8mm Forum: 16mm prints restoration

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Posted by Gian Luca Mario Loncrini (Member # 1417) on October 29, 2009, 07:09 PM:

You absolutely have to see what this BRILLANT GENIOUS has invented. A genuine way to restaure 16mm prints, by adding, for example, missing parts or segments to an old copy.
Just a little hard, maybe, to understand all steps written in Italian. But all images will help you.

Believe me: this is a real talented collector.
I had to post immediately the video he uploaded on YouTube as soon as I've seen it first to show you his tecnique (of course he knows I did). Simply incredible.

Some Italian collectors have already contacted him to ask for missing opening credits or missing sequences. So incredible the way he works. So stunning the result. And, wow, he could even print brand new copies, considering he acquires the footage from DVDs. Well, I don't know about costs... [Roll Eyes]

You probably know I don't collect 16mm (and here in Italy a lot of 'us' already asked him if it is possible to do the same with 8mm prints. The answer was negative because of a lot of reasons you can imagine. Magnetic sound, just to make an example, or difficult in finding 8mm stock).

But LOOK AT THIS and you won't believe your eyes:

16mm prints restoration on YouTube

Posted by Larry Arpin (Member # 744) on October 29, 2009, 10:55 PM:

Very inventing. I'm sure he had to go through plenty of tests, but at least I understand what he did. He actually puts a soundtrack. I believe that is called a electro-print, or something like that. What does he charge? I would like to get the main titles to Jolson Story.

Posted by Dino Everette (Member # 1378) on October 30, 2009, 01:35 AM:

That was pretty great....Although he can't make 8mm prints he could make some pretty awesome 16mm negatives that could then be loaned to the folks that are currently making 8mm prints.....

Posted by Fabrizio Mosca (Member # 142) on October 30, 2009, 01:37 AM:

Larry, he charges about 5 euro per minute, but the source must be in PAL system (i.e. 25 fps) and not NTSC, otherwise sync between source and film will be compromised.

Posted by Gian Luca Mario Loncrini (Member # 1417) on October 30, 2009, 02:54 AM:

Larry, if the title exists also in PAL, it's quite sure he could work on the original version in English of the DVD.
That's of course just my opinion. Am I right, Fabrizio?
Good luck.

And yes, Dino. This could be another good idea. I should contact him to ask him about the cost of a brand new negative to be used, in case, for 8mm prints.

CIAO.

Posted by Larry Arpin (Member # 744) on October 30, 2009, 11:49 AM:

I just got an email from him. The main titles to JOLSON STORY is only music and no sync dialogue. I'm game just to have it. Maybe I will also give him a short piece with dialogue just to see.

Posted by Gian Luca Mario Loncrini (Member # 1417) on October 30, 2009, 12:22 PM:

I have a couple of ideas too...

Posted by Steven Sigel (Member # 21) on October 30, 2009, 12:40 PM:

Larry -
Let us know how it works out - I've got all sorts of stuff that comes up from time to time that I need to have done.

Does he speak English?

Posted by Gian Luca Mario Loncrini (Member # 1417) on October 30, 2009, 06:25 PM:

Dino, I will send you a mail right away! Ciao.

Posted by Michael De Angelis (Member # 91) on October 31, 2009, 12:42 PM:

Amazing!

Posted by Steven Sigel (Member # 21) on October 31, 2009, 01:26 PM:

The fuuny thing is that this is OLD technology. It's called a kinescope or a Telerecorder.... :-) There's still at least one guy in the UK who has the capability.

It's great that someone has taken the time to set one up again...

