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Dirk DeJonghe

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  1. Dirk DeJonghe
    Interesting label: it was made after the foundation of the German DDR (East Germany) and before the old Agfa in Wolfen changed its name to ORWO (Original Wolfen, the pre-war Agfa factory was located in Wolfen). Googling a bit should reveal its age. VEB means Volks Eigenes Betrieb, only used in DDR probably. Film can has some historic value, film will be heavily fogged by now, probably 60 years old or more.
  2. Dirk DeJonghe
    You were probably watching a DVD/Bluray? Anyway, in those days there were no Digital Intermediates, only normal Intermediates and Kodak Premier print stock was not yet invented. I don't know if Fuji Intermediate was already available then but a decade ago it was and if you made an interpositive onto Fuji Intermediate and the duplicate negative onto Kodak Intermediate, you got an extra saturated look. Back then DoPs would do lots of test with emulsions, make-up, lenses, filters etc to achieve the look they wanted.
  3. Dirk DeJonghe
    Go from Paris to Israel and back, 100% sure to have X-ray damage on your film if in checked luggage. I have seen it several times from several different customers. Zero problems with Fedex, UPS etc. They use their own freighter aircraft.
  4. Dirk DeJonghe
    Don't put it in checked luggage.
  5. Dirk DeJonghe
    I think he means 16-2R, perforated two edges, not 2 perf pulldown. I would add that the optical performance of most lenses goes down when stopped down more than T11, so in good conditions it is best to avoid 250D unless you carry ND filters. Heavy ND filters on the other hand make the viewfinder very dark, especially on Bolex-type cameras.
  6. Dirk DeJonghe
    Tape splices (double sided) are OK for a limited number of passes in the contact printer wetgate. With more than three passes, the tape will start to stretch and you may have larger jumps at each splice, if even more passes the tape adhesive may become dissolved and the splice may open with possible damaged film. Scanners and optical printers with pin-registered gates are also problematical, if these printers get out of step with the perforations, they start to make new perforations at random, not usually in the right position. Workprints that are now 99% polyester are best spliced with tape, if you insist on splicing negative, it would be best to learn cement splices. I recommend the Hammann film cleaver/joiner for good clean splices. Do a couple hundred splices on practice stock beforehand.
  7. Dirk DeJonghe
    I could be that the formaldehyde was left out in the final stabilizer bath. Formaldehyde is not required in the ECN stabilizer but is required in ECO/ME4/VNF1/CRI processes. Some labs have been known to use common ECN stabilizer for all. Of course, you don't see the effect until many years later. Are you sure they are CRI (Color Reversal Intermediate) and not reversal dupes. CRI was used to make a new negative from a negative in one single step using special masked Ektachrome stock.
  8. Dirk DeJonghe
    If you take off the motor, you will see what I mean.
  9. Dirk DeJonghe
    In the days when the ACL was used professionally, it was well known that the flicker was caused mostly by a worn rubber connecting shock absorber between the motor and the mechanism. With age, this disk will get softer and the holes will grow larger. Replacing this shock absorber will solve many problems.
  10. Dirk DeJonghe
    Optical film recorder or optical camera. Records incoming audio to optical negative on B&W sound negative film. Can be mono, Dolby analog (SR), Dolby Digital (SRD) and DTS; and Sony SDDS on 35mm, on 16mm mono only.
  11. Dirk DeJonghe
    These tape splicers are strictly for workprint NOT for negative that is to be printed or scanned. Telecine would be OK with tape splices. We would need some more details on how you want to handle/finish the 16mm film in order to give best advice.
  12. Dirk DeJonghe
    I would recommend you use colour negative film. If you put reversal original camera film in a loop, it will wear out after xxx passes and then you have nothing left of your work; If you work on negative you can make as many prints as you like, make serious colour correction, have different prints for tungsten, xenon projectors, backprojection etc. The only way to make prints from a reversal today is to make an internegative. The only current stock available is Kodak 7203 or 7207, 50D and 250D respectively.
  13. Dirk DeJonghe
    I am sorry to rain on your parade, but the 7273 is as close to the 7203 as you can get. I think it is the same emulsion, they give instructions to pull-process and flash in order to get the proper 0.50 gamma required for internegatives. The older 7272 was really designed to make internegatives from low-contrast reversal originals such as 7252 ECO and flashed ME-4 and VNF-1 process films such as the 7242 EFB, 7240 VNF etc. The intermediate 7242 is not going to help you a lot either (it does have fine grain). Since it is designed to be a characterless stock, it would look very bland when used as camera original. All colornegative stocks have a 'character', think of the difference between an 7219 and Vivid500T, some are more pronounced than others, but intermediate stock is 'dead', its sole function is to transfer and retain the character of the original camera negative.
