Andrew Wise

I’ve seen this same thing, someone told me it was a wax they applied to the film after processing. But I’m not sure if they were guessing or speaking from first hand knowledge.

Thanks for the info, that’s really interesting to hear. Good to know about that to keep an eye out for it. I’m really not sure if anything was used on this film, the other films in the collection didn’t have the same issue, although they were different stocks, and could have been stored elsewhere and treated different before they came together.

I’ve developed fujichrome r25 in ecn2 and tried a reversal process using b&w as first dev, then ecn2 as 2nd dev. Both worked ok. the remjet is particularly bad, it comes off as flakes and strings, it sticks all over the rest of the film and gets stuck in the emulsion. I used a lomo tank, and I couldn’t fine a way to wash it off successfully.

Thanks for all the replies and advice everyone. Thanks Bob, I used the filmfabriek here so I could push the RGB light source, I balanced it to be peak white. I've tried some colouring in resolve but I'm not that skilled, and it just takes away from the other colour of the film. I took some of the leader where the dye had also pressed into it, I couldn't get it out with any alcohol (iso and ethanol) and water. But it could be different to the film base. I could try steal some from the tail. It might be something I just have to leave as is. Just do the best scan I can. Maybe someone down the track can do some further work on the files

Unfortunately it’s not just the standard magenta fade that you’d normally see which I can correct, It’s magenta ghosting from the frame that was rolled on top of it in the wind. here’s an example - https://app.frame.io/f/df4571a5-c6a7-40f1-a81f-d48e8f0d563c a friend told me it could be from a tight wind, or maybe film cleaners or lubricants used in the past.

Hi all, I have some 16mm film with signs of vinegar syndrome, mostly just smell. But it was stored in a can with another film with full blown VS. I’m not 100% sure on the correct word to use, but I believe it’s Ferrotyping? It seems the emulsion has leached some dye, and it’s become pressed into the base. It doesn’t come out with alcohol or water. it’s only purple/magenta in colour. the film still seems to have ok colour going on. its marked as Kodachrome on the film edge. it’s the first time I’ve seen this before. Is there any fix either chemically or in post? thanks!

Yeah thats why I keep the horizontal stabilisation off, luckily the gate on the first gen Pictor has two sprung fingers to keep it against the edge which work quite well.

That’s another one of my uploads, same YouTube channel. From memory I may have applied translation stabilisation in resolve to that clip to take out the handheld shake. I’m not sure Dan has a scanning company, But no, the place I was talking about that did a transfer on that same film before I did, is quite an old business here in Australia that has been doing it for a while. But they are still using the same old equipment, giving people SD only transfers. They were the best once upon a time, but just haven’t upgraded the machines and workflow as scanners improved.

Nothing wrong with the HDS camera, what I mean is when looking at the quality of a lot of 8mm that I scan, I can’t always see much of a different scanning in 4K vs 1080p on the Pictor. There are some films that I can see the difference, quite often actually standard 8 film, I guess the better gate design and prime lenses - I don’t know. And of course there is nothing wrong with scanning at 4K, and in a sense it is nicer to have it play on a 4K monitor. That film was not stabilised in post, but it was stabilised in real time from the scanner software, you can either choose to stabilise vertical, horizontal, or both. I choose vertical only because as we know now the sprocket hole on s8 likes to dance around horizontally.

I have the first gen launch Pictor, 1080p but with a sound head and the Ricoh lens. I DIY changed it for the schneider kreuznach current lens. (it’s not a quick swap). The build quality of the machine is excellent, I got to see it all when I pulled it apart to see the lens. The Pictor is an awesome little scanner, and would buy another if I needed. The Pictor pro with the slight resolution bump is temping, but 1080p works very well for 8mm I’ve found when comparing against 4K scans I’ve done on the HDS. Software is easy to use, all the options you need are there and straightforward. it will stabilise the image in real time tracking the sprocket hole, similar to Lasergraphics (so I believe, haven’t used one). it works very well to avoid those bumps at splices too. the sound option is very nice, on mine I can capture real time 18 or 24fps as an uncompressed AVI. Occasionally I’ll get a dropped frame, but I’m using a little HP omen laptop which probably can’t keep up. you use the companion software FFtranscode to transcode to ProRes or other codecs while it also applies the audio sync and offset. id normally scan at around 8fps as a DPX sequence so I can use the wetgate and allow it to dry. I’ve been temped to just extend out the film path with some more rollers to allow faster scan speeds with a longer drying path. the light source is more than bright enough, something that irritated me about a different brand I had. And being RGB you can tune it to the film. The colours straight from the scanner are ok, but they do need a tweak to get it right. I worked out a preset for the gamma levels that I always run, and I have a lut that I now drop on the files to correct them. If you ever get one, I’m happy to share that with you. Support from FilmFabriek is good, they reply to my emails same day and will log on remotely if need be. But I’ve never needed support on the Pictor, it’s worked perfectly. I only needed support on the HDS after I changed the camera to get it setup. feel free to ask any questions if I didn’t cover anything. I’ve only got one video uploaded that I scanned on the Pictor Pictor scan example

I’m keen to know more about your gate design. I’ve been trying to make one like the Lasergraphics for my HDS with the hinged chrome plate that comes down. Also extending the gate down to there the laser is to avoid it waving around if it’s warped

As for the standard gate, is it flat also? or does it have a slight curve in it to keep the film running on the edges?

What does the archival/shrunk film gate on the scanstation/archivist look like? And any feedback on how it performs?

I think it was, local TV station story. It’s positive film

I’ve had issues with scanning home developed ecn2 vision 3 on the epson v850. I find it impossible to get the right colours, I tend to use a b&w profile. No matter what I do, it still wants to do some auto control. But I’m not a silverfast expert. My uneducated guess and future plan would be to use a DSLR/mirrorless with macro on a copy stand, photograph it and then invert negative in resolve. I’ve experimented using my little aputure MC RBG light as a backlight. You can push it to a blue hue to compensate for the orange mask which is quite cool. I have considered making a little 3D printed neg holder with diffuser to sit over the aputure MC, under the copy stand.