Re: [Frameworks] LA 16mm tech
Hi Mariah, I would suggest writing to Analogue Industries in Colorado. They're making, renting and selling high quality 16mm loopers and providing on-site and off-site tech support for them at very reasonable prices. I also know for a fact that they have a few people in LA that would be able to help maintain the installation for you. The main contact for them is Andrew Busti: a...@analogueindustriesltd.com Hope that helps (sans the eclair battery)... Kevin Rice processreversal.org On Thu, Jun 11, 2015 at 10:30 AM, mariah garnett mariah.garn...@gmail.com wrote: Hi! So I'm installing this loop https://vimeo.com/52046166 at a gallery in LA this summer and need to hire a 16mm tech to help with it because i won't be there for the actual install or show. I need someone who is experienced making 16mm loops and knows how to thread a projector and use splicing tape who is going to be in LA in July and August in case the loop breaks and also to help the install team set it up. Anyone interested? Still working out what the pay is but it is paid. also, does anyone know where I can buy a battery for an eclair? Mine died and it's also like 10 times heavier than it needs to be. thanks! Mariah ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Super 8 to 35mm blowup?
Hey Mark, Andrew Busti is doing them in Colorado; It's listed here in the service section of his website: http://www.analogue-industries.com/services His contact info is analogueindustr...@gmail.com Cheers, Kevin Rice processreversal.org pcn03031989.com (720) 270.3857 On Sat, Mar 14, 2015 at 6:50 PM, mrktosc mrkt...@gmail.com wrote: Hi all - Is anyplace/anyone doing optical (not using digital) blowups from super 8 (pos) directly to 35mm (neg)? Thanks, Mark ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Formula for processing 7240 reversal as vhf or e6?
Robbie, Here are the specifications for VFN-1, as published by Kodak: http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_support_processing_h2411_h2411.pdf If you refer to pages 23-25, you'll find the formulas for the first developer and color developer, which are the critical components (on the processing side) that will determine the overall hue and saturation of the image. Also, please note that the module gives two alternative formulas appended with the abbreviation LC which stands for Low Contrast (so, probably want to avoid those formulas). The first developer is a very straightforward PQ developer with added thiocyanate; you shouldn't have any difficulties finding these ingredients, with the exception of the sequestering agent (Quadrafos). However, by using distilled water to mix the developer, you can avoid the use of this ingredient... The color developer, on the other hand, is a bit more complex to mix from scratch. However, since it's purpose is just to act as a redeveloper of the residual halides, it can be replaced with any other developer that retains the same color developing agent (i.e CD3). This includes ECN developer (not C-41) as well as the color developer in E6. The formula for ECN developer can be found here: http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_support_processing_h247_h2407.pdf Bleach and fix are the same for all color processes -- Just use what's most readily available to you, or mix a simple ferricyanide bleach (15.0g Potassium Bromide / 15.0g Potassium Ferricyanide / Dilute to 1 Liter) and then use that in conjunction with any fix -- B/W or otherwise... As for altering the process to get higher contrast or color, you can try experimenting with the first developer. For instance, you could increase the ratio of hydroquinone to phenidone, or increase the alkalinity of the developer...you could also use there LC formulas to interpolate a possible equation for increasing the contrast Anyway, hope this helps, Kevin Rice processreversal.org pcn03031989.com (720) 270.3857 On Fri, Mar 13, 2015 at 3:20 PM, Scout Fenn scoutf...@gmail.com wrote: Does anyone have a formula for processing the older color reversal 7240 film , which was intended for VNF-1 process, but possible in E6. I'm aware E6 process will provide result, but I'm hoping to achieve a higher contrast more saturated image than what E6 results with this stock. Therefore, does anyone perhaps have alterations to E6 or a VNF-like formula that may produce higher contrast and color? Or perhaps a source? I'm hoping to process as reversal rather than crossprocess. Thanks for any assistance . -robbie ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Subbing on film
Roger, They use gelatin which has been specifically manufactured to perform within certain mechanical and optical standards. However, the process of getting that layer to adhere to the base is, of course, the trick to proper subbing. Such processes vary depending on the composition of the material you are trying to sub. With cellulose (tri)acetate, the standard process is to use a mixture of gelatin, tanning agents and a base solvent (for example, acetone) that etch into the base and form a highly durable bound between the gelatin and the base. Any gelatin can be used, but as mentioned before, manufacturers will work closely with gelatin suppliers to achieve a quality of gelatin that gives optimal subbing properties. With PET (e.g. ESTAR et al), subbing is a more complicated affair because a suitable solvent isn't readily available. Accordingly, manufacturers developed a method of subbing that uses corona discharges to give the polyester base a temporary affinity for bonding with gelatin. After subjecting the base to this corona discharge, a mixture of gelatin and hardener is coated unto the base to act as a subbing layer (typically, this is done simultaneously with the actual emulsion layers in the cascade coating systems). I'm not familiar as to weather or not this method is still in use in production at EK, but some folks have been experimenting with it on a home-brew basis...check out this forum thread for more on this mad science: http://www.apug.org/forums/forum205/68928-corona-discharge-polyester-subbing.html Cheers, Kevin Rice processreversal.org pcn03031989.com (720) 270.3857 On Mon, Mar 9, 2015 at 10:12 AM, Roger D. Wilson rogerdwil...