[Frameworks] Call for Papers

*OtherZine #30, *the Spring issue, will be published in early February 2016! Theme of this issue is MATERIAL CINEMA publication, poster, research, archeology [image: type beetle] Proposals are due by midnight *December

[Frameworks] 16mm prints turned pink

Hello Frameworkers, I have some 16mm color release prints from the 1970s that have turned pinkish/magenta. Need to check records to see if they're reversal or from negative. And to check reversal camera original and films from 80s/90s. This is a lot of material to go through. Another filmmaker

Re: [Frameworks] 16mm prints turned pink

Yes, mostly print stocks from that period which were cheaply made turn pink. Negatives also can turn pink and then prints made from them will look green. The reason is that the blue dyes fade first. If you need to recover the image, it is possible to scan the prints in 2K using an RGB scanner

Re: [Frameworks] 16mm prints turned pink

Yes. There is a warning on the box when you buy the film about color dyes changing in time and film not being warranted. Eastman prints both from reversal and negative tend to go red. LPP prints tend to go red much more slowly than SP prints. Fuji print stocks tend to go blue and get smoky

Re: [Frameworks] 16mm prints turned pink

Scott, thanks, that's interesting. Do you know what is the best pH for wash water? Pip At 22:17 -0500 17/12/15, Scott Dorsey wrote: Agfa print stocks with Eastman chemistry go red, Agfa print stocks with ball and chain dye coupler chemistry are sometimes very stable and sometimes lose all

Re: [Frameworks] 16mm prints turned pink

I don't remember whether it had to be slightly acid or slightly basic, and it was _just_ a thing with the Agfa/Ansco chemistry which is very different (and can be a lot more stable than) the modern Eastman chemistry. I think there is a discussion of it in Mees' book, though. --scott

Re: [Frameworks] 16mm prints turned pink

Eastmancolor was very bad in terms of magenta fading. I’ve seem excellent work scanning faded prints and restoring the color (using lots of nodes in Resolve) and doing filmouts (16mm 5K, or 35mm) by VFS, now merged with Colorlab. The trick is to have at least a tiny bit of the missing colors