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  1. Hi everyone, I recently got back into analog photography and (re-)discovered with interest that some of the motion picture films are used by certain photographers and even home-processed (Kodak Vision 3 series seems appreciated). As a not-complete-beginner in home-processing for stills (mainly B&W to be honest), I see some opportunities for me discover new horizons by doing the same for S8. Apart from the obvious question of appropriate hardware and chemicals (Internet is my friend), I was wondering if some of you guys have experience with home-processing S8 and what is your ta
  2. Hey guys! I just finished a 16mm shoot and am on the process of sending the negatives do be processed by CineLab London. They offer tons of scanning solutions and I'm kind of confused with some of them. Would love if you guys could help me with some questions :) 1.They state that all of the scans are deliveres as .dpx "full frame" files - Full Frame is only the image? Or will I see the borders, sprockets and etc? 2. What does it mean to have the negatives "overscanned"? They offer this option only on the Scanity scans - does it means that I'll see the sprockets, borders, etc?
  3. Hello everyone, I just hand-processed a roll of 16 mm in LOMO tank and the film is either all black or half-brownish, like on the picture. Visible frames are like underneath this brown strip. Is it possible that the tank leaks the light in? Wouldn't the film be clear in that case? Film is reversal FOMAPAN R, developed in FOMA kit. I am fairly new at this and probably asking something obvious? Thank you for any advice, Ivana
  4. I have never dealt with Cinelab before. I was mainly interested in their Xena 2k scans as they are better at reading underexposure and I was running and gunning at night and mainly just using a beater handheld cam I acquired and was more of a camera/scratch test and comparing scans to a certain degree. I sent in 100' of 7219 to be processed and scanned at 2k thinking this would cost around $70. I initially selected DPX but the decided ProRes would be more than fine. I tried to call and emailed Robert as soon as it went out and said I didn't update the order form to ProRes my apologies
  5. Hello everyone, My friend Fred and I wanted to go out and do a camera test on my ARRICAM. My other friend and her dog were in town visiting at the time, and we thought they had a cool story to tell. One thing led to another, we ended up making this tiny little documentary call Zema. Check it out if you are interested: Shot in one day with only available light. Tested 6fps, 24fps and 48fps on Kodak 5207 and 5219 stock with Zeiss Superspeeds MKIII. Film processed at the Kodak lab Pinewood Studios. Would love to hear your thoughts. Share it if you like it! Cheers, and ha
  6. "The number of ads shot on film and processed at Cinelab doubled in 2018 to around 350, and there was an increase in pop promos to 50-plus, many shot on Super 8 and Super 16 as well as 35mm." https://www.broadcastnow.co.uk/tech/film-stages-digital-fightback/5135915.article#.XEHdhn_xPh0.twitter So film is far from dead.
  7. Great news for film enthusiasts in Australiasia! Archives New Zealand has reached a deal with Park Road Post Production to take ownership of all film laboratory equipment and set up a new film processing laboratory here in Wellington, New Zealand! This has been approved by the NZ government and is to serve Archives in finishing all their restoration needs in the coming years, but also to provide processing for public use. The Archives are taking the ECN and both B+W Neg and Pos machines (No ECP), a number of printers, cleaners etc. This will be a full service laboratory, employing mos
  8. Because the demise of Kodak B&W Plus-X emulsion (31), shooting B&W film outside is challenging. 5222/7222 is the only Kodak B&W camera stock. Outside it is has an exposure index of 250. In the test described below the daylight was metered at 8,000 foot-candles. At 24fps this would require a f stop setting of around f64, or a very dark ND filter. Most lenses are sharpest at about 2 stops from open, this is impossible for 22 outside without using an ND15 or ND18 to get f5.6 or below. The contrast of direct sunlight & shadows is a struggle for any photographic medium. 5234 B&
  9. Hi All, I was just wondering whether anyone would be able to comment on their experiences with both Cinelab London and iDailies. Ideally, I'm looking for those who have used both companies and would be able to provide some kind of comparison. I understand that the differences between the two will mostly boil down to pricing and service, but I wondered whether their telecines and scans differed at all. (They do both, Cinelab in particular, have a number of option with regards to the type of scan they will give you - HD, 2K Spirit, 4K, etc.) I'd be interested to know also whether people
  10. Hello All! New user here and I'm hoping this great community can help me out. For the past week, I have been desperately trying to find a comprehensive and complete guide to processing Kodak Super 8 Tri-X 7266 at home. I can't seem to find any localized complete source of information on how to do this--while I've been able to find what sort of materials I'd need, the chemistry bit seems really though to understand. There seems to be multiple opinions on what sort of chemistry to use, but no real guide on how to do it or which chemistry works best. Now to be honest, I've never dev
  11. Hey everyone! So I live in NYC and I've been shooting Super 8 as a fairly serious hobby since last summer. I love it. This forum has been a source of so much info. I've already bought several cameras, shot vacations, field trips, events, etc. Problem obviously is it ain't cheap! And even more of an issue is minimums. Given that I don't normally shoot 4+ rolls at a time, I've been forced to wait for weeks if not months while I slowly shoot more rolls until I meet the minimums. I've gotten developing from Spectra with their film+processing packs for ~$40/roll but that of course doesn't i
  12. Hey crew, Hope this isn't against any rules but figured if there was ever an audience for this, it's everyone here. So I just wanted to spread the word and ask for help for an amazing cinema arts organization here in NYC. It's called Mono No Aware and its director, Steve Cossman, has been running really fantastic 8mm and 16mm film based workshops and screenings in NYC and honestly all over the country and world for 10 years now. Most of those workshops have been out of its directors apartment in Brooklyn as well as NYC-based community darkrooms. I just want to be clear... I don't work
  13. So I shot a roll of Kodak 50D and 200T while on faction in mexico and recently sent the film out for processing and scanning. Yale Film and Video did the the work and called me when they were doing the telecine to ask if I had gotten my film wet since it was showing spots across both rolls. They checked the rolls that were processed before and after me and said the issue wasn't present and it was just my film. According to the lab, the spots were present on the emulsion side of the film if you examine with a loupe. I did not get the film wet so I'm not sure what happened? Screenshots o
  14. Hey folks, My school likes to go through color lab for film processing/telecines, but it seems as though they are limited only (as evidenced by the telecine form) to 4:3 and 16:9 Aspect Ratios. Shooting on Super 16, I framed for the native AR of 1.66 and would prefer not to crop the top and bottom of my frames -- even if it's still "...the same basic shape" as they put it. Are there any other easy to use/ship to and quality labs that can telecine our rolls at a 1.66? Thanks in advance! Any help is appreciated.
