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Found 16 results

  1. I can't recall when it was. Perhaps it was 5 years ago, perhaps more. I don't remember, really. But I had just bought a roll of Ektachrome 7285 and I had recently acquired a Braun Super 8 camera. The camera really is beautiful and it's no wonder that Jonathan Ive used Braun products as inspiration. Anyway, I caught up with a friend one Sunday at local park and I took my camera with me. For a reason that will never be clear, I never got around to processing that roll of Super 8 Ektachrome. I just stuck it in a drawer and left it there, thinking that one day I would eventually get it processed. In late May, I realized that I should just get it done. I have the spare cash, so why not? So I did a bit of hunting around and found Nanolab, an Australian lab that's located in Daylesford. I live in the Melbourne metro area, and Daylesford is NW of there. It's about a 2 hour drive away, and apparently it's a lovely part of the state. Anyway, I posted my film in late May and got it five weeks later. The method of ordering is methodical. Firstly, you fill out a form online, then you get an email with an invoice number, after which you pay. You then post off your film with the invoice number visible somewhere. If you want the scan sent to you on physical media, you have to supply a USB stick. You have a choice to not have the scan done, but keep in mind that they don't scan film already processed - they only scan film after they process themselves. I think it's a good idea from their perspective, as it keeps their operation simple. You choose between HD and 4K (UHD). I chose 4K and I supplied a USB stick. The processing and scanning together cost AU$96. I'm pretty sure that postage to Nanolab was $8.95. That's not counting the cost of the film, which I bought over 5 years ago. Some would think that 4K is wasted on such a small gauge, but that's simplistic thinking. You always want to oversample your film image, as much as is possible. Remember: the grain is the image. The better resolved the grain, the better the fidelity of the image. And 4K enlarges better - a 4K projection of Super 8 film on a large screen will be pretty close to projecting the film directly. I'm not going to say that Nanolab has the best scanner in the world, but I'm happy enough with the result. I am grateful that they scan as much of the film width as possible, including the sprocket holes. This is not because I want to exhibit the film with the sprocket holes visible, but it lets me know that I have 100% of the frame available to me and I can crop how I like. Given that the latent image just sat there for at least 5 years, the footage looks okay to me. In this case, I forgot to clean the edges of the gate, so there is dust visible. Many years ago, when we were still shooting Kodachrome, I took some care to clean the gate with some Blu-Tac (or at least that's what I remember - I know I did so with the projector at least). I also shot handheld, but the footage wasn't too shaky. Maybe next time I will test the apertures and figure out which is the sharpest. I didn't take exposure notes, but I know I tried to get the correct exposure as much as I could. I shot at 24fps and I will do so exclusively in the future. Of course, shooting time lapse is a different thing. In addition, if you're shooting an interior and there are no moving objects, you can shoot at a slower frame rate to increase exposure in low light. Just remember to pan very slowly - perhaps a motorised head would be helpful there. What I want to do now is to get a bit more acquainted with Resolve so I can use the stabilisation feature. There are a few shots that could benefit from that, although I do take care to hold the camera steady. Some people post very shaky footage online and I can't watch it. It's atrociously bad, and I don't want that for my footage. So I won't be posting the file yet. However, I have extracted some frames which I'm posting online in full size. The scan file is ProRes 4:2:2 (see attachment). The frames were saved as high quality JPEG 2000 files and the file size was supposed to be under 4MB. But Postimage changed them to PNG and now they're twice as large. I only noticed that after I uploaded them. Well what can you do... https://postimg.cc/w1nz19XZ https://postimg.cc/V0sQxvwr https://postimg.cc/0McHJfgj https://postimg.cc/YjCPBJgW I hope that you found this interesting!
  2. Some more items up for auction including a very beautiful Elgeet 1" f0.95 c mount lens! https://www.ebay.com/sch/analogfilms/m.html?_trksid=p3692 (If interested in the films, especially purchasing multiple rolls, feel free to PM me here)
  3. Hi, this is Pablo Secaira from Laboratorio Abierto de Fotografía Ecuador. We are in South America. We have a project that use ten super 8 Ektachrome 100D reversal film and we need to develop this. We own an Analogue Laboratory. So we need some advises to begin the process. Is there any thing that we have to take care, or prevent before we start. And where we can purchase this chemistry near our location. If you have experience / anecdotes on this topic please share with us it would be great.. Thank you so much for your help. Pablo. LAF Ecuador.
