John Salim

Actually you can use several layers of unexposed and processed reversal film over a lamp to use as an IR light source. John S

As it happens I've seen cinema 'IR' emitters with a deep, dark red light too Phil, so maybe they use different types of LED's ( with a wider bandwidth ) for maximum coverage ? 'Proper' IR LED's start to radiate from 880nm peaking at around 940nm whereas most colour and B&W film will be sensitive up to around 700nm - 750nm. John S

Probably a bit difficult to set up an IR camera inside a changing bag, but you could adapt a 'dark box' ( as used by high street minilabs ), or make one large enough to take a camera or magazine ( you could even use a wireless CCTV camera nowadays ). IR LED's are very suitable as IR illuminators as they have a narrow peak in the IR region, are quite bright and will never emit visible light. Personally I use IR goggles in the darkroom :ph34r: John S

Absolutely no problem using infra-red monitoring Philippe. You can use it with any speed panchromatic B&W or colour film...... but not with infra-red film of course ! John S :)

Barbara, Super 8mm and Single 8mm film is the same thing ( after processing ), but to clarify your query, Super 8 and Single 8 film is loaded in different camera cartridges for shooting - thus the cameras are not compatible. Super 8 is loaded in a co-axial cartridge ( to run fully in forward direction ) whereas Single 8 is loaded in a 'reel to reel' cassette ( rather like a ‘regular’ motion picture camera magazine ) and could run in either direction if the camera had facilities to do so. Hope that helps, John S :rolleyes:

I'd like to clarify some very important notes regarding E-6 processing ( whilst using the latest Kodak E-6 chemicals - which is nine baths ). 1st Dev Wash Reversal bath Colour Dev ( new type ) Pre-Bleach Bleach Fixer Wash Final rinse Firstly, you should not use a wash step between the Reversal Bath and Colour Developer as the film emulsion needs to be impregnated with Reversal agent to fully nucleate with the Colour Developer to achieve full reversal. Secondly, there shouldn’t be any wash step between the Pre-Bleach and Bleach baths as again the film emulsion needs Pre-Bleach saturation to achieve effective bleaching. Thirdly, specific gravity does not affect the magenta to green bias anymore ( lowering SG will now give a cyan bias ). It doesn't matter much if you over bleach or over fix, but bear in mind Ektachrome 100D is very sensitive to process variations ( particularly the back end of the process ).....this film ( like all modern films ) require full bleaching. Hope that helps, John S

With reference to 16mm or 35mm 'flat' prints. I just wondered......does anybody know who would have been responsible for preparing cinemascope movies to full-frame flat printing at the lab. Would it be the movie's director of photography, the camera operator, the editor or the labs technicians ? John S :unsure:

Hi Matt, if there's only an 1/8th of an inch to the edge, I'd say you definitely have all nine rolls on there ! John S

....or you can try to tear the film. Acetate will tear whereas polyester won't and will stretch before cutting your hand ! John S

Tanner, Almost every 'camera' film ( stills and MP ) is coated on tri-acetate base, with the only example I can think of being Kodak EIR Infra Red film ( process EA-5 or E-6 ) which was coated on Estar ( polyester ) ....now discontinued. There are polyester based films around, but these are generally 'scientific use' films, and of course some intermediate and most print films. John S

Thanks for that Serge, I'll check with Andec to see if they still offer reversal processing. Cheers again :rolleyes: John S

I know this doesn't count ( not my Bolex ) I saw this picture in a book the other day 'The Making of Enter the Dragon' showing cameraman Henry Wong shooting behind the scenes footage which apparently amounted to over 9000ft of film sent to the US for editing into a 10 minute promotional film. Remarkably the remaining footage was destroyed ( approved by the studio ) and no single print of the documentary seems to exist ! John S :o

Dear all, Can anyone recommend a lab in the UK ( or Europe ) capable of processing 16mm Kodak Plus X Reversal film ? ( as reversal not negative ). Many thanks :rolleyes: John S

Thanks for that Brian, I didn't even know the 'iLab' name had gone ! John S :huh:

Any idea what ilab's website address is Brian ? I've tried ilab.co.uk and ilab.com ....even googled ....I just can't seem to find them ! Many thanks, John S :-)

There's actually a Kodachrome forum out there for you guys ! link here ..... http://www.kodachromeproject.com/forum/index.php John S :rolleyes:

Hi James, Firstly I have to say the newer Ektachrome 100D E-6 films are much more sensitive to process variations - particularly towards the tail end of the process ( pre-bleach onwards ) so are 'more difficult' to produce best quality results. Secondly, I'd suggest you use a Lomo type tank as I'm sure the dark patches with sprocket marks might sound like you're winding the film too fast ( and denying enough 'fresh' chemical to the film ). The solarised effect you're having may have something to do with lack of full bleaching .....winding too fast again. How do the clear and unexposed parts look ? ( D-min and D-max ) John S :rolleyes:

