Super 8 Single-System Sound Existing Light
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Low-Cost 8Mm/Super 8 Film Digitization Using A
Journal of Contemporary Archival Studies Volume 6 Article 16 2019 Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study Kenneth Eckert Hanyang University (ERICA), Korea, [email protected] Follow this and additional works at: https://elischolar.library.yale.edu/jcas Part of the Archival Science Commons, Digital Humanities Commons, Film Production Commons, Other Computer Sciences Commons, and the Other Film and Media Studies Commons Recommended Citation Eckert, Kenneth (2019) "Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study," Journal of Contemporary Archival Studies: Vol. 6 , Article 16. Available at: https://elischolar.library.yale.edu/jcas/vol6/iss1/16 This Case Study is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Journal of Contemporary Archival Studies by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Eckert: 8mm/Super 8 Digitization Using a Canon Scanner Low-Cost 8mm/Super 8 Film Digitization Using a Canon 9000F II Flatbed Scanner and Photoshop: A Case Study Kenneth Eckert Hanyang University, Korea Introduction For some fifty years, between its introduction in 1932 and its obsolescence with the growth of consumer video cameras in the 1980s, 8mm/Super 8 movie film was widely used for home movies and by amateur hobbyists and film students. It occasionally was used in TV news or even for in-flight movies and arcade kiosks, and possibly its most unfortunately famous example is the Zapruder 8mm film of John F. -
Small Gauge Symposium (Portland, 2001)
SMALL GAUGE SYMPOSIUM AMIA Conference, Portland, Oregon November 6-10, 2001 Film Services & Equipment Toni Treadway/Leo Enticknap Page 1 Small Gauge Film Survey Summary Karen Glynn Page 9 Bibliography Katie Trainor Page 11 Roundtable Excerpts Janice Simpson Page 17 Thanks to the Library of Congress’s National Film Preservation Board, Sony Pictures Entertainment, and the National Endowment for the Arts. This compilation, prepared for the 2001 Small Gauge Film Symposium, gathers some initial information prepared by the Task Force to share with AMIA. The documents are works in progress, and cry out for your additions. We invite you to participate in all the Small Gauge presentations throughout the Symposium, to think about the cultural and artistic import of small gauge and amateur film—and if possible to join us on Saturday at 4 p.m. for “A Brainstorming Session on Future Umbrella Projects for Amateur and Small Gauge Film.” Onward! Task Force Members Chair Karan Sheldon, Northeast Historic Film Section Chairs TECHNICAL Toni Treadway, Brodsky & Treadway/IC8 APPRAISAL Lynne Kirste, AMPAS SYMPOSIUM PROGRAM PLANNING Steve Anker, SF Cinémathèque Steve Anker, SF Cinémathèque, Co-curator "Big as Life" Grover Crisp, Sony Pictures Entertainment Karen Glynn, University of Mississippi Jan-Christopher Horak, Hollywood Entertainment Museum Karen Ishizuka, Japanese American National Museum Lynne Kirste, AMPAS Michelle Kribs, Oregon Historical Society Ross Lipman, UCLA Patrick Loughney, Library of Congress Anne Morra, MOMA Mona Nagai, PFA Bill O'Farrell, National Archives of Canada Eddie Richmond, UCLA Film and TV Archive Karan Sheldon, Northeast Historic Film Melinda Stone, University of San Francisco Dwight Swanson, Northeast Historic Film Toni Treadway, Brodsky & Treadway and IC/8 Ken Weissman, Library of Congress Pam Wintle, Human Studies Film Archives, Smithsonian Small Gauge Film Equipment Providers SPLICES AND LEADER Tech Note: Please use white leader from Neumade or Kodak. -
Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub
