kuparikettu

I do hope the pricing for E100 becomes lower in Europe as at the moment the price for one cassette + processing (excl. all shipping) of E100 is 86,40 € whereas the price for one cassette + processing + one-light copy from Vision3 (excl. all shipping) is 85,69 €

Ektachrome update, Kodakery Podcast released :)

A better quality original taken with a digital camera would give the best result :)

From Kodak Twitter account:

Entschuldigung, dass ich auf Englisch antworten... I have done business with DeJonghe before. They are a very good and reliable lab. I haven't bought this particular service from them (16mm positive copies from 16mm negative film) but the experience I have with them processing my 16mm film and then transferring it to digital were very good. The amount of film they processed for me and then transferred was approx. 160 meters of 16mm. As for this particular service, they sell Kodak Vision3 film with the processing and positive copy included in the same price. AFAIK, both 122m and 30.5m are available. Of course it might be that the minimum is higher than a single 30.5m spool, but I'm sure it can't be higher than 122m. No need to be shy, these days most labs (if not all) welcome all film business, regardless of whether or not the customer regards oneself "professional" or "amateur".

Ich glaube, dass man keine Vorführkopie braucht, wenn man das Negativmaterial wie Umkehr belichtet -- Einlichtkopie wäre dann gut genug. Ja :)

Wie für DeJonghe Angebot, können Sie es wirklich nicht schlagen. Es ist niedriger als das, was es kostet nur, um 122 m von 16mm zu Entwickeln und einen Super-8 Filmkopie bei Andec machen. Und ihr Angebot umfasst Film...

Es gibt drei verschiedene Ansätze: Man kann entweder den Weg des neuen 16mm Films mit 16mm Workprint nehmen (DeJonghe bietet sehr gute Pakete von Film + Entwicklung + 16mm Workprint) oder man kann einen neuen Film von Frame24ltd kaufen (122m Vision3 = ~120 € inkl. MwSt) und super-8 Kopien von Andec bestellen. Oder man kann ein bisschen älteren Film kaufen, da gibt es ziemlich oft gute Angebote (ich kaufte Fuji Filmstock, bevor sie ihre Kinofilm business geschlossen haben und ich habe immer noch 122m Dosen, die ich kaufte neue 50 € jeder.) Jedenfalls kostet die Entwicklung und Super-8 Filmkopien (zwei Kopien) von 122 Metern 16mm ca. 333 € inkl. MwSt bei Andec. Diese Kopien sind "bestes Licht".

Heute habe ich etwa 150 m 16mm Negativ nach Andec geschickt. Das wird entwickelt und danach wird ein super-8 Kopie gemacht. Billig ist es nicht, aber wenn 16mm und super-8 SW nicht so viel mehr billiger sind, bezahle ich lieber ein bisschen mehr und schieße auf 16mm Farbneg. :)

Das möchtete ich auch wissen

Ich auch kann Wetgate-Kopien von Farbnegativ nur empfehlen! Die Farben sind wirklich schön :)

Bedeutet das, dass Andec nie wieder E-6 entwickeln wird --- oder dass Andec E-6 in der Zukunft, nach diesen Umbauarbeiten wieder entwickeln wird?

Film Ferrania is now testing the coating, synthesis and analysis equipment: http://www.apug.org/forum/index.php?threads/hello-apug-from-film-ferrania-part-2.128272/page-23#post-1822834

Something to remember though is that Film Ferrania didn't lose any money due to this asbestos-episode -- only time. I quote: "Having nothing to announce over the last month was quite difficult for us because we do feel very compelled to share all we can. But we were in the dark as much as anyone because the contractors are not working for us - they're working for, and answered only to, the Italian government agency in charge of the grounds and our building modifications." ( http://www.apug.org/forums/viewpost.php?p=1953741943 ) I have full faith in Ferrania. They know what they are doing and they are working hard to achieve their goal. So what if it takes some months longer than anticipated.

When using mounts with AN (or any glass) it's very important NOT to put the film in the mount too soon after processing. There is moisture within the film after processing and if the film is mounted between glass, that moisture is going to make the film degrade and might be the cause of the rings. If one lets the film to dry for about two weeks after processing this problem shouldn't manifest. I myself use slide mounts with AN glass. In addition to keeping the film in place the glass also protects the film from dust and fingerprints -- very important features for photographers with small children ;)

I'm certainly going to back it. There is always risk involved with projects like this. Considering all the wailing about not having good and cheap color reversal film available for super-8 on this forum I can only say this: if one isn't willing to help this process one certainly isn't entitled to any color reversal film. Kodak won't bring back Kodachrome nor Ektachrome and Fuji won't sell you super-8 Provia. All you are ever going to get is some old and grainy Agfa 200 if Ferrania doesn't make it. There won't be other smaller players. Orwo could bring back some color film, but it probably wouldn't be E-6.

