Robert Houllahan

Most of the film color timers learned by trial and error, Brad who was at Cinelab was an incredible color timer and did not like the hazeltine as he found it to be slow and cumbersome he timed on the bench with color cards and experience and made incredible timed prints.

Unfortunately he passed away a few years ago so much of the knowledge he had was lost except for the tools which are still at the lab.

For Di workflows on film you might reach out to Steve Shaw at Light Illusion as he has an extensive toolset for calibrating a Kodak digital LAD with a densitometer through the negative and print stages at a lab and building a matching 3D viewing LUT so the look of the print can be closely matched in the DI theater. 

For more controlled general printing you can use a Kodak LAD and measure the patches with the densitometer for ECN2 consistency and then print that LAD onto print stock and then measure the LAD patches on the print to get to a base printer light setup on the printer and process at the lab.

From there color timing is primary print lights +RGB = darker in all colors -RGB = Lighter in all colors +G = more magenta -G =less magenta etc.

On 9/4/2023 at 3:23 AM, Andrew Wise said:

What does the archival/shrunk film gate on the scanstation/archivist look like? And any feedback on how it performs? 

I think it has a metal plate system that "holds down" the film and makes it run flatter through the gate.

This probably really depends allot on the tolerance for being flattened by the presumably very shrunken film being scanned.

On 7/15/2023 at 5:01 AM, aapo lettinen said:

Were you able to check the gear ratio?

I will assemble the circuit boards in late August, probably between 20. and 25. of August.

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If someone else would like to order the 1-speed kit too, I am still accepting orders til August 10. The orders need to be paid for by August 15 so that I can ensure they stay on schedule

This is the CP I have

5 hours ago, aapo lettinen said:

Were you able to check the gear ratio?

I will assemble the circuit boards in late August, probably between 20. and 25. of August.

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If someone else would like to order the 1-speed kit too, I am still accepting orders til August 10. The orders need to be paid for by August 15 so that I can ensure they stay on schedule

Not yet let me take a look at the camera this weekend

Canon 11.5-138mm zoom.

Canon Super16 10.6-180mm T2.7 zoom.

On 1/21/2023 at 4:16 AM, Edith blazek said:

Yeah but here's the thing, no rental house in my area has 35mm motion picture film cameras, or any motion picture film cameras for that matter, I'd be the rental house in that case.

Colorlab does.

Give them a call.

On 7/31/2022 at 4:27 AM, Tyler Purcell said:

Correct, Kodak is already in financial trouble. "Film" product is the last big market they have. They've sold nearly everything else off.

Kodak did about 1.3B in sales last year and turned a bit of a profit, I think most of the sales volume was in advanced materials and inks etc. The MP products division and the still film division are both profitable I believe.

I would go for the Arriscan if you value color accuracy and DPX is really not that hard to deal with on a modern machine, just transcode it to ProRes4444XQ if the scan house won't offer that.

The Arriscan is a true RGB and true 16bit machine when run in 2-flash it is in another class of machine compared to the still excellent Scan Station.

The Arriscan is definitely superior in terms of color reproduction.

Can you post some pics?

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

4 minutes ago, Joerg Polzfusz said:

That smell is the result of putting camphor or paper with camphor oil into the film canisters/cans/boxes. This was done to keep the films flexible and to prevent vinegar syndrome. 

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.

1 hour ago, David Sekanina said:

Really impressive Robert!

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.

13 hours ago, Phil Rhodes said:

That is some amazingly steady 16mm.

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

On 4/30/2023 at 9:39 AM, aapo lettinen said:

great! I can deliver a conversion kit in July or August depending on how much other work there is in the Summer.

You will need to check the gear ratio between the motor drive and the camera mechanism, I assume the camera is with 24fps gears and I would want to double check the gear ratio so that I know the settings are correct in the software as there is no documentation of the gear ratio anywhere and the system has only been tested with 25fps gears so far. I takes 5min for me to update the software, just need the information to calculate the correct settings before shipping the main circuit board.

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.

On 3/13/2023 at 3:28 PM, Joerg Polzfusz said:

Did someone perform additional tests (e6-cross-processing, ecn2 vs. C41, …)?

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.

1 hour ago, Tyler Purcell said:

Wow that's pretty impressive. I always thought it was a different gate. 

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