Dirk DeJonghe

Simon is right.

This is the old Ektachrome Commercial. It needs ECO2 process which was already outdated when I started ECO3/7252 process in 1976. It has a remjet backing; It is extremely unlikely to still give a useable result. You could try processing it as a B&W negative.

Double-X certainly has halation. It shows up as white circular halo around strong light sources such as car headlights. Shoot the same shot with ECN and it will be missing.

Anyone has a lead to rent or to buy?

For 'Irina Palm' we created a look which was Bleach Bypass combined with a one-stop Pull process to get desaturation (bleach bypass) without the contrast increase (one stop pull).

I have a fair number of 3000ft/35mm cans if this can help, just pay the shipping charges.

Satsuki, Your explanation is correct. On B&W film you have to be careful with negatives that are too dense (over 25). The grain increases with density on B&W and the negative becomes harder to scan if too dense (silver in the emulsion) leading possible to more digital noise in the scanner that can combine in an ugly way with the increased grain. The best advice to the OP is to do some tests and talk to the lab.

Double-X is certainly not a modern Vision3 stock; It is a very classic B&W stock, first launched in 1958 if I remember correctly. You don't want to overexpose Double-X since it will increase grain and make scanning more difficult; Aim for printing lights around 20 for Double-X. The real Vision3 stocks can be exposed at about 2/3 more open than rated. Aim for printing lights of around 27-32 (green channel). You should shoot a few test rolls and see how it compares with your photographic experience. Talk to the filmgrader in the lab.

You will need to find magnetic striped camera filmstock. If you find any it would be ME4 or VNF1 process, long in the tooth.

There are submerged spray nozzles impinging fresh developer on the emulsion side every few seconds. There is one pump for heating, circulation and filtration of the developer and another powerful pump only for agitation. Movement of the film itself is not enough to insure streak-free processing.

The person doing the prepping before transfer should catch this mixture and make up different feels for each perf standard. The telecine/scanner and Keykode reader are set up completely different. It is best to split the reel and clearly mark the can.

Nitrate is the base, just like acetate or polyester. it has no relationship to the look of the emulsion. We still use B&W acetate and polyester base stocks daily. if processed to the same gamma, there is no difference. Nitrate is no longer manufactured since the 1950s because of flammability. 16 and 8mm never were on nitrate base because of intended amateur use.

After 45 years in the lab, I have seen the results of a film break in processing machines more than I like. The first duty of the lab is to inform the customer of the incident. Production insurance should cover this.

To me it looks like a break in the processing machine where the film remained in the developer for several minutes. Your lab should explain what happened.

Red fogging means then film is exposed to light coming via the base side. Get yourself a small flashlight, put it inside the magazine (both supply and take-up side), sit in a dark room for 5 minutes. You will see where the light comes out.

It is already processed, it contains images and charts to set up a telecine. Not very useful unless you have a telecine;

Overexposing 7222 will increase the grain. Printing lights around 20 will give best results. Orwo is not bad but first check if it will run smoothly in your camera. Do a serious test before committing.

The director was awarded a Silver Bear for 'Best Director'.

I am sure any of the local filmlabs can help you, just give them a call.

What you need is B-Winding, these days Kodak puts 'EIB' on the can, meaning emulsion in, B-winding. Double perforation will also work.

You will always have circular halo about strong overexposed highlights like car headlights in a night shot. This is entirely internal reflection in the baselayer of the film stock, unrelated to the camera. The other type of halo is the reflection off the chrome bars on the film pressure plate back into the emulsion, exposing from the back, these will only be visible on an even background with overexposure. The first type could be considered 'artistic' but certainly not the second type.

B&W processing doesn't allow a rem-jet backing. The best you can do it to have a matte black film pressure plate in the camera. Bolex is fine; Aaton and Arri have shiny chrome and may reflect overexposed light back into the emulsion from behind. You can check this by removing the lens, with no film in the camera and looking at the pressure plate while the camera is running. You will see circular flare around highlights, for example a car headlights at night. This is light penetrating the emulsion and being reflected back off the base back into the emulsion. On certain cameras with shiny chrome on the pressure plate, you will see a pattern on the negative that matches the shiny bars on the pressure plate. If you keep the exposure to the low end you will avoid this problem except for the circular halo on point highlights. If your printing lights are from 18 to 22 or so, it is unlikely to pose a problem. The gray base acts as a anti-halo layer.

Good interpretation.

From the mouth of the director while screening the 35mm print, after working two days on the DCP: 'This is cinema!'

The Cantar audio files will have the Aatoncode embedded, sync should be easy then. Anyway, I suggest you do a test before shooting anything else. Remember that you need to set the proper ISO speed on the camera in order to have the correct Aatoncode exposure on the negative, even if you don't use the internal lightmeter.