Posted by Martin Jones (Member # 1163) on October 31, 2009, 02:18 PM:

I don't speak or read Italian so I can only go by the visuals; I may have missed some of the salient points.
Steve has it right, "Kinescoping" in the States and "Telerecording" in the UK before magnetic video recording was invented. Difficult to do "on the fly" because it has to be done at the same speed as the TV material, 25 fps instead of 24 fps to avoid flicker, which creates a non standard projection speed.
However, it can also be done by using Animation techniques; the DVD is advanced one frame at a time and the camera takes single frames to match. Every 24 frames, the 25th is ignored. This results in a silent copy of the film running at normal sound speed , but 4% shorter than the original in running time. The sound track is lifted from the DVD and shortened by the same amount, using a computer to keep the pitch correct, and then re-married to the visuals either optically or magnetically. Material transferred this way can be inter-cut with original material; people move and talk slightly faster, but not obviously so, as the sound pitch is correct.
Martin

Posted by Steven Sigel (Member # 21) on October 31, 2009, 04:31 PM:

The 25fps method was only used in the UK - it doesn't work in the US since video transmission is at 30fps.

Also - It wasn't necessarily because video recording didn't exist (it did as early as the 50s I believe), but it was MUCH cheaper than video recording. Many TV shows were videotaped and then telerecorded/kinescoped so that they could re-use the video tapes .

Posted by Brad Miller (Member # 2) on October 31, 2009, 07:17 PM:

That's pretty darned cool. Its just ashamed he doesn't start with a blu-ray, which would be closer in quality to actual film...but great nonetheless!

Posted by Larry Arpin (Member # 744) on October 31, 2009, 07:29 PM:

Marco seems to understand and replies well in English. I just sent him a link to a 2.5 minute clip including the main titles and part of it that has a jump cut from my FTP site. Don't know if he will be able to download it but we will have to wait and see. If it is anything like Image Transform used to do years ago I will be thrilled. I used mpeg streamclip to convert the VTS file to a 25fps quicktime.

Posted by Gian Luca Mario Loncrini (Member # 1417) on October 31, 2009, 07:33 PM:

Some people from here (Italy) already restored some of their 16mm prints thanks to him. And I was told Marco can really do magic! I wait for you to confirm it!

Posted by Winbert Hutahaean (Member # 58) on November 02, 2009, 04:32 PM:

I don't really get the whole idea perhaps because my Italian is so bad ( [Big Grin]

)

But let me to sum up first, the idea is to get the 16mm taken from the Video projector, right?

1. How can the 16mm with 24 fps can get the 25fps without any flickers?

2. Isn't that if we get a picture from electronic stuff like TV there will be horizontal bar up and down?

3. Is he using negative or positive (reversal) stock?

4. How can he open the camera magazine while filming, isn't that the film will get burnt in second by outside light?

5. Lastly, what kind of stuff he is using to decode sound? (Laser pointer?)

Overall, the idea is absolutely amazing and EUR5/mintue is extremely cheap. So we can make 7 minute of Tom and Jerry (for example) for just EUR 35 on 16mm?

thanks,

Posted by Larry Arpin (Member # 744) on November 02, 2009, 06:46 PM:

It looks as though he is inverting the picture to make a negative image to record directly to positive stock. Not sure how his system works as far as picture at 24 or 25. Possibly it has to do with the sound syncing with the film. He is only showing us how the actual recording is being done in the light. I never got into sound and what he is producing is a variable track which should be good enough. It obviously is done in complete darkness to expose the positive stock. I'm sure he's done plenty of tests and I didn't see any indication of a roll bar or flicker in his footage at the end of the Youtube clip.

He did mention to me me when he received my file that there were problems with some frames. He mentioned possibly 60 to 50 hertz, but I think it was from my conversion from 24fps to 25fps, but I told him to go ahead anyway. I would have to get a Pal DVD, extract the file, then send it. I just want to see the results anyway. Maybe in the future I can replace it.

Posted by Steven Sigel (Member # 21) on November 02, 2009, 06:49 PM:

The way the UK Telerecorders worked was simply to run the film stock through at 25fps and voila - you have perfect sync between film frames and video frames... Of course when you project the prints at 24fps everything is just slightly slowed down, but it's not that noticeable.

