John Rizzo

That print is definitly a IB Technicolor print. Technicolor Prints can either have clear sprockets or grey sprockets either of those two will have a grey sound track.

Maksim Karpenko has modifications for K3 s https://www.facebook.com/k3super16 This  End-to-end encrypted

Will do, We shot 7219 today non remjet getting processed tonight. Once we scan the footage I will post it for all interested parties to check out. 100 feet on the 416 and 100 feet with a Aaton xtr. Lens and f stops will be on he slate for each setup. we also shot 450 feet of 35mm Portra.

Yes that is true, so far on the east coast 3 major movies are shooting it in 35mm. According to Kodak they built into the emulsion an additional layer of Silver to take the rem jets place. "The Drama" which rapped 2 months ago Spielberg's new movie currently shooting and "No One Cares" directed by Jesse Eisenberg staring Julian Moore and Paul Giamatti DP Drew Daniels which we are scanning the dallies. Tomorrow myself and some local DPS are going to TCS and will be testing the non remjet 7219 7207,7213 and 50D on a Arri 416 these DP s are concerned because most 16mm cameras have chrome backplates. I doubt that Kodak will raise the price of MP Stock, it already is quite costly and if they raised it to still prices I don't think they will sell nearly as much. We are seeing more and more clients shooting film whenever the budget allows.

KODAK has cracked down on people who are buying 35mm motion picture stock who are reloading as still film. All sales on 35mm MPS has to get approval.

The price will be higher than the current 35nn camera negatve stocks. I got 1000 feet to do some tests on.

Hello Scott you say Cinelab uses a laser to 16mm. the only laser recorder out there is the Arri and they only shoot to 35mm. Anyone shooting to 16mm is using some kind of LCD or crt monitor to shoot off of.

Hello Jack You can purchase rollers like the ones in your pic from Photmec in the UK. They still manufacture film processors and supply spare parts. here is their contact info: Photomec (London) Ltd / Automation Engineers PLC & HMI Programming & Machine Integration Tel: +44 (0)1727-850711 Email: dgwright@photomec.co.uk URL: www.photomec.co.uk

Tommy from Color Lab wrote custom software for lenticular conversion: https://www.linkedin.com/feed/update/urn:li:activity:7217533019249635328/

Hello Scott there are a few groups on Facebook with 16mm film and 16mm projector collectors you can get a load of information about your projectors on them. There are many of the Bell and Howell 302 series projectors out there and still running. the 8302 I have one that is an 8302T the T means that the amplifier has transistors instead of tubes. here are some of them: https://www.facebook.com/groups/1614512968786420 https://www.facebook.com/groups/2389639777959698 https://www.facebook.com/groups/171843583376870

David Sekanina from Zurich who is a member of this forum he is working on a super 16mm camera with a anticipated delivery July 2025 https://www.yolk.org/about https://www.yolk.org/ also Logmar is working on another Super 8 mm camera https://logmar.dk/gentoo-s8/ which hopefully be available by the end of this year.

The best thing to do is to scan it, the purple color should be easily correctable.

Hello all I have a POE Switar Lens and the aperture is not working properly. I reached out to PROCAM Dieter Schaefer in Arizona who I know can fix this but he is (temporarily closed) hopefully. Does anyone know who else can fix this? regards

INTERESTING AND NEW? HOW ABOUT THIS: https://scan2screen.com/#about

Films shot in Negative would have to be timed on a Hazeltine to get to the first answer print, once the first answer print was done lab timer would use CC filters on a lite box,then enter the new RGB values (either write them down or enter them into a computer) so a new timing tape would be made to feed the printing machine for the corrected print. For Film shot in Reversal Film the lab timers most lab timers viewed the cut reversal on a lite box and time by eye to make the changes.

Does anyone know where I can get a Switar Lens with a stuck apature repaired? I seem to rember i found a guy in Arizona who specialized in doing that repair but I forgot who it was. any leads would be appreciated.

The archival gates preform well on warpped film, however if te film is at the point where it is very brittle the film will just break. another option lasergraphics offers is adjustable tension on the feed and holdback drives this oprion come in very handy for film that is starting to get brittle and warped.

5244 is not release print stock, it is intermediate stock designed to make a Interpositive from the ocn or a internegative from a interpositive.

Hello Richard Tommy from color lab is your best bet as he wrote new software to run the electronic light valves.. you can also reach out to Jonathan Banks as his previous company owned BHP and still has many parts and his warehouse. jbanks@mmtfilm.com and you can also try Janice Allen from cinema arts, she purchased tons of spare parts at the RTI/BHP Auction. msjallen@gmail.com

Hello Matthew contact http://mononoawarefilm.com/equipment-rental_ they will have whatever you need to rent, speak to Steve Crossman tell him I Recommended them.

The whole ORWO story has been very shady since the new owner took over. In the past ORWO made great BW Films for motion Picture use they made 2 different Camera Negative Films, 2 different Intermediate Films, Sound track recording films and positive films for release prints all of these films were available in 16 and 35mm formats and reasonably priced. Attached is their 2020 price and product sheet So what the word is from reliable sources, is that the new owner fired all of the ORWO technicians who worked and knew how to make these fine b/w film stocks so none of the stock on the pdf I attached here are no longer available. So now their only focus is on some Color negative film that is designed for stills and to be processed in C41 Bath. This Film has no REMJET backing which is important if it is going to be used as a motion picture film so why would any producer risk shooting a feature on this film? 2020 ORWO Price Sheet - Sheet1.pdf

I would say this is more of a scanner issue than a camera issue. What brand film scanner was used to scan this film? We call this sprocket flare and I have seen this happen on different scanners. Did you shoot this footage in 35mm academy aperture? If you did that is why you see the sprocket flare mostly on the right side because the picture is exposed right up to the right edge of the film (next to the sprockets) on left side (if you shot in academy aperture) there would be unexposed space between the left side sprockets and the picture (sound track area for 35mm) that is why they don't show up on the left side. Also if you used expired stock and it has some built in base fog that makes the base darker than normal, the darker the base is, it will make the scanner light source reflect and make the sprocket flare more pronounced.

I wouldn't count on this, from what I hear it is a lot of smoke and mirrors.

Hello Matt Our Lab and Scanning facility is in Tenafly New Jersey https://www.metrofilmworks.com/ and we have a full post house and additional scanning in our NYC Facility http://www.metpostny.com You can e mail me at Jack@metpostny.com for any information you might need. regards

No it was not. Cinelab in NYC was owned by Marvin Solaway.