Dirk DeJonghe

I once heard in a symposium ,when 4K digital cinema was just being introduced, that the human eye resolves about 3K when seated in an optimal position in the theatre in such a way that you can see the entire screen without head movement. This was a professor of the prestigious Fraunhofer institute doing research into these matters. I also remember seeing a fiction film in Imax, the sharpness was so good that we could read the menu the actors were holding in a restaurant scene, very distracting for the viewer.

I have been using this projector since about six months for grading and am quite happy with the color, contrast, sharpness, blacks etc. However, my projector shots off after 30 minutes of operation, in the middle of a job. I upgraded the firmware, modified the 'sleeper mode' from off to on with 2 minutes delay, but it keeps shutting off after 30 minutes exactly. No matter what I do, exactly 30 minutes to shutoff. I talked to some technical people working for Epson servicing and we tested all the error pages, no logged errors were found. We suppose this is a firmware bug. I would like to hear other users experiences. Fixed; after changing a parameter in the setting, you need to use the top button on the menu to exit and save, hitting escape on the remote will exit the menu without saving the new setting.

it could be that the 'cool' film in a hot magazine was starting to become sticky. if everything else was correct, this may have been the cause.

Definitely a camera problem, did you allow two fingers for the loop and push back the loop towards the bottom of the magazine nose? You can see the frameline changing thickness, this means the camera registration is not good, could be due to badly formed loop or camera or magazine problem.

Another factor to consider: the blue layer is the most grainy one of the three, but also contributes least to the image; in a tungsten film, the blue layer needs to be more sensitive because the tungsten light sources are less potent in blue energy. This makes that a daylight film (250D) is less grainy than a similar tungsten type (200T) when blue sky etc are involved. This said, (reasonable) grain is no longer considered as a defect but as a feature. We worked for a famous british director, first name Ken, who shoots on S16 because it matches his storytelling very well, if you have seen his films you will understand.

It still remains a problem with Double-X B&W negative film, AHU would not work and the grey base is the only anti-halo protection provided. It would still be a good idea to find black chromed pressure plates instead of shiny chrome.

I ordered Super8 colour negative films today, two of the 3 stocks are now delivered with AHU, new Cat number, no choice when the old stock runs out.

We use PFClean since about 20 years or more, it has been very stable, we get good support when we need it for special cases. We run on Linux 95% and Mac 5%.

ECN2 uses CD3 developing agent, C41 uses CD4, you would get an image but it would be off colour. If the bleach bypass retains the silver in the image, then the AHU may interfere with proper scanning of the negative.

We used three 1000ft rolls of this new remjet-less emulsion about 6 months ago and had no problems in an Arri 535B. If any, it looked very clean, it was still experimental and the curves were not yet perfect.

Hello, We are in Belgium and work for many international film archives. We can scan the original print with optical soundtrack, do digital restauration picture and sound, colour grading, and make a new 16mm picture and sound negative, then print to 16mm print for projection. We can also do scans from 8mm or Super8. It is hard to quote a digital restauration price without seeing the current state of the 16mm original print.

If you take a piece of 7222 and hold to in front of your eyes, you can see through it, if you take a piece of 7219, you see nothing. I don't have any of the test rolls without remjet left to test with the Aaton 35.

Tyler, We had problems with Aaton XTR with 7222, it shows up as vertical stripes on panning shots over a grey wall for example; this can happen if you overexpose. The light striking the emulsion is travelling through the emulsion and getting reflected off the shiny parts of the film pressure plate and exposing the emulsion from the back a second time. Never a problem with regular rem-jet color negatives. This happened on Aaton 35 as well (5222 only). Also the Lasergraphics film recorder's pressure plate had to be blackened because the diagonal pattern would show up on direct to color positive filmouts.

I received a couple of experimental 35mm/1000ft rolls for testing. It was non-remjet 500T; It worked well in the processor, the colour balance was not yet correct, but the overall look was very clean, less sparkle;

If you look at the pulse frequency at the head of the roll and compare it to the pulse frequency at the tail, if head frequency is larger then the x-ray exposure happened before camera exposure and vice versa. Use a waveform monitor and measure peak pulse to peak pulse in frames. You can visualize this like driving a nail sideways into the roll. Here is some more information on the firebomb attack on DHL, it is blamed on the Russians, but in these times, nobody can be sure about this: Firebomb attack DHL