the journey

<p>I'm wondering about this unit as well. </p>

<p>I checked B&H<br>

The 3650u is 3600dpi scanner for half the cost.<br>

The review rates the 7250u at an effective 3800dpi scanner. <br>

The 7250u does have firewire but most other specs are the same.</p>

<p>Hi Larry,<br>

Now we get into the 6-step versus the 3 step. i google and read up on the e-6 process. <br>

is there a way to use a less temperature sensitve process and use a dosimeter to check the optical density? the colors might be slightly off and maybe not great images, maybe more grain?? but would the dosimeter be a poor man's way to check the process?</p>

<p>thanks<br>

glen</p>

<p>Larry,<br>

Fuji Velvia 50 or 100 are color reversal and is processed E-6. how to process E-6 reliably?</p>

<p>contrary to popular belief, Film is not dead.<br>

Rollei Infrared, Pan, Techpan<br>

Fuji Reala 500D, 64D<br>

Kodak 5363</p>

<p>Larry,<br>

Hmm, ok if I have to go with camera negative and want to use the Fuji Velvia 50, how much pain would it be to shoot SLRs (35mm) at sunrise, do some kind of quick development(???) in a hotel room, ie., no time to send to lab and wait, and then shoot film (16mm) later on at sunset?<br>

thanks<br>

glen</p>

<p><span style="text-decoration: underline;"><span style="color: #810081;">Sorry about typos the 100D, color reversal.</span></span><a href="http://www.photo.net/film-and-processing-forum/00Rdfl"></a></p>

<p>Ok, next question is, if I follow the path of using color reversal Kodak 64D. Are there any modifications to the processing or hybridization that would make for more saturated colors?</p>

<p>I'm interested in this "painting" on film.  Are there modern inks or dyes that can be put on prints and projected without burning or flaking off? or would this be more like a silk screen process?<br /> <br /> <br /> <br /> I'll google in the meantime.</p>

Frederick,

The scans are amazing after 50 to 60 years, colors don't appear to faded at all. Weird thing is I remember the Woody Woodpecker cartoons...

Frederik,

Could you post who is cutting and reperforate the Velvia 50?

It shouldn't bee too bad to get a shop to cut 35mm stocks to 16mm and yes, I'd have to modify the sprockets on the

camera.

 

 

 

 

Fuji has these positive 16mm stocks

F-CP TYPE3510

ETERNA-CI

ETERNA-CP 3521XD

ETERNA-CP TYPE3513DI

 

 

 

 

Kodak has

5285 Ektachrome 100D

KODAK VISION Color Print Film 3383

KODAK VISION Premier Color Print Film 3395

Flexichromes? any examples? I googled and haven't found any decent examples. Lots of descriptions of the process though.

Frederick,

Thanks! Could you post the details, where stored, how long, etc?

Paul,

Forgot I want to use color reversal film so I can shoot, process, edit, project. nothing digital.

Paul,

 

Engineer, well let's say, "hack", take an existing camera body and modify it. There are three main components to adjust, aperture gate, frame rate, and the mechanical mechanism that pulls the film through the aperture. The optics maybe if there is too much vignetting for a double frame. Good and old Canon Scoopic's can be had for $350 to $400 USD, cheap and decent quality camera.. and turn it into a mini-VV.

 

The projector is the relatively cheap and easy part once the camera movement is done.

 

I like the saturated look of Technicolor, yes, where red is really red. So discussing it may lead to something similar that can be cross processed with a modern stock.

 

Eventually I like to end up with 16mm frames that are a natural 1.85:1 ratio, with sound track.

 

Since the camera would be running twice as fast as normal, the sound should actually be better since the sampling rate is effectively doubled.

 

As I posted, there is a guy who tried back in the 60's but didn't quite pull it off, so I'm not starting from ground zero.

Hillary,

I'm still pursuing the mini-VV, 16mm version. There is a person at the UCLA film archives dad who did a bunch of avant garde film back in the 60's who had a crack at it but he didn't quite pull it off. I'm going to have a conversation with his dad. 2 normal 16mm frames side by side could obtain 1.85:1 ratio and perhaps still have a sound track depending upon camera.

Hillary,

Biggest decision is to narrow the stocks in terms of color saturration obtainable as well as how expensive it is to process the film. When you're looking at about 10 to 15,000 feet of film Dwayne's .29/ft gets real expensive real fast. Most movie stocks get processed anywhere from .10 to .15/ft. So I'm wonding if there is a way to cross process stocks.

 

cheers

glen

Can you post some scans of some of your films from the 1950's?

 

The whole Ektachrome, Kodachrome, Flexichrome, Technicolor and all of the different processes, E-6, K-14, ECN, is all a bit bewildering. Has anyone experimented with cross processing?

I want to get images like this

 

http://www.vggallery.com/painting/p_0779.htm

 

http://www.vggallery.com/painting/p_0615.htm

i don't know if it matters but i think most theaters use xenon lamps.

Frederick,

Can you post some scans? I'm interested to see the red/green and blues/yellow, magenta/cyan

Larry,

No clips at this point, I shot the film 'old school' and post has also been 'old school', cut negative, 1st light timed print, do a 2nd timed print then answer print. Nothing digital has been involved or touched my film from shoot to projection.

 

There will be a low resolution clip made after the final timing and answer print is finished. You can get an idea of the film at www.thejourney.ws

 

but I have a real aversion to putting my film on the net, I want people to go to the theater and sit in the low light and ponder their humanity.

for a VV projector, i would just take a normal projector and turn it on it's side, run it at 48fps and might have to modify the bulb or add bit of glass to illuminate the full, double frame.

If getting length of rolls is not a problem,

 

what are the aestetic differences between the Fuji stock

Velvia 50, 100, 100F?

 

and the Kodak stocks

Ektachrome 100D, E 100VS?

 

thanks for all great posts.

Hi,

 

I can go either but probably with 16mm as I'm thinking of modifying a camer to shoot mini-VV, one big horizonatal frame equivalent to 2 normal 16mm frames.

 

To me, the key is shooting at sunrise and sunset to get lots of saturated colors in the sky as well, so going with Fuji 64 presents a problem to keep the frame rate at 1/50th. I can go with Nikon lenses and get f1.2, 1.4 etc, but am unsure if the stocks will be fast enough with saturated colors.

 

I did some test shots with Fuji Reala 500D, it can grab the low lights at sunrise and sunset but the colors are not saturated.

 

Digital and artifical lighting are not tools that I want to use. Which is why I want to go with color reversal, shoot, develope, edit, project.