  4. Starting October 1st for Super 8!! So excited! "Update from the Film Factory: ⠀ KODAK EKTACHROME 7294 Color Reversal Film is back! Super 8 availability starting October 1st 16mm arriving later this year ⠀ Learn more at kodak.com/go/ektachrome" https://www.instagram.com/p/BoJRytzF1fA/?taken-by=kodak_shootfilm
  5. Ektachrome 7240 30 meter / 100 feet perforated for R-8 N-8 For the die-hard R-8/N-8 filmer and projection-lover I have had a stack of Ektachrome 7240 perforated for R-8 N-8 Obtained from a collection of materials from a careful filmer who kept it in cooled storage until just a few months ago. Euro 90 per roll of 30 meter/ 100 feet (check on Wittner (=45) or Kahl (=30) for their 7.5 meter non-Kodak-color material :) ) Material is on 100ft daylight spools. Will fit a number of cameras but most will require respooling onto small spools. I am expecting a load of small spools, just not here yet. Processing is in VNF-1 found at several labs. But also popular with DIY processing people :) Seller based in Netherlands. Within EU happy shipping and duty free :) Elsewhere Also available: 7240 in super-8 cartridge Kodak Surveillance color in super-8 Kodak 4-X in super-8 Kodak MF-4 in super-8 Plus-X in super-8
  6. Don't hold your breath while waiting for the Kodak reversal film. Ektachrome 100D is here! Over 50 minutes of running time at 18fps! Ektachrome 100D 400ft can of Double-Super-8 DS-8 Kodak Ektachrome 100D Double Super-8 16/8 2R 122 meter / 400 feet Kodak 7285 CAT 186 1681 Comes from cooled storage, factory sealed. Obviously you will need a DS8 camera or skills and capability to cut and split this DS8 into 16 pieces suitable for Super-8 cartridges. Shipping from Netherlands The Fata Morgana:
  7. Alright I'm having a conundrum this morning as I pack for a weekend in the woods. I really would love to shoot one of my carts of Ektachrome (64T or 100D) I have left. Also... I want to use my newly acquired Nizo 156 Macro as it's a lovely little travel camera and I have the UWL wide angle lens for it as well. Also it has a 220º XL lens (1/28th). I have shot 200T in this camera and it came back great so the camera definitely works. Thing is... it has dumb metering. I've attached an image of what the manual says about how it reads carts. In THEORY... I feel like it should read a 100D cart correctly as 100D as it SAYS it can meter 100D. But when I tested the aperture looking at a building outside my door, it was reading around 2.8ish-4 on the Nizo 156 Macro THEN when I tested that same cart on my Canon 514XL (I've shot Ekta and Provia 100D in the 514XL with great results) and my trusty Canon 814XL-S (only shot 64T in there but it meters everything really), they both read around F8. I even tried Tungsten notching the 100D and got roughly the same results in both (when on tungsten as I don't want any filter engaged). And to make things even more interesting, I realized the 156 Macro's filter switch is just connected to a little rod that tests whether the cart has a notch or not. As in... if you move the switch back and forth, the little rod goes back and forth. So it's not really detecting anything on its own. Thoughts? It must be reading the 100D as 25 or 40ASA (either as Tungsten or B&W... what's the difference in cart??) since it was Why does it say it'll read 100D when clearly it doesn't. How does it detect daylight film? I have seen only a couple examples online with this combo that seem good but no idea how they metered. https://www.youtube.com/watch?v=2WrGfBdKfZs Super 8 metering is crazy.... Wish Kodak would've just made all cameras able to set ASA...
  8. Shared it in the Super 8 forum but figured such huge news warranted a post here as well! Kodak is reviving Ektachrome 100D!! http://www.kodak.com/US/en/corp/Press_center/Kodak_Brings_Back_a_Classic_with_EKTACHROME_Film/default.htm
  9. For Sale: 2 cartridges of Kodak Super 8 Ektachrome 100D film. Has been kept in freezer since purchased from Kodak. Asking $120.00 US plus shipping.
