16mm processing filmprocessing singlecamera
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- čas přidán 3. 09. 2018
- This video was produced as part of the European Research Council funded ADAPT project based at Royal Holloway, University of London. For more information about the project visit www.adaptTVhistory.org.uk
This footage was filmed in August 2015 at i-dailies, near Ealing in London, United Kingdom.
Laboratory staff demonstrate the various skills and methods used to process exposed negative films. They demonstrate the chemical processes, the practice of working in a dark room, and the work of the negative cutter.
This video is part of a series that shows how exposed film footage is processed so that it can be edited for use in television. The footage being processed was originally exposed during the project’s historical reenactment of a 16mm television film crew at work.
ADAPT (2013-8) is a European Research Council project at Royal Holloway University of London. The project studies the history of technologies in television, focussing on their everyday use in production activities.
ADAPT examines what technologies were adopted and why; how they worked; and how people worked with them. As well as publishing written accounts, the project carries out 'simulations' that reunite retired equipment with the people who used to use it.
Participants in these simulations explain how each machine worked and how different machines worked together as an 'array'; how they adapted the machines; and how they worked together as teams within the overall production process.
www.adaptTVhistory.org.uk
doi.org/10.17637/rh.c.3925603.v1 ADAPT (2013-8) is a European Research Council project at Royal Holloway University of London. The project studies the history of technologies in television, focussing on their everyday use in production activities.
ADAPT examines what technologies were adopted and why; how they worked; and how people worked with them. As well as publishing written accounts, the project carries out 'simulations' that reunite retired equipment with the people who used to use it.
Participants in these simulations explain how each machine worked and how different machines worked together as an 'array'; how they adapted the machines; and how they worked together as teams within the overall production process.
www.adaptTVhistory.org.uk
doi.org/10.17637/rh.c.3925603.v1
This facility is now Kodak Film Lab London. Thank god it wasn't shut down and broken up/demolished during the film crisis
film will never die.
I have worked in still photography labs and even own a lab currently but never done anything like this. It looks super fun.
Nice video. I remember back in film school I'd balk at how much the labs would charge... but then you realize all the technology and skill and overhead involved and wonder how they could have charged so little. To boot all that toxic chemistry that had to be maintained and then disposed of. It's amazing people are still using film (certainly not me, I've shot enough of it in my time). I wonder how much longer labs like this will be able to justify staying in business, the film nostalgia is still keeping it afloat I suppose.
I lived a year as a middle schooler in Rochester NY, home of Kodak, in the late 2000s. I got to use the dark room once in technology class to develop some 35mm film. Then the dark room was demolished the following year. It was really sad living in Rochester for that brief moment. Things were gloomy as Kodak slowly imploded.
this is the best hidden chanel on youtube!
Nice video. As usual when people describe film processing, there are a few errors due to slips of the tongue. For instance, after the film has come out of the bleach, it is still sensitive to light. Stick it back in the developer and you will quickly find out that the image will be lost as the whole film develops black. The fixer doesn't just dissolve away the silver compounds that the bleach converted the developed silver into. The fixer also dissolves away the remaining silver halide on the film - this is the stuff that light sensitive stuff that kodak put there in the first place. Only part of the silver halide was exposed in the camera, and hence only part of it was developed in the developer and converted back to silver halide in the bleach. The remaining silver halide is still as light sensitive as ever. You could dry it and put it back in the camera after the bleach (if it still hadn't been exposed to light) and sure enough you would be able to film another image onto it.
The primary job of the final rinse these days is just as a wetting agent. The wash after the fixer is the step that removes the salts produced in the fixing stage.
Great to see a large photomec in use
Nice comment. As usual when people describe film processing, there are a few errors due to slips of the tongue. For instance, after the film has come out of the bleach, it is still sensitive to light, however the silverhalides that form the negative were developed and bleached away. You could NOT dry it and put it back in the camera after the bleach (if it still hadn't been exposed to light) and sure enough you would be able to film another image onto it.
Fantastic, I love to process my own still color film at home and I always wondered how it was done for motion film. Great video.
Great craftsmanship! Love his energy
I did this most of my life
Hi, I wonder how much resolution can 16mm films provide after scanning into digital video? Is 1080P possible? 4K?
@@chuntian1653 looks better than most video for a theatrical release
@@chuntian1653 look at 16mm footage that was scanned at 4K, looks amazing
@@chuntian1653 yes you can do a 4k scan.
@@chuntian1653 rule of thumb is that 1 square mm of good "normal" film (100 ASA) can take at least 100'000 pixels or 0.1 mega pixels. So this gives you around 8.8mega pixels (11 x 8mm, Minox and 16mm ) for one picture.
4K has 8'294'400 pixels (3840 x 2160px) which would be 8.2mega pixels - so 16mm is better than 4K...
If you are filming with a film on a polyester basis then you have something close for eternity. I can't understand why Kodak is still using tri-acetat basis where Fuji used polyester for its single 8mm system...
One reason I'm filming every 2 years with 16mm or Super8mm is the long life of these fine mediums. I don't think that digital stuff will last so long and brave...
I miss Kodachrome and true Technicolor I.B.
Cordially - Géréon a watchmaker which loves true film tech. and ~everything BEFORE 1968...
Дякую !
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