I have several 16mm prints for sale that I once used in my Cinema Studies
courses and now are no longer needed.
Contact me off list for prices. These are listed on eBay as.
Intolernance or Loves Struggle Through the Ages complete
Smiling Madam Beudet—original French titles
Three films by Emile
Frameworkers- Pursuant to my retirement from teaching, I've got a number of
16mm prints I'm interested in selling on Ebay, but I thought I'd give you folks
first dibs before I list them. Make me an offer at es...@aol.com if you are
interested in giving them a new home:
Len Lye Music
Poster
sold it?
>
> Or should we think of movies as an essentially ephemeral art, like dance,
> with a life span similar to our own?
>
> Cheers,
> Robert Withers
>
>
>
> WithersWorks.com
>
>
>
> On Dec 19, 2015, at 7:00 AM, frameworks-requ...@jonasmekasfilms.com wrot
wrote:
>
>
> From: cbifi...@gmail.com
> Subject: Re: [Frameworks] 16mm prints turned pink
> Date: December 18, 2015 2:17:53 PM EST
> To: Dominic Angerame <frameworks@jonasmekasfilms.com>, Experimental Film
> Discussion List <frameworks@jonasmekasfilms.com>
.From: Robert WithersSent: Saturday, December 19, 2015 13:54To: frameworks@jonasmekasfilms.comReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkDear Frameworkers,Thanks for all the interesting responses to this issue. There is such a wealth of knowledge here
Eastman LPP color prints from 1983 forward have generally held good color, though I've seen a few go to vinegar (which I suspect often has much to do with poor processing).The cyan or blues typically fade first in the older Eastman stocks and in many cases the yellow, magenta, and overall contrast
Alas all of this is true. A Canyon Cinema I found most of the color prints
made in the 70's had turned red. This even happens when the film is never
projected. When I worked at the Encyclopedia Britannica in the early 70's
most of their prints had turned red. I am inspecting the 16mm film
.From: Dominic AngerameSent: Friday, December 18, 2015 10:23To: Experimental Film Discussion ListReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkAlas all of this is true
I've been pleasantly surprised by how much color I can restore from
magenta prints using careful RGB back-lighting and Adobe Premiere's
curves. There's an example here (scroll down a bit).
http://www.zachpoff.com/diy-resources/16mm-film-to-hd-transfer-system
Not exactly pretty but it's a lot
.From: Dominic AngerameSent: Friday, December 18, 2015 10:23To: Experimental Film Discussion ListReply To: Experimental Film Discussion ListSubject: Re: [Frameworks] 16mm prints turned pinkAlas all
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
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
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
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
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
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
...try Frame Discreet in Toronto
thx
Ph
On Sun, Sep 2, 2012 at 8:07 PM, matthew brown matthewfrancisbr...@gmail.com
wrote:
Hi All,
just wondering if anyone knew of any labs that will
make 16mm prints from regular 8mm prints.
Thanks so much,
Matthew Brown
Hi All,
just wondering if anyone knew of any labs that will
make 16mm prints from regular 8mm prints.
Thanks so much,
Matthew Brown
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Any lab with an optical printer should be able to make a 16mm interneg
from an 8mm print or reversal original. Then you strike the print from
the interneg. If possible, you want to time the interneg so that your
print can be more or less untimed.
I know Alpha Cine can do this and I bet Cinelab
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