  10. Hi Everyone, I've got two 400' rolls of 16mm Ektachrome 100d for sale. Bought from Stanleys in London. Fridge stored for 1 year and freezer stored for the last two. £220 each. Cheers.
  11. http://youtu.be/c4IxLmrpktg Ektachrome 100D Super 8 shot on a Bolex Double Super 8 H8 Camera. Cross Processed and Hand Processed. Transferred to Video one frame at a time on a JK Optical Printer.
  12. Hi everyone. I'm new here so I apologize if this topic has already been sufficiently covered. I couldn't find an appropriate thread. Anyway, I'm a film archivist and I've been dealing quite a bit lately with 35mm blow-up CRIs made from 16mm Ektachrome and ECO original which have started to (or completely) gone green in the blacks. I'm assuming that this is simply the result of the weakest dyes fading but it seems as though only my CRIs that include 35mm opticals such as fades or titles have started going green and the ones that were printed directly from the Ekta or ECO and had their effects (dissolves, etc) present in the AB original edits are perfectly fine, color wise. Does anyone have any info on this? And, more importantly, is there any hope for timing it out as I begin making new protection IPs?
  13. Hi everybody! I have put up my Beaulieu 4008 ZM II camera package on eBay and thought I would share it with the forum as well. The kit im putting up for auction includes: Fully functional Beaulieu 4008 ZM II camera body with mount cap (refurbished by Björn Andersson in 2009) Lens: P. Angenieux Paris 1.9/8-64mm Zoom with Hoya Skylight (1B) filter Lens: Schneider-Kreuznach Beaulieu Optivaron 1.8/6-66mm with sunshade Battery charger Manuals in English and Swedish Beaulieu camera case 2 cartriges of Kodak Ektachrome 64 1 cartride of Spectra Velvia 50 If wanted: Extra Beaulieu 4008 ZM II camera body (non-working battery) for spare parts/gate modification If wanted: 10 issues of "Smallformat S8/16" in English If wanted: 3 issues of "Super 8 Today" in English If wanted: Sankor Anamorphic 16-D (lens) The camera works great and the lenses are in good condition (no scratches or fungus). I recommend using an external 85A-filter for tungsten filming and buying a Blue Star Eye Cushion (http://www.bluestarproducts.ca/). Worldwide shipping. Do not hesitate to contact me if you have questions about shipping or the camera package. More pictures/footage can be sent. Best regards, Anton
  14. I just received my film back from the lab. It's one of my remaining rolls of Ektachrome reversal 16mm film. Upon projecting it, i realized in horror that the majority of the footage- especially in the shadows- have a reddish orange tint. If the film was shot under tungsten lighting, I'd blame myself, but it was shot on a bright sunny day. I did not use any filters. The film looked consistently slightly underexposed, which may be my fault. I can't think of any other reason for the orange hue, other then that something went wrong during processing. Could it be anything else? X-rays maybe? Needless to say, with the discontinuation of Ektachrome, I find it kind of frustrating when my limited supply of it gets ruined.
  15. Hello All, Looking for E100D, especially in 400ft loads on core, 100ft daylight spools or Super 8. There were tons of it available through B&H before it sold out in the frantic buying spree post announcement of discontinuance. So, I know there are people out there with thousands of feet in the fridge just waiting to be guilted into selling some or all of it to someone that wants to actually shoot it. It's film. Let's shoot. :) I am not going to pay the crazy $1/ft prices people are asking on Ebay. So, please don't waste either of our time with offer like that. I will offer $165 for a 400ft load on core, $60 for 100ft loads on daylight or $25 for Super 8. This is completely reasonable to offer for this stock. Thanks!
  16. Hi Everybody, I'm shooting some of Pro8mm's Ektachrome 100D on my Canon 514 XL-S. My question is about the daylight/tungsten filter. I've heard from almost all people that I need to have the filter switched to the lightbulb tungsten setting. As counterinuitive as it seems, I've heard that it actually correectly exposes the Ektachrome that way. I just want to be positive about this, and would really appreciate any personal experience shooting on Pro8's stock on this camera. Thank you!
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