Miscellaneous Film Processing Services (Page 1 of 2) August 1, 2019 110 & 126 Develop, Scan & Print (C-41) Seattle Filmworks 35mm Processing Service Time: 10 Lab Days Matte or Glossy finish prints. Process: ECN-II or SFW-XL. Service Time: up to 2 weeks. C-41 process. Prints, if requested, on Kodak Royal paper. Applicable Films: Seattle Filmworks; Signature Color; Scanning the negatives is required prior to making prints. Eastman 5247 or 5294; Kodak Vision 2 or Vision 3 500T / We develop your cartridge of negatives ($4.90), scan the 5218 or 7218. visible images ($1.58 per negative), and, if requested, make prints ($0.20 per print). Scans are written to CD (no charge). Choose Matte or Glossy, 4x6 or 3½x5. Kodak Royal Paper. 110 film makes 4x5" prints. 126 film makes 4x4" prints. Default service is 4x6 Matte prints (if you don’t specify). Minimum charge : $12.00 Develop Only service Minimum Charge : $4.90 Develop Only service (blank film) ECN-II Develop & Print 4x6 or 3½x5 Identical 110 & 126 C-41 Develop Negatives & Scan to CD First Set 2nd Set Develop Develop & 20 or 24 Exposure ....................... 22.95 .................... 6.00 & Scan Scan & Print 36 Exposure ................................ 26.95 .................... 9.00 12 Exposure ................................ 23.86 .................. 26.26 Scan ECN-II process film to CD: 24 Exposure ................................ 42.82 .................. 47.62 Discount for unscannable negs ….1.58 each 1Reprint 2Enlargement Discount for prints not made from blank images ..........20 each Quality Quality Scanning Price per Roll CD CD Scans & Prints from Old 110 & 126 Negs with Develop & Print .......... -
KODAK EKTAR KODACOLOR •••1' GOLD FILMS HONORS Namic Negative
by Jack and Sue Drafahl EKTAR If you liked the first two Ektar films Ko- dak released earlier this year, then you're going to love the two newest additions to this exciting film family. Kodak just released Ektar 25 Professional, and the medium-speed Ektar 125. Both films are modeled after the first two films, qi Ektar 25 and Ektar 1000, but boast An Unqualified, \ several improvements. EKTAR 25 PROFESSIONAL FILM Categorically Loud, § The best way to describe the differ- Rave Review! \ Ektar 125 is an extremely practical film, with much wider exposure latitude than the slower 25-speed Ektars. ence between Ektar 25 and the new professional version is to use a correla- tion we sometimes give our photo stu- dents. If you went to the finest winery, and selected their top-of-the-line vin- tage, you would be selecting Ektar 25. Now, if you were to select those few bottles that were aged to absolute per- fection, then you would be selecting Ektar 25 Professional. Kodak's manufacturing plant sees to it that all Ektar 25 film must fall within the tight tolerances they set for each distinct layer of film. When the specifications on a certain emulsion are found to be a perfect match in all areas, it becomes Ektar 25 Profession- al, and is refrigerated at that point. This better-than-best film is recom- mended for the professional photogra- pher demanding large enlargements from a 35mm negative. The serious 80 PHOTOgraphic/September 1989 EKTAR its exposure latitude than Kodak's Ko- dacolor Gold films. -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver -
FILM FORMATS ------8 Mm Film Is a Motion Picture Film Format in Which the Filmstrip Is Eight Millimeters Wide
FILM FORMATS ------------------------------------------------------------------------------------------------------------ 8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: regular or standard 8 mm and Super 8. There are also two other varieties of Super 8 which require different cameras but which produce a final film with the same dimensions. ------------------------------------------------------------------------------------------------------------ Standard 8 The standard 8 mm film format was developed by the Eastman Kodak company during the Great Depression and released on the market in 1932 to create a home movie format less expensive than 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film, which is only exposed along half of its width. When the film reaches its end in the takeup spool, the camera is opened and the spools in the camera are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is exposed along the side of the film left unexposed on the first loading. During processing, the film is split down the middle, resulting in two lengths of 8 mm film, each with a single row of perforations along one edge, so fitting four times as many frames in the same amount of 16 mm film. Because the spool was reversed after filming on one side to allow filming on the other side the format was sometime called Double 8. The framesize of 8 mm is 4,8 x 3,5 mm and 1 m film contains 264 pictures. -