Posted by Gian Luca Mario Loncrini (Member # 1417) on November 02, 2009, 07:01 PM:

3 years to fix this 'domestic' method. That's the time it took to complete all steps. I have talked to him a couple of days ago. A very nice guy. And very satisfied with his job after so longtime spent just trying and trying. [Wink]

Posted by Fabrizio Mosca (Member # 142) on November 03, 2009, 10:20 AM:

The Arriflex he uses is synchronized to 25fps, so he "records" at 25fps from dvd and then you project at 24 fps restoring the original speed.
Sound is recorded using a green laser driven by pc and he uses print polyester film (not negative or reverals). Of course, as he uses the Arri 120mt magazine, he may load as far as 150 mt or so inside it (remember that he uses polyester film and not acetate). Of course if you print a complete movie, you'll have many 14 minutes roll spliced together (unless he finds a 1000ft magazine for the camera...) .

Posted by Fabrizio Mosca (Member # 142) on November 03, 2009, 10:24 AM:

The Arriflex he uses is synchronized to 25fps, so he "records" at 25fps from dvd and then you project at 24 fps restoring the original speed.
Sound is recorded using a green laser driven by pc and he uses print polyester film (not negative or reverals). Of course, as he uses the Arri 120mt magazine, he may load as far as 150 mt or so inside it (remember that he uses polyester film and not acetate). Of course if you print a complete movie, you'll have many 14 minutes roll spliced together (unless he finds a 1000ft magazine for the camera...) .

Posted by Steven Sigel (Member # 21) on November 03, 2009, 10:28 AM:

Fabrizio makes a good point, if you take a PAL DVD and transfer it, you'll get the correct speed back when you run the film.

I have a lot of UK TV telerecordings, and those when run at 24fps are slowed down... But with a feature film, you wouldn't have the problem.

Posted by Fabrizio Mosca (Member # 142) on November 03, 2009, 10:40 AM:

BTW, I'm one of the italian guys who had some footage printed from dvd. I also had a look at some BW footage and Blue Ray footage.

Posted by Darren Payne (Member # 1517) on November 03, 2009, 04:12 PM:

So can he copy from the higher resolution blu-ray format too? That would be great to see..

Posted by Fabrizio Mosca (Member # 142) on November 04, 2009, 01:37 AM:

Yes Darren, but due to different frame rate the image is not perfect. He told me that he's working on that

Posted by Joe McAllister (Member # 825) on November 06, 2009, 02:56 AM:

quote:
Difficult to do "on the fly" because it has to be done at the same speed as the TV material, 25 fps instead of 24 fps to avoid flicker, which creates a non standard projection speed.

Actually there is no problem with speed and flicker using a PAL DVD source for telerecording.
With PAL transfers the 24fps film is run at 25fps to match tv frame rates thus speeding the film up which is why TV running times are shorter than their theatrical RT quoted on IMDB for example. This method means that the film and the transfer have the same amount of frames. So when telercording the film recorder(camera) is run at 25fps catching all the original frames, then projected at 24fps thus reverting to the original "film" speed.No need for animation techniques.
NTSC transfers the film at 24fps and electronically invents an extra frame after every 4th frame to make up to 30fps. Arriflexes like the one demonstrated in the clip could be run at either 24 or 25 fps which was the speed used for TV productions.

[ November 07, 2009, 03:57 AM: Message edited by: Joe McAllister ]

Posted by Wayne Tuell (Member # 1689) on November 06, 2009, 03:50 PM:

Here is a good translation tool to use if you want to read the notes. Just pick the to and from languages, copy past the test, and read the translations.

http://babelfish.yahoo.com/

Fabrizio, can I have the contact email for this gentlemen please?

I need the scene from when Charlie is walking along and finds the money in the gutter and goes into the store to buy some candy.

If need be I would be happy to buy the DVD for the footage without the DVD needing to be returned.