@sympatico.ca wrote: Does anyone know what film manufacturers use as their subbing layer on film stock so that the emulsion adheres to the base? Thanks Roger Sent from Outlook http://taps.io/outlookmobile ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] kodachrome 2 exp. 1975 kodachrome II
Hello Johannes Milena, There's no secret to it -- Kodachrome, like any modern mono-pack color film stock, is three layers of spectrally sensitized silver gelatin (i.e. black and white) emulsions. Any of these stocks can be processed as black and white negative or reversal using whatever developer you desire, including color developers in the case of Kodachrome which has no dye couplers to bond with the oxidized agents of a color developer. Really, the only adjustment one might make to the process is the addition of bromide (e.g. potassium bromide [KBr]) to the developer of your choice in an attempt to restrain some of the inevitable fogging that will occur due to the films age. For now, though, I won't go into detail about this particular procedure as it's a long discussion concerning how the film was stored, how old it is, how it was exposed, etc...but what I will say is that we recently processed a roll of expired super-8 Kodachrome II (Type A) as BW negative using an unmodified D-19 recipe @ 38 degrees Celsius across 4 minutes with a standard agitation profile, and it gave good results. After development, just fix to completion and remove the RemJet in the same way as with your K40 and K25 films... Hope this helps! Kevin Rice processreversal.org pcn03031989.com (720) 270.3857 -- Forwarded message -- From: Johannes Schrems johannesschr...@gmail.com To: frameworks@jonasmekasfilms.com Cc: Date: Fri, 07 Mar 2014 08:55:25 +0100 Subject: [Frameworks] kodachrome 2 exp. 1975 kodachrome II hi, we had the same remjet coating on the k40 and k25 films too and removed them easy after developing by hand. we do not mind the diy look afterwards. to all of you: i think there must be a way to develop kodachrome 2 in bw negativ. rocky mountain film lab and filmrescue.com are develping this film. anyone knowing someone working there how could ask for their secret? no one ever done this? pleace help! best regards johannes and milena Am 27.01.2014 22:01, schrieb Roger Wilson: Doesn't Kodachrome 2 have the remjet antihalation on it? Did you remove it first? I think then you just process it like regular bw but I've not done it myself so I can't say for sure. However, here is a list of chemicals that you use to make the remjet removal. I use this recipe for colour processing and it removes the remjet completely with no extra work. I use a morse G3 tank and run it through this recipe for 4 minutes max. This is the one from kodak ECN-2: WATER (27-38ºC) - 800ml BORAX - 20g SODIUM SULFATE (anhydrous) - 100g SODIUM HYDROXIDE - 1g WATER to complete - 1 litre Roger D. Wilson Film Scientist 613 324 - 7504 rogerdwil...@sympatico.ca http://www.rogerdwilson.ca ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Liquid Light onto clear 16mm - any tips?
% solution of chrome alum to around a ratio of 2 ml per 100 ml of emulsion, stirring constantly. (4) coat immediately, do not keep excess emulsion or 2% chrome alum... It should be noted, however, that I'm not terribly familiar with the Liquid Light emulsion and that it may already contain some form of hardener. Therefore, this method of hardening may not be the best route, particularly as it may greatly change the working properties of the emulsion and make it more difficult to process affectively if done in excess. Hardening prior to development with a pre-hardener might be the better option, but it requires more chemistry than the above method. Additionally, it is also complicated by the fact that most recommended pre-hardeners utilize Formalin (i.e. Formaldehyde) which is a known carcinogen. Below are two formulas for hardeners, one being the classic Formalin pre-hardener recipe and the other being a F-5A hardener which is usually not recommended prior to development (though I'm not certain why and I don't see any reason for not using it instead)... Classic Pre-Hardener (Not Recommended; Active carcinogens): Sodium Sulfate..100 g/l Formalin3 - 10 ml /l Sodium Carbonate.10 - 50 g Water to make...1000 ml Treat for 1 - 5 mins at the working temp then wash 3 - 5 mins. F-5A Hardener (1 Liter Stock; Dilute 1:3 for working solution): Water @ 52C.750.00 ml Sodium Sulfite75.00 g Acetic Acid, 28% solution235.00 ml Boric acid, crystals.37.50 g Potassium alum, dodecahydrate..75.00 g Water to make...1,000.00 ml Treat for 7 minutes at working temperature. Rinse and clear prior to development. Hope this helps, - Kevin Rice pcn03031989.com processreversal.org P.S. If you haven't already read it, you should look into Silver Gelatin: A User's Guide To Liquid Emulsion by Martin Reed Sarah Jones. It has some fairly good, practical knowledge for working with liquid emulsion and is still available for purchase from SilverPrint in the UK. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