Why Kickstarter? Google translate: "Hilfe FILM Ferrania bauen die Fabrik der Zukunft und die erste Partie der Film ist euer Lohn. Wir sind FILM Ferrania und wir in den Prozess des Aufbaus einer neuen Art von analogen Filmfabrik in Norditalien sind. Um lebensfähig für die langfristige sein, müssen diese Fabrik in sich geschlossen sein - Vorlage fertigen noch Foto-und Filmprodukte aus nichts weiter als Rohstoffe. Wir haben einen Plan, um dies zu, aber wir brauchen Ihre Hilfe, über ein ziemlich ernsthaftes Hindernis zu bekommen. Wir haben unsere neue Geschäfte in dem ehemaligen Ferrania Forschung und Entwicklung (LRF) Gebäude, das eine Miniatur-Filmproduktionslinie enthält eingestellt. Unser Team ist seit mehr als einem Jahr gearbeitet, um zu renovieren und neu zu konstruieren, um dieses Gebäude vorbereiten zu starten. Wir können Film aus dieser Anlage zu machen, aber nur eine kleine Menge - zu einem hohen Preis. Wir haben ein ehrgeiziges neues Fabrikplanung, die es uns ermöglichen, genug Film zu produzieren, zu einem vernünftigen Preis, um die weltweite Nachfrage zu erfüllen erstellt. Wir haben bereits gerettet Tonnen Ausrüstung (buchstäblich) aus den alten Ferrania Gebäuden - aber wir brauchen mehr und wir aus der Zeit sind. Die Gebäude wird am Ende dieses Jahres zerstört werden. In sich geschlossene und bereit für die nächsten 100 Jahre wirklich sein, müssen wir Trixie, Walter und Big Boy zu retten. "

On Twitter: FILM Ferrania ‏@filmferrania 4h3 hours ago Today At 2pm EST we're launching a @kickstarter campaign to help ensure a future for analog film! #FilmIsAlive | http://vimeo.com/107197570

https://filmferrania.squarespace.com/survey/

That's certainly something to note when deciding which camera system to purchase. However, I do think Logmar offers many features SR3 doesn't. For one, its weight is in a different league. Built-in audio recording with sync. There are many uses for which Logmar is an option and SR3 wouldn't be. Not to mention that buying Logmar gets you a new camera from the factory while buying a SR3 for 2000€ probably means one has to get it serviced first. ...and after one brings to equation PL-mount S16 lenses it becomes -- in my opinion -- clear that it's a better idea to rent Arris (and PL-lenses) than to own. Logmar at least is compatible with many lenses through c-mount and adapters so in that sense it is more economical to own and could work well for (wildlife?) documentary makers wanting to own their gear and shoot on film. But, there are people who have done that with SR3s and owned gear before, so it comes back to making choices. But shooting home movies with a SR3? It's painful enough to try to do it with an Eclair ACL. Yeah, it didn't take long for me to go back to my Bauer A512, recalibrate its lighting meter to work better with Vision3 50D and 200T and now I'm waiting for my first positive copy from Andec.

If I have understood correctly, hydroquinone is on a list of substances causing concern and is being evaluated. However, the outcome of the evaluation can vary from "nothing changes" to heavy restrictions. If any restrictions are going to be proposed, there is going to be a public hearing for 6 months. The final decision is made by European commission. I wouldn't panic. First of all, I think no politician would want to take the blame for killing a whole branch of business (that also sells goods to countries outside of EU) in current economic climate. Secondly, I think in the worst case it would come down to hydroquinone being available only for registered businesses so that it would be restricted to manufacturing. Of course it's hard to tell how difficult it would be for ADOX or Harman to acquire the required license, but I wouldn't worry too much about this. However, I think it wouldn't harm to contact your representatives in the EU parliament and tell that they should protect film manufacturing and darkroom work from too many new restrictions because otherwise a whole form of art will disappear...

http://www.andecfilm.de/andecfilm-neu/dokumente/Bestellschein%202014.pdf http://www.film1635.eu/ http://www.frame24ltd.co.uk/epages/es768558.sf/en_GB/?ObjectPath=/Shops/es768558/Categories/%22Film%20Stocks%22/16mm_Film_Stocks http://www.panavision.co.uk/panastore/default.asp?cid=37&clr=true

AGFA Aviphot Chrome 200 is again available in large quantities at Wittner. Prices seem to be unchanged: 732m / 2400 ft. auf Kern Lieferung: 2 x 366m / 2 x 1200 ft. in einer Dose Best.-Nr. 2204 ab 1 Dose - (503.36 EUR netto) 599.00 EUR brutto ab 5 Dosen - (461.35 EUR netto) 549.00 EUR brutto ab 10 Dosen - (419.33 EUR netto) 499.00 EUR brutto ab 25 Dosen - (360.51 EUR netto) 429.00 EUR brutto ab 40 Dosen - (310.00 EUR netto) 368.90 EUR brutto ab 55 Dosen - (290.00 EUR netto) 345.10 EUR brutto