Thank you.
---Wayne Tuell

Posted by Gian Luca Mario Loncrini (Member # 1417) on November 06, 2009, 06:56 PM:

Wayne,
you can find his e-mail contact at the end of the video I have posted.
Good luck! [Wink]

Posted by Winbert Hutahaean (Member # 58) on November 07, 2009, 08:21 PM:

Do you think is there any point to use Blue Ray rather than DVD for the source when the 16mm camera is taking the picture from a small screen on VP? I don't think there is a different between them.

My question that is not answered, in his youtube, the camera magazine is open. Does this not harm to the film?

thanks,

Posted by Fabrizio Mosca (Member # 142) on November 08, 2009, 12:57 AM:

Winbert, I spoke with Marco a couple of days ago and he told me that he should have solved the issue with BD. He's making some other tests in these days and he'll let know the result.
I saw extracts both from dvd and blue ray and the difference in definition is noticable expecially when you project on big screens.

In the video, the magazine is open only for showing purpouses. If you have a closer look at the video, the film inside the magazine has been already developed and is ready for projection (look at the point where he shows sound recording, you may identify the red variable density track on the film)

Posted by Wayne Tuell (Member # 1689) on November 10, 2009, 01:31 PM:

I sent an email in hopes of having some replacement footage made. I hope he can do it for me. [Smile]

Posted by John Whittle (Member # 22) on November 11, 2009, 11:32 AM:

Marco is to be commended on his work. Many many years ago, I worked for George Harvey who was part owner of a lab and built Kinescope cameras. In the NTSC 30 fps world, it's a bit more complex and the shutter is adjusted to make an exposure of exactly one field (and this adjustment is so fine that the final timing can be just a coat of paint on the edge of the shutter).

Thus on TV material, only fields were recorded or in short half the image of a live broadcast. Sound was recorded single system with either a Maurer F Prime galvo or an Auricon galvo (if the customer didn't want to spend the money for the Maurer).

We could record either a negative or positive and switch the Maurer galvo for the proper sound track. Everything was black and white back then and Kodak made a Television Recording film that was made specifically for the type of display tube we were using.

Marco has adapted all this to current products and has come up with a method of getting enough light to expose color positive print film (which is quite a challenge on it's own). He also has come up with a way to expose single system sound. I would love to know what he's using as a modulator and light source since getting a sound exposure from that slit requires a lot of light. (His sound might improve a bit if he's using a broadspectrum light source with a #12 filter to restrict the exposure to the top two layers of the print film (if they've left everything on xx83 in the same order as before in layers).

To do the same thing in NTSC would really require a source that could output 24fps instead of 30fps so a full frame could be recorded. That shouldn't be impossible with blu-ray since movies are generally stored that way, but I'm sure Marco knows his way around that and his 25fps might be just fine for 24fps playback, he might just have to use PAL media to start with.

This wouldn't work for any program that was shot with video cameras such as concerts (cameras for feature work, generally are running at 24fps because they want to make a digital intermediate which is done on a film recorder one frame at a time and not in real time).

Excellent work, Marco. And building a processing machine as well!

John

Posted by Larry Arpin (Member # 744) on November 13, 2009, 12:16 PM:

Just got an email from Marco that he has finished with my film. So I sent payment and I should have it in a week or so. Will let everyone know how it is.

Posted by Thomas Stathes (Member # 235) on November 17, 2009, 08:47 PM:

I'm highly impressed with this setup and have written to Marco about some possible work; I'm anxious to hear back.

Larry A., I see you've converted a video file to PAL from an NTSC source but I'm still unclear as to how this is done.

Posted by Larry Arpin (Member # 744) on November 17, 2009, 09:57 PM:

I used mpeg streamclip and there is a place to put the frames per second and to choose whatever codec for the quicktime. I should have left it at 24 and brought it in after effects and coverted it to 25 there. I've done this before on shows I've worked on. Oh well, I'm anxiously awaiting the film's arrival.

