Ludwig Hagelstein

yeah but the cause is pressure. The brown streak you see is a pressure mark coming from the film not running correctly through the camera. Plus there are abrasions on the base side of the film.

Tyler what you see here in brown is a pressure mark through the back side. The film did not run through that camera clean.

Tyler this is not correct. 65mm processors run with 65mm wide tracks/rollers. The machines are designed for a speed of around 75ft to 120ft per Minute and dimensioned for wide gauge. However, you can also run Super8, 16mm and 35mm on 65mm machine. The narrower film runs at the exact same speed. No rollers are changed etc. Same with a 35mm machine that runs 16 or 8. Speed is a function of how many racks / loops per tank and that is determined by machine design. On your average 65mm machine a color developer tank has about 850L developer in it. Regardless if it runs 16mm or 65mm. Just the replenisher rates change.

"the chick who does Nolan's films". Show some respect ffs.

Hey Kevin, have a look here: https://www.andecfilm.de/en/productions/ same day turnarounds and the best scanning options far and wide

From experience of having processed and scanned a feature and multiple commercials now on AHU 16 and 35mm stock I can guarantee you all the fear with pressure plates and halation is waaaaay overcooked. We did not encounter any issues. The only thing you'll notice is that the film is cleaner. That's it. There is really no reason to be afraid.

The only other lab in the world that does proper 35mm Cine E6 is Andec Cinegrell in Berlin. They did Poor Things, for example. You can have a look here: https://www.andecfilm.de/en/ektachrome Everyone else just does cross processing. Here's a Lufthansa commercial shot by Max Pittner on 35mm 8-Perf VistaVision Ektachrome, all done in Berlin:

Andec in Berlin can do digital to either real 16mm neg and print, or even Super8.

Interesting use-case... We still have a working spirit in Berlin... but not in the US obviously.

it wildly depends on where it was scanned and which pipeline they used. Log Scans from the Scanity dont have a color space per se - there are different logarithmisation options with Scanity, one is called CPD-K, the other is called CPD. When you work with the CPD-K curve in a 10 Bit setting, you get a Cineon Log approximation, but alas, the resulting .dpx dont have a color space - you have to assign it in postpro. If your posthouse did a clean transcode of the .dpxs to ProRes without doing a color transform, then you should be able to assign any working space you want - also, dont mess around with cineon log luts.

Cool. Where did you scan?

Go for 4444xq, but no, no visible difference.

Film Restoration with AI is a tricky thing. Film restoration is in most cases also about making a decision what to leave in, and what to take out.

Cinegrell in Berlin offer Neg Cutting as well, through Monika Dörge.

B&H arbitrarily adds markup. By through Kodak directly, here are transparent prices: https://www.kodak.com/content/products-brochures/Film/Kodak-Motion-Picture-Products-Price-Catalog-US.pdf