Michael, It's a real shame about Kodachrome coming to an end. Unfortunately K-14 is such a complicated process, nobody I'm sure will take it on. Kodak supplies the chemicals and control films to enable its existence and I'm guessing they stopped manufacturing those by now. Kodachrome ( like IB Technicolor ) will go down in imaging history - and photographers / cinematographers of the future will miss out big time. :( No doubt some of the specialist labs processing K-14 as B&W will still thrive ( as there's still a ton of Kodachrome out there ), but they'll eventually dry up too. I hope somebody's going to film and record the last processing run. John S

Up for sale is my Bolex SBM ( standard 16mm ) camera with accessories. S ‘Spring motor drive’ B ‘Bayonet lens mount’ M ‘400ft Magazine capability’ The SBM was Bolex’s last spring motor drive camera made and has many advanced features. It’s a very versatile camera and mainly suitable for tripod use without live sound recording as like all Bolex’s it’s a little noisy when running. This particular camera body is ( apart from two minor marks ) in near mint condition with less than 2000ft ever run through it. Both camera and lens are fully upgradable to super 16mm by Bolex. It comes with a Bolex to Nikon F lens adapter so you can use your favorite Nikkor lenses ! * Running speeds of 12, 16, 18, 24, 32, 48, and 64fps. * Single frame exposures. * Reflex viewfinder with 13x magnification. * Large clear and uncluttered groundglass image. * Eyepiece shutter. * Bayonet lens mount – large and strong made for modern heavier zooms and telephotos. * Behind the lens filters. * Uninterrupted viewing when running ( viewfinder image is taken from a prism before the shutter ). * Variable sector shutter – can fade to black or fade out from black whilst running. * No batteries required …..wind up and shoot ! * Will accept electric motor drive and 400ft magazines. Package includes these item…… * Bolex H16 SBM ( standard 16mm ) camera body – in near mint condition. apart from a couple of minor marks, one on the door locking knob and one on top of the camera. * Spring motor winding handle – new condition. * Film rewind handle – new condition. * Rubber eye cup – excellent condition but discoloured. * Magazine throat cover – excellent condition. * Kern Vario – Switar. f2 12.5mm – 100mm Zoom Lens – body has signs of use optics are in excellent condition. * Zoom stick for Kern lens – excellent condition. * Bolex to Nikon F lens adapter – excellent condition. * Bolex Cable Release Adapter ( model 265.038 CLOVI ) – new condition. * Empty 100ft Spools & Cans x2 – new condition. * Body cap – excellent condition. * Lens cap ( front ) – excellent condition. * Lens cap ( rear ) – excellent condition. * Filter 80B ( blue A to D) in holder – excellent condition. * Filter 85 ( amber D to A ) in holder – excellent condition. * Filter Y ( yellow ) in holder – excellent condition. * Filter 25 ( red ) in holder – excellent condition. * Bolex H16 RX-5 and SB/SBM instruction manual – good condition ( jacket is in used condition ). Price.....£780.00 or very near offer, plus carriage. Payment by PayPal, Electronic Bank Transfer or cash on collection. ( located in Southend-on-Sea, Essex, UK ) John S :rolleyes:

Technicolor has confirmed plans to close its North Hollywood release printing plant in the first half of 2011 and consolidate all North American release print operations in Mirabel, outside Montreal. Once that happens, Technicolor will no longer strike release prints in the U.S. read more here.... http://www.variety.com/article/VR1118027771?refCatId=13 John S :(

I wasn't talking about the anti-halation backing ( before development ) but the film's remaining base tint after development. Are you saying all B&W films with differant D-Min values produce the same D-Max when printed ? John S :(

It's true any B&W neg film can be processed as reversal, but the problem is negative film has a 'tinted' base designed for reproducing a proper gammer curve in printing. However, I think Jim may have hit the nail on the head by suggesting Kodak should supply TMax as MP film. It's an ultra fine grain B&W film and would make a great reversal film as it's base has a very low D-Min ( but not as clear as print film ). BTW, Kodak make a TMax reversal developing kit for making B&W transparencies. John S :rolleyes:

Bill, I can understand you not wanting to part with your film or trust the postal system, so why not budget a day or two away from home to deliver the neg by hand and wait for the lab to do the job ? John S ;)

Kris, Are you still looking for a viewfinder for your SR ? There's a J-Bar on eBay.com at the moment ( starting at $199.00 ).... http://cgi.ebay.com/Arriflex-Arri-camera-SR-J-Bar-viewfinder-w-o-eyepiece-/290458748425?cmd=ViewItem&pt=Film_Cameras&hash=item43a0b0c609 Don't forget this is only the J-Bar section so you'll need an eyepiece too. Hope that helps ! :rolleyes: John S

Cheers for that Eric, I've done a similar thing as you've suggested .....but would still love to know if Tiffen actually publish an exposure compensation list. :huh: John S