Robino Jones

What you're looking for is "Flange distance". https://en.wikipedia.org/wiki/Flange_focal_distance this wiki page says 44mm but you should double check that elsewhere.. you know wikipedia 🙂

That's way too much stupidity to go through, better to leave it at that and not put more wood on the fire.. REALLY not interested in getting a schooling on how critical focus is achieved by looking at the perfs. As the saying goes, "It's difficult to win an argument against a genius, but impossible against an idiot."

Very impressive for an automated tool! I recently did this manually and it was a lot of channel pushing to get the colors back, the source was really faded. See the attached screenshots. Just ignore him - there's a "ignore user" feature where you can block his posts. I've got a couple people on that list. He's just trolling you, obviously he's completely out of his element - no need to deal with that. Thanks for showing the example!

Dan's posts are from a hobbyists point of view, they have very little relation to real world professional film scanning / restoration work - yet he thinks he's in a position to "school" @Perry Paolantonio about film scanners and film handling. It's mesmerizing that trolling exist in such a niche community. Too much misinformation and guesses being shared here and on other forums, it makes professional people run away. Dan is not alone unfortunately. Be careful who you take advice from - especially when it involves delicate film elements and expensive equipment meant to be operated by skilled professionals.

Could this go below 12fps? I sometime need 1~3 fps.. and also do single frame for stop motion? (in animation someone would need to cap the shutter manually)

..then the noise reduction is applied during capture, maybe you just don't know it. What about clicks and pops, should the scanner also eliminate that?

yes - 52XX is 35mm and 72XX is 16mm and all stocks above were originally available in both formats.

The only way for you to know how the film is is to try it. Even when someone tells you it was stored properly you don't really know. As @Pablo Cruz Villalbasaid - buy a roll and shoot tests at 50, 25, 12, 6 and see how it looks. Make sure you slate all this so you know what you're looking at. 50asa stocks hold up really good - same with black and white stocks- all lower speeds extend well when properly stored. the higher you go the worst it gets but then it's also cool because of the funky look you can get. I have a lot of frozen 5248, 5247, 5293 and they all look stunning 2 stops over, the 47 is also nice +1 stop only. I shot snippets of all my expired batches and cataloged the results in a spreadsheet so I know what to shoot at when I take out a can from the freezer. I also have really badly stored 500T 5298 that looks very cool even though it's totally blasted. Fun as an effect for special projects.

I always thought Filmguard was used in projection booth settings to "extend" the life of scratchy prints. For scanning it sounds like a nightmare as @Perry Paolantoniosaid - I could be wrong..

Thanks for the explanation and pics - they did what they had to do in the 90ies!

Interesting to know that light pipes are used (..or were) in scanner's backlight systems. I almost bought one from Edmund optics a few years ago but it was too small diameter - would not have been covering enough for 35mm. How big is the lightpipe and are there other lenses involved in the design ? Just curious - not thinking of using this idea.. my scanner LED system is really fine.

Looks really amazing - I wish we could buy some.

It's just a simple color balance - same as on digital. For un-corrected shots without 85 filter, a high quality scan is going to help a lot so you can push colors around. Did a quick balance in Resolve on one of the examples by @Adam Guzik - just by eye looking at the scopes. His grade examples are more creative, I just balanced it to neutral colors. Another way if you want a more automatic workflow is to go in a photo editing software like Photoshop and add curve / levels adjustment layers, use the "auto" options to get to what you like and save the adjustment layer stack as a LUT that you can import in your color software of choice.

This was a long time ago - it's a custom anamorphic lens using a Helios 58mm with anamorphic projector lens and a single focus element by SLR Magic Rangefinder. I think the helios was m42 so it was easy to adapt to K-mount. Later I installed a PL mount and hard mounted everything it's very solid and a good budget anamorphic option.

That's a long time ago, a lot of things happened since. I was never able to use the 3D printed version. Ended up getting a real lomo and a G3 and processed a ton of 35mm and 16mm. The ECN-2 works really great but it's expensive and if I remember efficiency drops fairly quickly. Good for small tests. I stick to B&W for home processing. Side note - I was never able to get "even" development with 35mm in a Lomo style tank, a LITTLE better on G3 but still not perfect at all. I tried everything (dunk, interminable agitation schemes, full dark room) until I threw in the towel. Issue is 35mm sprockets are too big and the chemicals flow through them creating uneven development. 16mm on the other hand is always perfect.