SWS

Thank you Dirk! I was wondering why there were edge numbers on that one! The "bottom" one is actually just another photo of the "middle" one so that all the edge info was visible :) :)

Thank you Simon! :)

I posted elsewhere in the forums about some 16mm film from the 1960s I'm going to have scanned. We keep going back and forth trying to determine whether they are reversal stock or print. I did not shoot this film, it was rescued from the trash heap around 1983. Both are color, double perf. The one we think is from 1965 is marked KODACHROME A and has a very easily identifiable base & emulsion side. In the supplied image, it is base side up. The one we think is from 1968 is marked EASTMAN SAFETY FILM looks like base on both sides, with the edge coding is plain as day. It's been so many years since I've shot or handled 16mm, I just can't remember what to look for :/ Images attached! :)

Yes, another 16mm question :) I have two 16mm color double-perf Kodachrome prints (less than 400' each) that I've been storing at the Academy archives in Hollywood. These prints from 1965 & 1968 document two world premieres here in Los Angeles and the color & condition of the both rolls are stunning. I don't think they've ever been projected. When we found them, we originally screened them on a flatbed Moviola and thought we had color reversal film. Closer inspection of the film over the light table revealed it was, in fact, Kodachrome. My question is: what is the best way to both archive this & digitize it for use in Final Cut Pro? There is lot of discussion on the forum regarding 2K vs 4K 16mm scans, but I'm presuming this refers to NEGATIVE, not print. Any tips, pointers or advice? Many thanks :)