  15. Photoshop levels applied to boost blacks, gentle low-pass filter added to increase sharpness. Maybe my best Tri-X test so far, and a good alternative to the previous gritty Rodinal (APH09) look. I like the poetry in this frame. Out of focus, perhaps due to the fact it is a hand-held panning shot, made in haste whilst the sun broke through he clouds. Of course HC110 is cheap and has a long shelf-life. My sealed glass bottles are now over 2 years old. Note. Pan X in HC110 lacked compared to APH09, so this is a nice surprise. Next up will be D19, later in the week, But maybe it
  16. Hello, I have a short film shoot set to go to camera early November and we're shooting on Kodak 35mm film. There's a particular scene involving two characters who go out for a night in the city and involves them running through the streets, in china town shops, and restaurants. We've set aside 5219 for those scenes and will be shooting on Zeiss Super Speeds but I'm worried it still won't be enough. So I've thought about push processing. The look of push processing would also aid the story as everything is supposed to feel heightened for the characters. I've never attempted it before so I w
  17. Not a very uplifting update from Ferrania. It's beginning to sound like there was very little pre-planning from the start. http://www.filmferrania.it/news/2015/the-domino-effect
  18. I have a 16mm processing machine for disposal - made by Arri for ECN-2 process, in storage in Devon. Needs to go immediately. Mostly complete and relatively easy to move due to the modular construction. It's been in storage for a few years. Anyone interested? otherwise it gets recycled. Images available on request.
  19. I'm set to shoot a short film set in 1973 on the Blackmagic Cinema Camera and my goal was to make it look as close to period as possible. I figured since shooting on film wasn't in the budget, I would see about using the film-out process. I've done some research and could only find FotoKem and ColorLab that do that sort of processing. ColorLab seems most promising at the moment, but is slightly pricy. Are there any other companies out there that do film-out that I've overlooked? Also, I do realize the film stock they would use wouldn't help very much at all to make the short look like it
  20. Salutations, I'm very new to this whole Super 8 craze. I'm going to shoot some video with expired 8mm Kodachrome 40 and I need it both processed and digitized. There are tons of services online for this. Does anyone know what the most reliable and cheapest option is? I'm not looking for uber quality, just decency. Thanks, Liam
  21. For a 10 minute Super 35 movie with probably 25 minutes of film that will be processed, what is the best format to recieve that processing back in for best editing? I don't have an editor, so I don't know what the editor would require the content to be in or what's mainstream these days. I know there are several formats, and it has evolved over the years, but something this small, can it just be put on a disk, or does it have to be put on a hard drive or tape. Final question, is there anything special I need to tell the lab to make sure I get the best results back? Thank you fo
  22. Guest

    Cinelabs London group visit

    Myself and John Holland will be taking a tour of Cinelabs, one of the two boutique film labs in London, on the 13th November to see their recently revamped facilities. If anyone would like to join us you'd be more then welcome, please let me know here and I'll add your name to the list.
  23. Hello, I am trying to sort through what was done to get the blinds to be green while the light through the window is blue. Where does the green come from? Is it light? Or something else. When I see this my instinct is believe that maybe a light with CTB is outside, and the window shades are actually green, but the blinds are the same color as the string, which suggest that something else might be going on. So looking at this image that has been timed differently or is behind the scenes, it appears to be a rather typical lighting setups going on. Here is the actual scene. I
  24. Hi All, I currently want to shoot some 16mm Tri-X for an experimental film I'm making. I'm going to do bucket processing, but I want to bucket process as a negative. I keep reading in onine and in other forums here that if you shoot reversal film and want to process as a negative you need to overexpose a little bit when filming. Since I'm shooting this in daylight and the EI for daylight is 200, I was wondering what I should rate my film at. Should I overexpose by 1 stop or 2 stops etc. or would processing it for longer work also? Thanks for the help!
  25. Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider
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