David Cunningham

Jose does use Neat on a low and fine setting. He does grading in Premiere pro and uses flat Prores 4444 scan from a proprietary scanner at Ochopico. They do a great job.

That was exactly going to be my next comment... the primary reason B&W stocks these days are not superior in pretty much any area to color stocks is because no one has developed a truly new B&W stock (or at least not an improved one) in probably 30+ years. That's part of why "The Artist", a B&W silent film, shot on Kodak Vision3 color negative and then desaturated in post. They wanted it to have a fine grain look with an organic film look, feel and softness (so they shot film), but they did not want to deal with the heavy grain, lack of latitude and just overall PITA is can be to work with B&W film on a major motion picture (so they shot color film and desaturated in post).

I have always found the B&W films such as Tri-x and Double-X to be sharper, but grainer. So, that's distracting and might lead one to not see it as "sharp" because it makes the resolution appear lower. Color films definitely have a "softer" look to them and color reversal that "softest" of them all. But yet color reversal will forever be my favorite. Go figure. :)

Ditto great turn around time.

Depends on the filter but most likely yes. If you can manually expose you can use a light meter to figure out your f stop or how much nd filter you need.

So... are videofilmsolutions a different group? I notice they provide many similar services, are next door to each other, but have different pricing. It's very confusing. I find it hard to believe there are two facilities next door to each other that both to 16mm ECN processing. I imagine one of the two must send it next door to the other, right?

They will be producing the original to start and improving later. The initial release will be the classic Ferrania Chrome 100D.

Because they themselves have said it will be the same emulsion as 20 years ago.

I believe they notch the AGFA as 250D so any camera capable will under expose slightly. However, being no pin cutout on the cart, his Filmosonic will detect a daylight cart and, I believe expose it at 100, as I believe it's not aware of a daylight film over 100.

your 1230 XL Filmosonic will likely over expose your 200d too much as it will read it as 100. A full stop over on AGFA 200d will be quite washed out. It might not be too bad for digital scanning but projection will likely be disappointing. No advice on that camera as I'm not very familiar.

Believe it or not, when talking a 30 minute film, you might not spend much more if you can find enough short ends in 16mm and the results would be far superior, unless you are truly going for "the super 8 look" including all its short comings.

Oh. And 200T and 250D are both great for sunset scenes. The 200T will look more naturally colored in yellowish sunset light where 250D will look more yellow and orange, possibly a good thing for a beautiful sunset. It's really a color preference issue.

Vision3 50D is by far the best super 8 film for fine grain, color and sharpness in outdoor light, even light shade. Vision3 500t is perfectly suited for a well built campfire. It's amazing lattitude and shadow detail will give you a great look shot wide open or stopped down just a hair. However, it will be considerably more grainy than well lit 50D so you might have some continuity issues making the scenes match in post. But, it is still the best way to go and will be worth the sacrifices.

I'm most amazed by the minimum order quantity of 20 rolls thus 40,000 feet! Makes us super 8 guys feel pretty small in the Kodak world. Lol.

Hi All, I have seen conflicting reports about the medium for Into the Woods. Kodak recently posted on their site that it was acquired on film, and I'd heard that once before. But, IMDB indicates that it was shot on the Arri Alexa XT. Does anyone have inside knowledge as which is true? Dave

Ditto, Just don't expect E100D results. Expect something more like 70s or 80s E160G.

I was actually able to use RGB curves in Premeire pro to time back most of the halo. Looking much better now.

So, FYI that I answered a bunch of my own questions by re-watching this footage a few times on my trusty Kodak Pageant projector... The hallos are not there. So, it's something in my video. Working with Premeire and the original Prores 4K 4444 files now to try and get rid of it. But, the good thing is: 1.) It's not on the film 2.) It's not caused by the film (no anti-halation, etc) 3.) It's not the Switar lens. Also, the text in question at 1:24... I can read when projected. So... just not high-enough res a scan, I guess.

Also, if you can find it, Orwo, Adox and Foma b&w negative and reversal stocks are available in Super 8 and can be processed in the US.

Ektachrome 64T - E6 Ektachrome 100D - E6 Velvia 50D - E6 Provia 100F - E6 However, all of these color reversals are discontinued, hard to find, and sold at a premium when you can find them. AGFA/Wittner 200D - E6 Kodak Vision3 series of ECN-2 negative films Kodak tri-x and plus-x b&w reversal (the latter discontinued) If you can find it, any VNF-1 film can be processed in E6 but most of that film is old now and results are usually poor. All of the older Ektachrome is quite old and processing no longer available except through film rescue international or Plattsburgh photographic. But, the processing cost is very high ($50-70 ) and results usually bad. It's not worth trying.

Sorry. I really thought you meant the scratch. I see what you mean. Very subtle but evely likely the scanner.

I can't see it in your test 3 image but your test 2 image looks like a scratch to me.

Hi Scott, Unfortunately your Kodachrome can no longer be processed in color. You can only have it processed as b&w negative. Even then, the results will be iffy. Also, it will be costly to do. The best place for processing that is Film Rescue International. Your 200T you can send to: Cinelab - www.cinelab.com - Massachusetts Pro8mm - www.pro8mm.com - Hollywood Spectra - www.spectrafilmandvideo.com - Hollywood All those locations can also do transfers to digital for you, although my favorite for transfers is Gamma Ray Digital in Arlington, MA - www.gammaraydigital.com

Hi All, Here is some Super16 E100D footage shot with a Kern Switar 25mm AR lens on a Super16 converted Eclair ACL. There is noticeable "halo" around anything bright white. Strong examples at 1:24 and 1:44. My question is, do you think this is caused by: 1.) The scan - note it's around the perfs too... although that may be a different halo 2.) Chromatic Aberrations in the lens - I originally thought this was it, but then realized I usually at least had it stopped down to f8. So, I figure that is unlikely. 3.) Lack of anti-halation layer on E100D (leaning towards this). Also at 1:24 notice that you cannot read any of the text on the bouncy-house. This is a 4K scan. You cannot read it even on the original. Do you think this is: 1.) Lack of resolution of the E100D film 2.) Lack of resolution/mtf of the lens 3.) Imperfect focus of the lens (I don't think this is it as it's a 25mm lens, about 25 ft away, at about f8). Thanks for your input! Dave

All color corrected material I have ever seen from video film solutions has always been fantastic, so I'm certain they and their equipment are capable of superb results.