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Charles MacDonald

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    Stittsville Ontario Canada
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    Real Photography. - I am an old A/V Geek at heart

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  1. brings to mind two technologies. the first is "Kodacolor" movie film, which used a lenticulalr film base and a special filter on Both the camera and projector. the filter would send the three prinaries to vertical areas on the film, and the lenticular stripes would send the same areas on the developed film through a matching filter on the projector. Not a long marketed product. the second is so called "single tube" vidicon consumer cameras, which had a filter on the front of the tube which resulted in teh colour information being able to be recovered from the video signal. the cameras would convert the result into "Normal" NTSC, PAL or Secam, and record it on VHS tape. that said, this is the first I have heard of this process.
  2. Early in making commercial colour films (as opposed to Home movies) using a reversal Original printed on reversal print film was the go to method in 16mm. some will have a soundtrack, but still be black, or black with edge printing, on the perf side.
  3. heavy leader for circulating film library prints. rough texture to knock off any sharp points in the gate of the projector, to avoid scratches. generally not something that is relevant today
  4. the video does show in great detail the process for making ESTAR film base. Hard to imagine Kodak being so open on their internal processes.
  5. yes, part of the early 16mm licence scheme would be that each brand of Camera had a special place in the gate where their was exposure to let the lab know what brand of camera was used. the closest one on the chart simon posted would be an AGFA-Ansco camera, but I have seen charts that go for a couple of pages. at the time,the cameras had two rows of perforations, and so no image was put in that area. Later, (Not that much later) it was decided that one edge could have the soundtrack instead of perforations. although home movies often did not have sound, and continued to use the double perf film. 16mm prints released for educational use, sales and amrketing and home and non-theatrical use would have the soundtrack instead of the right row of perfs. relatively recently (late 1990s) some cameras started using the entire soundtrack area to make for a wide screen image. that also uses single perf film.
  6. if you mean with a sprocket hole in between every pair of what would be 16mm sprockets, you may be talking about "Regular 8" regular 8 was exposed along one edge, and the roll turned over and then exposed on the other edge. after processing the film was split down the middle and the two parts spliced together. the holes were half the distance of 16mm sprockets so a total of 4 times the frames could be shot on each length of film. most often provided in 33 ft rolls (25 use-able feet) on a special spool for Home movie cameras. after processing the film was returned as a 50ft spliced length of 8mm film.
  7. https://www.kodak.com/content/products-brochures/Film/How-to-read-a-Kodak-film-can-label.pdf will give you what the label means. if you get the kodak price catalog, it has a listing of current and recent "sp" numbers. these are a decription of each type of roll that Kodak sells. I clipped a part of the table for 16mm film to give you an idea of the contents. the can will show for example "sp457" or the film type like DXN457. the same SP number may be available in different lengths.
  8. and if you are editing camera original, you may want to read up on "A and B" roll editing. that allows you to print from an edited camera negative without splices showing.
  9. deep in the Kodak web site are the current processing manuals. https://www.kodak.com/en/motion/page/processing-manuals which will expain all the various versions of the Kodak Prcesses. which may or may not help you to understand what happens in teh lab. If Robert says he made it work, I would belive him.
  10. I am wondering if you Might just try to get a few extra take up spools, (and cans) and see if you lab would be willing to do the extra splices needed to have for example two 50 ft shots count as one roll of 100ft. after your first shot, just cut off the film, and use a fresh take up spool to use the rest of the roll. be aware that for very good reasons MOST labs will charge each spool as 100Ft for developing, even if you only have 20ft on the spool. (for more effort to splice and keep track of each lenth of film than the actual cost of running it through the processor. then of course splice it again before scanning ot even printing.)
  11. looks a bit like a redox blemish... can you provide further deails on the age of teh film and it's storage. Redox is normally associated with Microfilm, but can affect any thin emulsion B&W film.
  12. B&W was always a niche product, and so might be more because of that, also it MIGHT require more silver as the image in B&W is silver, while the colour stock may use less. You may also want to note that it looks like they will sell ONE CAN of the Vison Color, But you need 3 cans worth to get the 3302. {16mm print film is almost always only sold as two rolls in a 35mm can.} you might want to inquire with the Filmotek- ORWO folks. to see what they offer as an equivalent.
  13. well, D76 was introduced as a motion Picture developer in the 1920s. and Kane was shot for relaese in the 1940s. D96 has replaced it for movie use, although it is still the "Standard" developer for both film comparison and still photography use. I would expect that the LOOK of Kane has more to do with Toland's skill than the chemistry the lab used.
  14. that would be in "Processing KODAK Color Print Films, Module 9 Process ECP-2E Specifications" which should be downloadable here : https://www.kodak.com/en/motion/page/processing-manuals
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