  14. Dirk DeJonghe
    5234 is processed to a gamma of 0.65 which is the same as camera negative. The color intermediate films are designed to come out at gamma 1.0.
  15. Dirk DeJonghe
    We get daily shipments of exposed but unprocessed films from all over the globe. Never had a problem with UPS, FEDEX, and similar carriers. All the X-Ray damage we saw was done to films in checked luggage carried by the crew. Israel is particulary bad but also the major airports in Paris for example.
  16. Dirk DeJonghe
    Right, I still remember receiving the first fresh rolls. It didn't have T-grain yet but had a much improved tonal range compared to 7247. Must be very fogged now.
  17. Dirk DeJonghe
    The first ECN2 (high temperature) stock was 7247. The last ECN stock was 7254. 7291 was the successor to 7247 so definately ECN2. If you would process an ECN stock in ECN2 process the emulsion would not survive the 41.1°C temp of the developer. Kodak sometimes recycles emulsion type numbers but that would be evident from the age of the label.
  18. Dirk DeJonghe
    The polyester stock is still available, it is the acetate stock that is difficult to get.
  19. Dirk DeJonghe
    David, the site is out of date. B&W 5366/2366 Is no longer manufactured at all. We tried to order 7242 (Color Intermediate 16mm single perf, acetate) from the US (still in the US price list). No luck. There may be some rolls floating around in labs still. if you know a lab that can spare a few rolls, we buy. The answer? I haven't done any professional films with effects the last year that weren't done via DI. The films we do via traditional way are artist's films and they don't do vfx, only titles which we record to camera stock.
  20. Dirk DeJonghe
    David, It is unusual but not impossible to run A-B rolls in 35mm. Usually dissolves and effects are AB-rolled and printed to IP/DN. The DN is spliced into the OCN. For large print runs an new IP/DN is made from this composite OCN/VFX-DN. For small productions needing only a few prints, they are made from the OCN (with very high quality). I guess we will be forced to do the digital recording back to low-speed camera stock instead of intermediate stock (I am speaking of simple titles, etc). Intermediate film has much finer grain and a longer straight portion of the curve. There is also an edge-effect that enhances sharpness. My inside information is that the manufacturers prefer to make polyester versions only of low-volume labstocks because acetate shrinks with aging and polyester stocks remain 'in spec' for a longer time. I don't know of any clean way to splice polyester to itself or to acetate. Ultrasonic splices are very crude and not suitable for shot-to-shot splicing.
  21. Dirk DeJonghe
    Just a word of caution maybe, intercutting Intermediate negatives with 35mm OCN just got a lot less interesting since Kodak (the only current manufacturer of Intermediate stock) decided to make only polyester stock available. It is nasty to have to splice acetate original and polyester effects together. In 16mm it is even worse since they decided (in all their wisdom) to manufacture only polyester double-perforated intermediate stock, not very helpful for S16 productions.
  22. Dirk DeJonghe
    A big difference between Aatoncode and Arricode is that only Aatoncode carries man-readable timecode numbers in addition to the bar codes. In a pinch the man-readable numbers might be used by a negative cutter but they are not really designed for this.
  23. Dirk DeJonghe
    I never understood why some labs absolutely wanted to make an IP/DN from a recorded negative losing even more quality on the way. Your recorded negative is not an original and you can make more if you need to. if you sit in a seat in a theatre where you can see the entire image at once, only a few percent of the human population would be able to see the difference between 'good' 2K and 4K. Using this parameter, a professor from Fraunhofer Institute once explained that the human eye is really no more than 3K (someone with very good eyesight).
  24. Dirk DeJonghe
    Little old ladies call in to complain they don't get the whole picture since there is black on the top and bottom. Once I worked on a big budget film with Peter O'Toole in a small part, it was beautifully shot in 2.35 and a certain North American broadcasting company demanded a 4/3 panscan version. A nightmare if you ask me.
  25. Dirk DeJonghe
    The Dolby license is not the problem here, but you have to make a physical SEPOPT negative, of course you can make many prints from this negative. I just wanted to make it clear that for a single print it is a fair percentage of the total lab cost.
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