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Robert Houllahan

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Everything posted by Robert Houllahan

  1. Euphoria cross processed the 100D Ektachrome in ECN2 which is a very different look than running it as E6 color reversal. One of the aspects is that negative stocks like Vision3 have an orange base and the 100D Cross processed has a clear base. And of course you cannot project the Cross Processed film unless you make a print.
  2. Processing machines are (mostly) built with off the shelf components like the pumps the heat controls the chain sprockets etc. The parts which are film specific are the rollers for the film in the tanks and some of the shafts which drive the rollers at the top.
  3. I wonder if anyone ever sent a Personal back to get it turned into a full Scan Station? I think most of the basic components like the chassis are identical, they basically are on the two Scan Station machines I have now except the capstan is on the left on the Personal and on the right on the Archivist which is where the capstan is on most other scanners. I think LaserGraphics uses allot of off the shelf components for motors and drive stuff to keep costs down and reliability up. I have not heard of a used Scan Station for sale yet.
  4. Looks nice I assume Spectra did the E6 process? I have run both 35mm and 16mm 100D E6 On our Scan Station in HDR and I think the Scan Station does better with Color Reversal than the Scannity at Spectra does.
  5. Saw it is a FilmLab machine, there was a Co in the USA called FilmLine and I had one we ran ECP on, it was huge and old and a bit of a mess. It had a driveshaft and bevel gears for each tank so kind of complex. Chain drive is pretty simple with sprockets for the drive shafts at each tank and a "demand" roller which governs speed.
  6. Congrats! If you need any tips or help please message me. Processors have manuals but they are also pretty simple mechanical machines in many ways. Looks like a Film Line processor do you know if it is shaft drive or chain drive? How many tanks does it have?
  7. In machine ECN2 processing there are air knifes (or squeegees) between each tank to control chemical mixing so for hand processing allot more wash between steps is definitely great advice.
  8. The Bauer has a manual exposure dial and you can just bypass the auto exposure and keep it wide open. The Beauleau cameras have an oscillating mirror shutter instead of a beam splitter I believe and thus will get more light to the film for sure.
  9. I think the lighting is all over the place color temp wise, I would / have shot allot of similar stuff on both 500t and 250d and I think 500t with superspeed glass is the way to go. I would recommend a 1 stop push on the 500t even.
  10. It is allot more like the Director or Arriscan XT than the Scan Station as it is true RGB and multi flash per color HDR plus IR. The DFT Oxscan 14K for 67/70 is also a area scan monochrome sensor. Line scan scanners are probably allot harder to engineer and the line sensors available are far more limited. I would guess $6-750K for the new DFT machine before options.
  11. Well... the problem with a 2-Stop push is slowing the linear film processor down enough to get the timing right in the developer tank(s) we run our Allen (35/16/8) processor at 26FPM for normal process. So a 2-Stop push is about 8FPM which is pretty slow, so we only really offer a 1-Stop push. We can also alter developer temp but because E6 is pretty complex it would be very time intensive to setup for both mechanical and temp to get that. I agree with rating Ekta down and giving it more light I think the 100D looks nice at 80iso.
  12. Do you want to compare an AMG-GT (Arriscan) to a Ford -GT (LG Director) by a decade old image on one of the companies web sites? Good luck buying your $500K + scanner system. These are True RGB scanners and in another class of machine than the Scan Station. I have scanned positives on my Arriscan it can do a good job, not my first choice to do that. I bet the Arriscan XT with it's new ALEV - Alexa sensor would do great. Remember to always believe all companies marketing claims on their web sites at all times for a healthy life.
  13. That will expose well on film I would use a spot meter and try to get the actors skintone in the middle and let the hilites go as film really handles that well. Don't be afraid of the medium it is very forgiving if you get basic exposure right. What stock are you shooting on? 500T?
  14. I looked at the QWD pdfs and there is a spec for Developer A and Developer B in the MSDS on that but I did not see any mixing instructions, it could very well be a mixing issue causing this. yeah send me a message come visit the lab.
