iso for overall best results. This is developed in Fuji Pro6 7-step chemistry not the easier tetnal blix process which is less controlled.

We have received all manor of unraveled film in many forms of container for processing. If you do not feel confident in re-spooling the film you can leave it in a "ball" in the bag and put it in a box and send it to your lab and the lab techs will take care of it, we have allot more experience handling film in the dark than you do 😉 Also it can be removed from the container in the dark room to be spooled back on to a core, expect some delay for this order.

I got a notice today that Orwo is shipping some NC500 I ordered.

I highly doubt it would run as E6 but we can try it. I saw the first of the NC500 at Cinelab today and I rather liked the grainy pastel look of it. Of course because it is client film I cannot share any clips but I found it pleasing. I was scanning it on one Scan Station and the other Scan Station had a Pro Spot Kodak 500t job shot on a 416 with the best glass it was super sharp and rich. As it was a spot with a big sports figure they really knew hoe to expose and shoot. It was a huge contrast to the NC500 which was also S16mm but in kind of low light and a bit underexposed. The NC500 was not anywhere near as steady as the 500t on the 416. I don't know what camera they shot on but probably a SR2 as it was student work. I really liked the way the Orwo rendered flesh tones and colors. I got a few rolls coming and I will split that amongst Cinelab staff and do some shareable tests.

I would second the 200t recco it is a really nice stock. We can push or pull up to two stops for ECN easily and more with some machine setup.

The gate probably cost as much to make as a Scan Station.

Yes.

For air knives you want to use a Ring Compressor for either positive pressure or vacuum. Regular air compressors have too much pressure and not enough volume a Ring Compressor will deliver constant pressure or vacuum. We have both the type of air knife Frank described on all the processors and also a type which has two pointed apparatus that have a slit for pressurized air to push liquid away from the direction of film travel into the tank the liquid came from.

No same gate.

Mine is a 2008/09 Arriscan and I don't think there was a sensor change but I could be wrong. The Arriscan is about 2FPS in 6K HDR mode. The Scan Station is about 7.5K in 6.5K HDR mode. Arriscan is good for selects scans and short form work like commercials and Music Videos it is not exactly a dailies machine. Although Arri did try to makret it as such in 2K SDR where it gets about 8 FPS and does full res and proxy scans simultaneously.

A few thoughts I think at least some of the consumer line of sensors are build with multiple markets in mind and the same basic design of a sensor may be in your phone, a lower end camera and a machine vision camera sorting beer bottles at a packaging plant. So the CFA dyes may be a mix of color performance and sensitivity etc and not for ultimate pix quality. The Digital Bolex used a S16MM sized Kodak CCD with 4-taps and I remember the thing that was long holding back the camera release was the tap balancing, which if done wrong will show four quadrants with obvious tap lines in the picture. For some reason it seems that CMOS sensors which have many many more taps do not have the very fussy tap balance issues that CCDs do. CCDs can be run in single tap for best performance but there is a big speed hit. Other than the Digi Bolex and the Dalsa Origin I don't know of many or any D-Cine camera systems based around CCDs due to tap balance and speed readout issues. Cmos is just faster to read as a global shutter system with many more taps and largely ushered in the era of digital cine cameras. It seems that CCDs have mostly been retired by On-Semi (used to be Kodak) and with Sony making 14K 16bit cmos sensors and others like G-Pixel with the 9.4K sensor and the potential for high framerates with those super high res cmos sensors the saleability of CCDs in the "big" markets for imagers is gone.

There were no high res area sensors in the 1990's when the "Classic" Spirit arrived, it had a full res HD mono line and three half res color lines to make 4:2:2 HD scans. The newer Spirit series has 3X 2K lines and 3X 4K lines and the HD config uses the 4K lines and scalers, it is a very good machine and can scan some material like ECO exceptionally well. It is not as steady as the newer scanners and it is complex and expensive to run. The Arriscan ALEV monochrome 3K CMOS sensor might be global shutter it is not just a early Alexa sensor it is specific to the scanner. Because it is a mechanical pin registration scanner it would not matter if it were rolling shutter as the film is stopped and locked during imaging. The Arriscan beats the Spirit 4K in resolution and dynamic range especially in 2-flash where it is a actual 16-bit scanner as the sensor is 14-bit. The original Arriscan is still one of the best scanners available especially for negative, It is at least comparable to and possible exceeds the Scannity and is as sharp and steady as a Scan Station but has better color performance. The Arriscan has very little visible sensor noise at all in my experience using it.

I think allot or most of the of the early CCDs were made by Kodak which makes excellent color dyes and the CFA filters made by Kodak for the CCDs were based in the legacy of color science from film. All color filter array sensor have some or allot of color channel crosstalk as the color dyes on the photo sites are not in any sense perfect. So I think the better the CFA the better the outcome especially back when there was allot less CPU power to apply to the demosaic math.

If you are talking about the buffers in the Rem-Jet removal stack then they are often a sponge material on a plastic core. The ECN2 process goes from the prebath which softens the backing then into the buffer stack that has rotary buffers and water jets that remove the backing and wash it away. Then on to the developer tank.