Graphicconverter 6.6
User’s Manual GraphicConverter 6.6 Programmed by Thorsten Lemke Manual by Hagen Henke Sales: Lemke Software GmbH PF 6034 D-31215 Peine Tel: +49-5171-72200 Fax:+49-5171-72201 E-mail: [email protected] In the PDF version of this manual, you can click the page numbers in the contents and index to jump to that particular page. © 2001-2009 Elbsand Publishers, Hagen Henke. All rights reserved. www.elbsand.de Sales: Lemke Software GmbH, PF 6034, D-31215 Peine www.lemkesoft.com This book including all parts is protected by copyright. It may not be reproduced in any form outside of copyright laws without permission from the author. This applies in parti- cular to photocopying, translation, copying onto microfilm and storage and processing on electronic systems. All due care was taken during the compilation of this book. However, errors cannot be completely ruled out. The author and distributors therefore accept no responsibility for any program or documentation errors or their consequences. This manual was written on a Mac using Adobe FrameMaker 6. Almost all software, hardware and other products or company names mentioned in this manual are registered trademarks and should be respected as such. The following list is not necessarily complete. Apple, the Apple logo, and Macintosh are trademarks of Apple Computer, Inc., registered in the United States and other countries. Mac and the Mac OS logo are trademarks of Apple Computer, Inc. Photo CD mark licensed from Kodak. Mercutio MDEF copyright Ramon M. Felciano 1992- 1998 Copyright for all pictures in manual and on cover: Hagen Henke except for page 95 exa- mple picture Tayfun Bayram and others from www.photocase.de; page 404 PCD example picture © AMUG Arizona Mac Users Group Inc. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Download the Technical Data for Kodak Professional
TECHNICAL DATA / COLOR TRANSPARENCY FILM May 2004 • E-2529 KODAK PROFESSIONAL EKTACHROME Duplicating SIZES AVAILABLE Film EDUPE is a low-contrast color reversal duplicating Sizes and catalog numbers may differ from country to film designed for making high-quality duplicates from country. See your dealer who supplies KODAK originals on KODAK EKTACHROME or KODACHROME PROFESSIONAL Products. Films. It features excellent color reproduction, extremely fine grain, and very high sharpness. Rolls Code / Acetate CAT No. Although its primary application is producing duplicate Spec No. Base slides, you can also use this film for making copy slides of 135-36 EDUPE 134 2641 high-contrast color reflection prints. EDUPE/ 35 mm x 100 ft 195 2837 SP663 FEATURES BENEFITS EDUPE/ 35 mm x 400 ft 114 7461 • Optimized spectral • Versatile performance SP663 sensitivity and tone scale • Exceptional tone and color EDUPE/ 35 mm x 1000 ft 197 5358 reproduction from a variety SP663 of original film types 5-mil EDUPE/ (0.13 mm) • Extended tone scale • Increased highlight and 46 mm x 100 ft 122 1985 latitude shadow detail SP446 EDUPE/ • Faithful reproduction of 61.5 mm x 100 ft 102 3035 original tone scale SP816 • Richer blacks EDUPE / 70 mm x 100 ft* 813 7523 • Cleaner whites SP481* • Finest grain available in a • Outstanding reproduction of 120 EDUPE 139 5268 color reversal duplicating detailed images—even with film enlargement *Perforated on both edges. • The perfect match for today’s finer-grained films Film Code Acetate • Excellent latent-image • No color or contrast shifts Sheets Size CAT No. keeping within a roll, or from the start Base to the end of the day 10 802 4531 • Superb reciprocity • No tone scale compromise 4 x 5 in. -
Kodakery; Vol. 6, No. 34; Aug. 26, 1948