Posted by Wayne Tuell (Member # 1689) on November 17, 2009, 10:59 PM:

I eagerly await the results. As soon as I'm done moving/un-packing I'm supposed to have Marco do some work for me too. [Smile]

Regardless if the work is just good or fantastic I'm having it done. Reading that it is fantastic will make it that much better. [Big Grin]

Posted by Thomas Stathes (Member # 235) on November 17, 2009, 11:08 PM:

Larry, my concern is this... if you have a NTSC video source which runs at 30fps, hasn't it been made by taking a 24fps source and cloning every 4th frame? The only way I can think of to achieve 25fps would be drop all but one of those cloned 4th frames from each second of footage. Perhaps certain software can do this, but how to ensure that the cloned frames are the ones that are dropped? I'm really not a techie so I'm not savvy to these specifics but if I knew what to do, I'd send him a test or two. It seems like from one of your followup posts Marco said there was a problem with some frames in your conversion. I can't afford to screw anything up with my budget [Wink]

Posted by Thomas Stathes (Member # 235) on November 18, 2009, 12:50 PM:

I've heard back from Marco now and he said:
"well, send me a original files from dvd ( is .vob)i can convert that
in the conversion to 30 to 25 go lose some frame .....is normal"
He can also take 24fps, but at a larger resolution.

Since I'm dealing with animation, I can't afford for the conversion from 30fps to 24 to drop any random frames- it ruins the fluidity of the animation. If anyone knows of a "magic bullet", a program that lets you drop a specific frame such as every 5th [duplicate] frame, I'd really appreciate the tip.

Posted by Dino Everette (Member # 1378) on November 18, 2009, 01:28 PM:

Does Sorrensnon Squeeze allow such specificity?

In a tedious situation I believe AVID would allow single frame removals

Posted by Thomas Stathes (Member # 235) on November 18, 2009, 02:11 PM:

Thanks Dino- and if either lets you render the whole file automatically with something like "remove every 5th frame", even better. I found some discussions but am not sure if they address the problem exactly:

http://forums.cgsociety.org/archive/index.php/t-275710.html

"Premiere Pro gives you the control to work with 24p
Premiere 6.5 and back, don't drop the neccisary frames. It does capture the footage, but it doesn't drop the duplicate frames or interlaced frames.

How it works. To keep the same tape standards to work with MiniDV, The cameras that record 24p Advanced, capture 24 fps, and every 5 frames either add a duplicate of the last, or an interlaced frame to make it 29.97 fps. When using software that understands this, the software drops every 5th frame and lets you edit in 24fps."

and-

http://www.dvxuser.com/V6/archive/index.php/t-172475.html

"i've tried using compressor to straight-up re-time it, but it just drops every 5th frame and looks stuttery... is there a special technique? frame blending of some sort? "

(Isn't this what we need?)

Posted by Dino Everette (Member # 1378) on November 18, 2009, 03:21 PM:

Tom can you send me a small test animation file and I'll run it through my sorrenson pal setup and see what we get?

Posted by Thomas Stathes (Member # 235) on November 18, 2009, 05:36 PM:

Sure Dino, I'll prepare a test clip and put it on an FTP for you to download. Send me your email address again to cartoonsonfilm@gmail.com

Posted by Larry Arpin (Member # 744) on November 21, 2009, 01:11 AM:

Just received the film today. I am very grateful to finally have the main titles and a missing section from my print of THE JOLSON STORY. THANK YOU MARCO for offering this service.

There are a few things that could be improved on. The blacks were a little thin and could be printed a little darker which will also improve contrast and color. I thought it was a bit lacking in color. I'm not sure what his process for printing from the file I gave him. Whether it was some kind of conversion for printing straight to color print or the processing. Does anyone know if he does his own developing? If so, are the chemicals replenished or other factors? In theory, the result should have been more contrasty, but I'm still grateful for what I have.

Next thing is CLASH OF THE TITANS. The TV print I have is missing several little scenes. The blu-ray is coming out in March 2010.