  15. Looking at the QWD kit I see it is all powdered and with Kodak ECN2 the developer is multi part and there are very specific steps to mix it to make the working solution, so I am not sure how QWD works if it is a single pack of powder for the developer. I see you are in Boston if you want to come to the lab we can probably give you some actual kit mixed ECN2 liquids to try.
  16. Yes you can re run through the bleach and fixer to wash more retained silver out. I am pretty sure that works (not something a lab really gets a request for) so I will ask someone I know who is older and wiser to confirm. Are you processing in something like a Jobo tank? Maybe try flipping the tank over over a few times a minute on the rotator ? Just to shake it up.
  17. Again. CFA based scanners like the Scan Station Xena-Color Kinetta HDS+ VarioScan which can all use the same make-model of sensor will have the sensor CFA Dyes (lots of cross-talk there) a combination of LED RGB lamp diodes, those diode color center temps and set RGB lamp balance at the front end then the Demosaic math and color transform matrix and or LUT at the back end to make a finished scan. All of these machines will have different specific engineering choices along each part of the imaging path. I did a test and advice on setup of a Xena in the U.K. a while ago where I scanned a LAD and TAF on the Scan Station the Spirit and the Xena and we set the initial Xena color transform matrix (something you can get to on the Xena and which is "underhood" on other scanners) so the color accuracy was right on his Xena. Eventually the three scans matched pretty closely with some minor differences. In the "True RGB" Spirit PhantomII control software there are color balance lamp output and other color correction tools to get the scan in range on the scopes. So every scanner is not just pushing an automatic button to get the best scan from any specific stock. So for that test I had to setup the color on the Spirit too and make specific choices in the scanner setup which seemed most accurate. This test was done before I acquired the Arriscan and I would have used it in 2-flash 16bit mode for that as I think it is a "gold Standard" for scanning and accuracy. If I scan a TAF and a LAD on my Arriscan, Xena and Scan Station I think there will be some differences and that once a colorist gets their hands on the scans that they can make the colors match pretty well. I think a "True RGB" scanner like the Arriscan or Xena RGB or LaserGraphics Director will still be the goto for high end work and will make a more color accurate scan. That said I have not had many people who had issues with Scan Station scans for lack of color accuracy. I setup the Scan Station scans with the color grading on and usually for negative a gamma of 1.0 and then trim the hilite and shadow controls so there is no clipping in the scopes and they look good. The scans are not clipped in the scanner scopes nor are they in Resolve or Nucoda and they seem to be able to be graded easily. YMMV
  18. I will try to take a look at the QWD kit specs. I think because you are getting a kind of line that you might not have enough agitation happening. In ECN2 in linear processing the developer is very heavily turbulated (agitated) for consistency by big pumps and spray bars in the developer tank. We do the same in the ECN2 Fix and looking at the scans you might have some silver retention possibly from not enough agitation. ECN2 pre-bath can affect color to some small degree but it is really primarily for RemJet backing removal and then it is heavily washed in the buffer stage and then there is an air knife to minimize chemical carry-over to the developer. I do not think prebath has anything to do with dye stabilization in the ECN2 process. Overall I would try allot more agitation.
  19. What kind of chemistry are you using? How well controlled is your developer temp? Offhand it does look overdeveloped and could have silver retention. You might want to take a look at the ECN2 manual from Kodak and get some hypo test liquid from B&H to see how saturated your fixer is. https://www.kodak.com/en/motion/page/processing-manuals https://www.bhphotovideo.com/c/search?Ntt=hypo+check&N=0
  20. Well that basically is the end of that formula, I thought it was 2-gen compatible as one of the primary selling points. No digital information is neglect tolerant.
  21. LTO gets used allot in banking and other financial record keeping and I would think medical records too, archiving film scans is just a side hustle for LTO. I think the multi gen compatibility is one factor in the expense. Production does not really use LTO I have had very few requests for LTO from new production, it is always on drives and how quick can you get it to me, can you upload 5-10000 ft of 4K scans? I get some people ask can you send them back on a CD? Not professionals tho. I have an LTO5 deck and should probably get something newer.
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