Dirk DeJonghe

Yes, it may work in most cases, but every time you change flights, a new negociation will have to take place. Outcome uncertain. I have had customers who had the choice of boarding the flight with x-ray inspection or be denied boarding. This would ruin your day either way. Anything that happens somewhere in the world may drive up geopolitical tension and may affect how lenient the inspectors are.

We advise customers not to carry unprocessed films on airline flights, it is very unpredictable if manual inspections will be allowed. Until recently the advice was to ship by air express (DHL, Fedex, UPS) to and from locations. We have done thousands of shipments without any problems. However, earlier this year, there were fire bomb attacks by parcel shipments, see this link: Fire bomb attack on DHL This means that x-ray scanning is now compulsory for DHL shipments, it affects mainly 500T filmstock on very dark images but is also cumulative. Previously it was possible to avoid it by asking for manual inspection at the shipping office, no longer. Luckily we have found alternative shipping by road, not at all subjected to x-ray, it takes one or two extra days compared to air express. These experiences are valid for Europe, other continents may vary.

Dpx and Prores can both be ADX10 log encoded.

I just uploaded an improved cheat sheet for Cineon Log scans import into Resolve. See my previous post.

A couple of years ago we did 'De Overkant' shot on S16 7222 Double-X. The short biographical film won many prizes, you can find it on Vimeo. A very nice example of historic 1960's feel.

Here are the settings I recommend to my customers and use myself for scanned film projects. It is in ACEScct because that is easy to exchange with VFX people and others not on Resolve. With this setting, all sequences you import in Media page are automatically available with the right settings for Cineon Log (ADX10) import and viewing on Rec709 output. If you import other color spaces, you need to right click the sequence in Media Page and change to whatever is needed. Once you have set all these parameters, you can click on the three dot menu top right of settings and store as preset for later use. Please read the attached cheat sheet as well, it takes you step by step. CineonLog_DaVinci_2024_12.pdf

Wasn't it Edison who invented Super35?

They have magnetic drive and will fit all XTR models not LTR.

It is called gamma, more processing time, more gamma, the whole B&W process is based on gamma measurement via sensitometric strips.

It would be interesting to see how the light leak looks like, say from 20 frames before camera stop (start of new shot) till 20 frames after camera stop. If the leak is in the camera, there would be an increase in fogging due to the camera being stopped (longer exposure time). If the leak comes from elsewhere, the fogging would be continuous. Unless the processing machine uses magazines (ours don't) I could not see where it would come from in the lab. If it would be x-ray damage, it would be pulsating and not parallel to the film edges, very unlikely.

The last official version of Kodak Internegative film 3273 was in fact the 7203 cast on polyester base without the remjet. We pull processed it and preflashed in the printer before picture exposure. Since it is no longer manufactured, we now use 7203 in the exact same conditions with the disadvantage that only 122m max rolls are available. We use the sensitometer tests to adjust flashing and processing to achieve a gamma of 0.50. The older internegative 7272 was in fact designed to be used with low contrast 7252 ECO reversal film, if 7242 or similar projection contrast Ektachromes were used as originals and mixed with ECO, we preflashed the 7242 in the camera before delivery to the customer shoot. 2273-3273-ti.pdf

The old way to print Ektachrome was to use either reversal print film or flashed internegative film and make a positive print from this. There was even Ektachrome Commercial 7252 with special low contrast that could be printed on internegative without flashing. This was how it worked in the 70's and 80's. Reversal print film has not been made for decades. Internegative film is no longer available but can be replaced by flashing camera stock and pull processing. The only viable option from Ektachrome is to do a digital scan and filmout. On the other hand, do you really want to project or have someone else project your priceless original Ektachrome? It is much simpler to shoot negative and make a print.

You also need to check if the fogging gets more intense when the camera stops between takes. Because of longer exposure times, if it is a light leak , the exposed area should be bigger or more exposed compared to the middle of the shot where the camera runs at normal speed.

What I advise for those problems is to get a small LED light that fits into the camera body, light it and sit in a darkroom for 5 minutes to see where light is leaking OUT of the camera.

The typical fault we see often with older Bolex cameras is when the filterholder is left out and light can come in via the filterholder slot on the right hand side of the camera, just behind the lens mount. This would give a vertical fogged area but to the right side of the picture. In this case you have thinner fogged areas on both left and right. I suspect light coming in from a gap between the camera and turret lens mount. The turret is only meant for light fixed focal lenses, or if you use a zoom lens, you were supposed to lock the turret in place. I believe there was even a dummy lens cover you could screw in to hold the turret locked, there was femail thread in the camera body corresponding to the top lens position for this part. This is what I remember from owning a Bolex Rex5 with Vario Switar 16-86mm in the late 1960s.