Here are some screen caps. The first 2 are from the titles. The 3rd is from my Tech print and the 4th is from Marco's print which shows the lack of color.

Posted by Gian Luca Mario Loncrini (Member # 1417) on November 21, 2009, 08:52 AM:

quote:
Does anyone know if he does his own developing

Hi Larry, how are you? The answer is yes, he does everything by himself, but I ignore if something is possible to emprove blacks or fix them in a better way.
The result seems anyway to be very good. So happy for you.

Posted by Larry Arpin (Member # 744) on November 21, 2009, 09:53 AM:

Forgot to mention the sound was very good. Very clear. There was no difference in the sound from my print to Marco's.

Posted by Thomas Stathes (Member # 235) on November 21, 2009, 04:20 PM:

Looks great, Larry! I currently have Marco trying a couple files. While I'm guessing the contrast isn't perfect on your print, would you say it's much better than a typical dupe print?

Posted by Larry Arpin (Member # 744) on November 21, 2009, 06:09 PM:

A dupe print is usually has more contrast with darker blacks and whiter whites losing detail in both ends. That's why it seemed odd that it was flat with greyer blacks.

Posted by Thomas Stathes (Member # 235) on November 21, 2009, 08:03 PM:

Hmmm...well I deal primarily in cartoons, and the problem with dupes for me is the blacks tend to be washed out, aside from other loss in detail.

Posted by Fabrizio Mosca (Member # 142) on November 22, 2009, 12:36 AM:

Larry, the extract Marco made for me has a similar problem.

When I spoke with him the first time, he explained all the process and all the rehersal he made to have a good print quality. Looking at the pictures, it seems that a particular color is missing and this could be due both to positive/negative conversion of the image and to a not proper color lamp temperature (he changed the projector bulb with a different one and he reduced the voltage to the bulb to give the proper film color temperature).

Posted by Michael De Angelis (Member # 91) on November 22, 2009, 12:43 PM:

Can Marco's service be used for black and white film?

Posted by Gian Luca Mario Loncrini (Member # 1417) on November 22, 2009, 01:11 PM:

Mike, try to contact him (his e-mail address appears at the very end of the video he uploaded on YouYube and I've linked on the topic post of this thread).

Anyway I think it would be possible. [Wink]

Posted by Fabrizio Mosca (Member # 142) on November 22, 2009, 02:05 PM:

Yes Michael, I had a clip in black and white and the result is really good. I hadn't the chance to compare with the original film, but I noticed no color shift.

Larry, I spoke with Marco today and he asked me to explain the problem with the different color:
"First of all we have to consider two different systems: film and electronic.
Film has a wide color dynamic respect to video and dvd are usually made from a low contrast movie film (Kodak television print 2395/3395) otherwise they cannot mantain the dynamic resulting in burnt whites and strong blacks.
This means that the dvd has a dynamic range specific only for video but too limited for the film itself, so if you go back to film you have to make a compromise between black and white because if you enhance black you're not able to have a correct white and vice versa.
Secondly you have to deal with the projector hitself, that is used in a different way from its main purpose, and its panels haven't a good dynamic. Of course the use of cathodic tube or even a laser will will give a better result and higher costs but you won't have back the same image you have in the original film (e.g. consider dvd compression). Maybe varying bulb color temperature in every scene will result in a more correct color dynamic, but it's something that has to be tried.
Of course, when dealing with electronic, a little change in color parameters may result in a great shift in colors of the film"

Further, Marco told me that chemicals are changed every 15min roll of film (600ft).

Posted by Gian Luca Mario Loncrini (Member # 1417) on November 22, 2009, 02:08 PM:

Very interesting indeed, Fabrizio. And very good, accurate and clear explanation.

Thanks [Wink]

Posted by John Davey (Member # 293) on November 28, 2009, 01:42 PM:

Hi All,

I am having Marco do some work for me as well. I will let you all know how it turns out.

