Dirk DeJonghe

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.

You can use the Origin C+ as a timecode generator to enter timecode into your recorder. I use a Nagra 4S with Aaton module. An Aaton Cantar would be ideal since it has all the hardware already built-in.

You can get along nicely with Prores 422 in case of B&W, only the first number 4 (Luminance) if of importance.

We have been one of the pioneers for the Aatoncode system. It used to be visible, man-readable numbers plus barcodes on film and man-readable numbers printed on white SEPMAG stock. It then evolved to telecine via Keylink putting man-readable numbers in the image plus machine readable timecode in 3-line modified VITC on Betacam SP or Digital. Since everyone is now receiving rushes on fileformats, either we sync the timecoded audio to the man-readable audiotimecode on the picture (in case of rushes), or some users use an timecoded clapperboard. The good old clapperboard still works with a crystal controlled camera. A digital audio recorder should be sufficiently stable to allow lip-sync with the clapperboard. I think you can find a good selfblimped camera with crystal controlled motor for less than doing a DIY hack on a noisy old camera.

2 perf has no place in this discussion, it is strictly a capture format just like S16.

David, In post #7 the OP stated he wants 4 perf anamorphic, the title is misleading. The special S35 to Scope lens we have allows only one setting: from S35/2.25 to Scope. At any other frame size the results are suboptimal. In some countries in EU it was common to shoot on S16 for shorts, make a contact answer print, and then a direct blow-up to print, the optical sound being exposed on a 35mm contact printer. We did hundreds of those shorts, only one print was required for festivals. For feature films shot on S16 we worked via IP blow up, contact DN. When doing a S16 to Scope feature we had to use the optical printer for both steps (IP/DN) giving an exceptional quality from a very small negative area.

We had the pleasure to work on 'Toivon Tuolla Puolen' for Finnish director Aki Kaurismaki. Both a DCP and 35mm print will be shown at the Berlinale. The 35mm print is directly from the orginal negative shot on Vision3 500T, DoP was Timo Salminen. More details on this link: https://www.berlinale.de/en/programm/berlinale_programm/programmsuche.php?screenings=efm_festival&page=1&order_by=1&documentary=&section_id=60&cinema_id=0&country_id=85&date_id=0&time_id=0

If you shoot S16 with spherical lenses, we would first do a S35 Interpositive Blow-Up. From this we can squeeze the image to be anamorphic going to the Duplicate negative stage. Then contact prints with optical soundtrack can be made. We haven't done this in the last ten years, but the equipment and the people are still there. Another way is to use anamorphic lenses on the camera and do a direct blow-up (only for small number of prints, after conforming the negative).

Patrick, we use Fedex daily. Never a problem with Xray. I can get the package collected from your location, send me details by mail;

Processing Ultra16 in my lab is no problem, cannot do telecine or scanning or printing;