Friedemann Wachsmuth

For those of you who are on facebook, please join this poll. For those of oyu who are not, feel free to comment away here -- unfortunately, cinematography.com does not seem to have a poll option :( ------------------------- Just imagine, hypothetically, that there would be a new development tank on the market, designed for 8mm and 16mm films of 50 or 100ft length. It wouldn't be a radically new design, mostly following the design of the common Lomo tank, but it would be manufactured with much higher precision based on modern, durable and stable plastics slightly bigger to also take films that are a tad longer than 50/100ft easy to load without hassle easier and faster to be filled/drained more efficient during washing compatible with all known and unknown processes manufactured in the EU, with spare parts easily available (maybe) extensible, so allowing larger stacks than two spirals (maybe) providing a tank option with built-in temperature control (maybe) providing a built-in timer that helps with process timing Would you ne interested in buying such a thing? And what would be the most important options for you? [ ] I'd pay $300 since that sounds a lot better than the Lomo option [ ] I'd pay $500 since I know this is hard to manufacture [ ] I'd really want the option of larger spiral stacks [ ] I'd pay even more for the full setup, especially if it really becomes a modular system [ ] I'd really want the built-in temperature control [ ] I'd really want the the built-in process timer [ ] I absolutely want the ability to develop 100' in one strand without cutting it in half [ ] other: _____________

I love it. And see no scratch..?

Make sure to watch this in highest quality and fullscreen: https://youtu.be/3Nh9BTMWj9M Or better download this version and watch it offline: https://drive.google.com/file/d/0B9PJ3Kp3qOe4UklQZ0NrM1dNaVk/view?usp=sharing If anybody interested, I can also share an ungraded ProRes 4444 snippet. All the tripod shots where shot with the Optivaron (recognisable by the slight vignette in top right, since I did not take the lens hood off). All handheld shots (mostly in the middle) were taken with the Fujinon lens. The incredible folks from http://www.gammaraydigital.com/did the scanning, once in 2K and once in 4K. Unfortunately, my Mac Pro (late 2008) is a bit too old to handle 4K video, so I had to grade the 2K version. It still looks amazing though, make sure to download the 2K version for full quality! The clip was stabilized (tracking marker put on the frameline) since the scanner software used currently does not register based on the +2 sprocket hole, but on the sprocket hole next to the visible frame. You can see how bad the sprockets in this cartridge were if you watch the weaving sprocket hole on the left. But watch how image and frameline are like welded together: Absolutely no jitter, weaving and a sharpnes I have never seen before with any other Super 8 camera. This is due to the registration pin -- so thanks to Denmark for finally making a S8 camera that has this professional feature! If you don't have a Logmar yet, order one now. I tell you, the achievable quality is abso**(obscenity removed)**inlutely addictive. :)

There is absolutely no space for this I think. Remember there is the claw and the registration pin already, beside the pressure plate. Both pins support high torque and operate with extreme precision, so their gudance is pretty solid. Also, there is the mirror system with the beam splitter closeby too... However, since the claw is at the -2 position (ISO 1787-1984) like in any projector, actual registration pitch variance should not matter. This is als long as the scanner used uses the same sprocket hole for vertical registration (the LaserGraphics Scanstation does not). You are right Carl, horizontal registration is provided by film guides (with two spring loaded saddles to cover slitting tolerances). Below attached is a photo of a beta-version of the claw/registration module. (This has still 3D-printed parts and differs from the final design which required changes to make film loading easier) Meta data can be logged by the software onto the SD card, actually even as Excel file containing all settings, takes and timecodes. :)

I just made some good progress with modifying E6 to give better results when processing VNF films: http://www.filmkorn.org/e6-fuer-ektachrome-vnf-filme-optimieren/ Let me know if you need an english translation. Bottom line: Add 3.5ml Benzyl Alcohol per Liter of working solution to the Color Developer. Stirr 10 minutes very well to dissolve this oily additive. You get way better Dmax and more saturated colors!

Thanks, Simon! (and you shouldn't call yourself dirtbags!)

Actually I got this film from italy -- and am in Germany myself :) Wasn't Kodak making film in france back in the days? I thought so...

In the meantime, you might want to drop Wittner a line about their latest plan re DS8. Better than nothing! Wittner Chrome 200D in DS8? http://www.filmkorn.org/wittner-chrome-200d-in-ds8/

Large-wheel perofrators are way too unprecise for S8 perofration. They are used for 35mm photo films, where registration does not matter at all, but are way too unprecise for small format motion picture film. If you think about it: No matter how big the wheels are (and the bigger, the more expensive the tool), the angle a puncher has when entering and leaving the hole and the matrix together with the puncher's length is a problem. A proof that Kodak uses "stamp punchers" can be seen here -- note the "sawtooth" pattern repeating every five holes: I am sure Kodak has 1-3-5-7 and 1-4-5-8 perforators (if they use 32mm strands. The probably mostly use the 1-3-5-7 one when confectioning S8 stock, since 1-4-5-8 requires rewinding two of the strands. Rewinding is not a complex effort but it costs time, labor and introduces avoidable risk to the stock (scratches etc.). I agree though that they should make some DS8 stock with a less crazy minimal ordering volume. :)