I have taken the liberty of translating all of the text from the video through Yahoo babelfish. Of course, the translation is not spot on, but, it gets the point across. I will post it here in the order it appears in the video. Hope our english speakers find this helpful.

John

1. Step 1: Charge on the computer the rows of the part lacking or ruined of the film

2. with appropriate programs of editing video one acquires the rows on the dedicated timeline and negative through the plugin becomes

3. once render the rows pass to the press of the 16mm with film kodak 3383

4. the cinema camera 16mm Arriflex in phase of press

5. the press of the optical column to density variable

6. Attention all operation goes executed with the cinema camera sluice for obvious reasons

7. Step 4: The development of the hardly printed material

8. the material developed and already be inserted in the dannegiate parts or lacking the film, looks at being the transparent polyester while the triacetato one not

9. Step 5: Completed the development it is proceeded to the control of the executed job

10. fine of the restored part and beginning dell' it originates them

11. This and the system that is studied to me in order to transfer rows types them on film and to be able to save and to complete many usurati films 16mm from the time and the projections

12. for any information you can write: marco@ondaradioservice.it Bologna 2009

AND THIS IS THE TEXT THAT APPEARS IN THE INFO SECTION TO THE SIDE:

13. Example of restoration "amateur" for 16mm film in some parts missing or damaged.
Being a collector of 16mm films I've often found with the problem of restoring ruined some movies (but only) in my collection and finding copies in good condition of those I thought
to construct the entire chain of printing from a digital file in order to restore the missing parts
or ruined.
It took almost 3 years of work and testing to achieve a satisfactory result.
Who is a collector like me can contact me without any problems for any questions and suggestions.
Good vision.

Posted by Wayne Tuell (Member # 1689) on December 14, 2009, 01:31 PM:

Does anyone know if PAL formatted versions of Robinson Crusoe On Mars is available? I need one to send to Marco for some footage.....all I can find is NTSC.

Posted by John Davey (Member # 293) on December 23, 2009, 02:48 AM:

Hi,

Got my footage from marco.

The bad news, I didn't think to compensate for the speed difference, so the audio turned out sounding much slower than it should. I'll have to remember to compensate for that the next time I have work done.

The image is passable for replacement footage. It looks different from the original due to the formatting of the DVD vs the original film. The colors are a slight bit muted.

All in all, though, it didn't turn out terrible. I definetely use Marco again, it'll be easier knowing what I need to compensate for this time around.

Posted by Michael De Angelis (Member # 91) on December 23, 2009, 04:40 PM:

John,

In the future, please describe the compensation that you analyzed
to produce the results for good sound and color.

Posted by Thomas Stathes (Member # 235) on January 19, 2010, 05:59 PM:

Eagerly awaiting a couple prints from Marco now. Curious, how long did it take US customers to receive packages from Italy?

Posted by Larry Arpin (Member # 744) on January 19, 2010, 06:48 PM:

It only takes about a week.

I've been doing some more with Marco. To eliminate some variables I wanted to develop the film here to see if the problem was in his developing. I sent a regular image that he shot, as before, and when I got it back from my lab it turned out pretty much like I expected a double linearized image to look like. However, the sound was now very low. The image I could correct by adding a linear to log conversion so I consulted the lab and it sounds like I need to applicate the sound track. I have the test now with him and hopefully this will come out looking and sounding great. I will let you all know.

Posted by Nathan DeHahn (Member # 2192) on May 06, 2011, 03:42 PM:

What kind of optical soundtrack while you print films? Variable Density, Variable Area, or Unilateral? [Confused]

Posted by Wayne Tuell (Member # 1689) on May 06, 2011, 03:51 PM:

It is a variable density track, recorded directly onto Kodak
Vision print stock with a green light. When processed, you end up
with a magenta track. It plays back fine through any projector at correct audio levels.

Posted by Nathan DeHahn (Member # 2192) on May 06, 2011, 06:05 PM:

How interesting, I am looking forward to put my 16mm short in sound someday. [Smile]

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