KODAK COMPANY Vol. 6, No. 34 Copyr ight 1948 by Eastman Kod ak Com pany, Rochester, N.Y. August 26. 1948 Prince 'Shoots' Olympic Eventj Company Lists 3 New Models In l(odak Tourist Camera Line Bodies Pattern ed After Rugged Oriainal ~ Three new m odels of the K odak T ourist Camera - K oda k's n ew strea mlined folding camera - are a n nounced by the Compa ny. T hey are the K odak T ourist f/ 6.3 Cam era, the Kodak Tourist f/8.8 Cam era and the Kodak T ourist Ca mera with K odet Lens. These three additions to t he K odak Tour ist Camera line are patterned a fter the origina l m odel, the K odak Tourist Came ra with K oda k Anaston f/4.5 Le ns, a n nounced last May . Basic d iffer ences in t he cameras are in t he le nses and shutters. Many Features Like t he ir more expensive pred ecessor, the new m odels a re styled around a rugged, cast a luminum body ; removable back ; Kodadur fin ish, a nd d ura ble Tenite top trim. T hey have the same built-in shut Another Tourist_ Mary Flaherty of Dept: 75 a t Camera Works ter release, enclosed e y e - I e v e 1 brushes lens and mountings on the new Kodak viewfinder a nd ·built-in fl ash syn Tourist f/ 6.3 Camera, now in production. It' s one of three new models. chronization. -
Kodak Picture Making Aids
Central Library of Rochester and Monroe County - Trade Catalog Collection KO D AK PlCTURt UMUHG MOS Central Library of Rochester and Monroe County - Trade Catalog Collection m Central Library of Rochester and Monroe County - Trade Catalog Collection KODAK 0$ PICTURE-MAKING AIDS FOREWORD ... A camera and a roll of film are the basic materials with which anyone may participate in the satisfying and enjoyable hobby of pic ture taking. As skill and experience grow, however, the desire often arises for new fields to conquer, and to help satisfy this longing, dozens of novel, easily used, Kodak accessories—as described in this book — are available. INDEX Adapters, Miniature-Kodachrome . 9 Lamps, Photoflood and Photoflash . 8, 14 Albums 38, 39 Lens Attachments . 15, 16, 17, 18 Blotter Roll 27 Lens Attachments, Combination 15, 16, 17 Carrying Cases 42, 43 Lens Cleaner 44 Chemicals . 29 Lens Hood 15, 16, 17, 44 Darkroom Lamps . 36 Mask Charts 27 Darkroom Outfits 30, 31 Minifile Box for Miniature Negatives . .11 Developers 29 Neck Strap 11 Developing Supplies 22, 23 Negative Spotting Panel 37 Dry Mounting Tissue 40 Oil Colors 41 Enlargement Exposure Calculator 37 Paper 28 Enlargers 32, 33, 34, 35 Paper Board, Kodak Miniature .... 37 Enlarging Focus Finder Paper Board, Masking 37 Exposure Guides 37 . 7 Photo Chamois 27 Ferrotype Plates Photoflood Control . 14 Film and Film Packs . 4, 5, 6, Back . 27 Cover Plates, Eastman and Wratten 6 Film Clips Printer, Kodak Amateur 26 23 Film Lacquer Printing Frames and Masks .... 26, 27 Film Tanks 44 Print Rollers 40 Filters 15, 16, 20, 21 Projection Print Scale 37 Filters, Kodachrome 8, 17, 18 Publications . -
Kodak Movie News; Vol. 10, No. 4; Winter 1962-63
PUBLISHED BY EASTMAN KODAK COMPANY W I N T E R 1 9 6 2- 6 3 KODAK MOVIE NEWS Q. I have a roll of KODACHROME Film in my 8mm camera that has been exposed on the first half. I've LETTERS TO lost the carton the film came in and I forgot whether I have KODACHROME or KODACHROME II Film . And I'm not sure whether it's Daylight Type or Type A. Is THE EDITOR there any way I can tell? Mr. C. B., Nashville, Tenn. Comments: I thought you might be interested in an unusual sequence I shot recently. I observed a big snapping turtle come into my yard and, knowing that she was going to dig a hole and lay her eggs, I loaded my camera and took some wonderful shots. I watched the eggs, and 3½ months later when they started to hatch, I made shots of the baby turtles coming out of the eggs and learning to walk. Later I made appropri· ate titles, and came up with what I call a creditable color movie. Mrs. B. E. C., Moorestown, N.J. A. Yes. Take a look at the end of your film. If it's Your seasonal titles are more helpful now that you KODACHROME Fi lm, you will see the legend "KOD print them sideways. At least mine were not creased. HALF EXP " punched through the film ind icating Day- Mr. L. G. P., Philadelphia, Pa. light Type, or " KOD A HALF EXP" if it's Type A. If your roll is KODACHROME II Film, th ere will be Please continue to publish seasonal titles.