I am not aware of current plans regarding R8, DS8 or 16mm from Adox, but I think they have the capabilities. Best would be if you express your interest to them directly. Backing interest with a S8 order certainley helps, but isn't manadtory. :) I asked for DS8 confections myself. Regarding per offset: Super 8 cameras are +2, no? Many DS8 cameras do not use +2. This should not be a problem though with Adox perforation since they guide the puncher with the holes they punched before.

Hey all, I recently found some cans of pretty obscure Kodak DS8 (Double Super 8) stock, including this one: Yes, I know Plus-X, but I never heard of 7726. Can anybody decipher these numbers? Does the "TV" in the name mean that the base or the emulsion are somehow different? Is there any clue when this was manufactured? Thanks all!

The Perofration of Wittner's 200D should be of highest precision. He is crazy for precision and invested a lot in making PET-stock perforatable in perfect quality (PET is MUCH harder than Acetate). Early DS8 Fuji stock was indeed perforated on machines that were not in good shape AND not maintained. I know for sure that these machines are now longer in service. So yes, you can expect perforation at least as good as Kodak's on WIttner's stocks. Not sure about color stability, but E6 is way better in this than AP-41 and EM26 et al were. The 200D is quite grainy though.

Count me in too, Jean-Louis! On a separate note, actually regarding the exact quality opposit of the 50D: Wittner intends to do prep the Aviphot Chrome 200D as 100ft loads in DS8 later this year (probably fall). Pricing will be close to the Double-8 option, so around €60/100ft spool. If you have general interest in such DS8 color reversal stock, please drop a brief email to <service@wittner-kinotechnik.de> and tell them. (This is neither a pre-order nor binding, just to gather market interest in general). It is grainy and not the most staurated, but it is color reversal and has a unique look that fits well into retro expectations. Cheers!

I have done that with some 5ft piece for jux. The negatives turn out very well -- too low contrast for reversal, but very good for scanning. I unfortunately don't have the scan anymore. From the top of my head, you can give Tri-X 1-1.5 stops less light when you throw it into Diafine.

Hey Miguel, I did that at home in my Lomo tank -- it was quite some trial and error. Few quick facts here since I don't have time right now to translate the whole thing: - Use Vision 3 200T - Expose it as 50 ASA - Develop Push +1 Stop (2 minutes more in FD) - Be prepared for manual remjet removal (messy) Your result will - have lower contrast overall - have a apricot-ish base - have odd, mellow colors, nice for skin - be very sharp Don't cut it together with normal reversal stock, than it looks great in projection. Very special at least. :)

I talked to some labs in Europe -- no interest. It's too messy and volume too low, so it remains a DIY method. BTW different stock gives different results. Vision 3 200T worked great, Vision 3 500T was disappointing. Some older Vision 100T stock (pro8mm) failed almost completely. In any case, you want to have colorful, contrasty motives for good results. Get out your Lomo tanks, its fun!!

Amazing.

I love it. ust awesome. And it is a perfect example how much one can achieve with a single cartridge of film stock.

Oh, this was ECN-2! I did a similiar test a while ago using C-41. However, I filmed a picture that I inverted on the monitor, so that the result was positive: http://www.peaceman.de/blog/index.php/inverses-crossen So you just inverted the video after ECN-2 development before uploading it to youtube, right? RIght after development it should have been negative. :)

Very nice. Did you overexpose it a bit? Or not at all?

Are tehre actually 35mm 2-perf cameras around too? I don't know the 35mm market at all, but could imagine 2-perf as a pretty nice ultrawide format...

A german, horrible translation of the Reflecta's manual can be found here Bottom line: Not too convincing. They mark in red that the device is not suitable for commercial use, they only offer "1 year of warranty or xxxxxxx scans" (No, they did not replace these X-es with an actual number). Also, there seems to be like no manual control over the results -- except a boring brightness slider, crop and a "auto contrast" checkbox. Embarassing, eh?

You, Carl, you just nailed it. The good thing is that this Nolabcrap won't ever happen anyway. But maybe it makes some hipsters google for Super 8 and find out that actually the real thing is still alive...

Actually mostly stills in the garden -- time was spare and the Dom a tad too dark for 50D. :)

Hey Doug et al, I shot a roll of Vision 3 50D using a tripod, yes. The weather was quite dim (Hamburg, Winter...) and so aperture was usually very open. The film is in the lab already and will go to scanning right after development. The camera is currently briefly back in Denmark for surgery (e.g. to get a first batch of further improvements) and I can't wait to get it back for some further testing. :)