I'm looking into starting my own film transfer facility. where I am, infrastructure for film is negligible, mostly because there isn't anyone who is able to develop or scan the film. Anyway, I figure I could try and give this a shot, since I can procure enough capital to start off with.
So, firstly, does anyone know some sort of a book that addresses handling and developing film, i.e. a little more than just the basics? workflow, techniques, common practices? more importantly, theory? currently I know little more than basic sensitometry, and what I learnt from processing my own still photography. Anything helps, really. I've tried looking a lot myself, but I haven't found anything yet.
Recently, I found an old film lab attached to a studio, that barely ever gets business anymore. it opened up in 1975, I doubt they've processed more than 30 or so films since. anyway, they have a list of equipment, and considering the current state of the industry I doubt they know anything about it besides which button to press when a light turns on. Either way, its an old Calder system, and I want to approach them with an offer to take it off their hands. But since it's the only one in the country, they might just hold out for more than it's worth, even though they're not going to make any money off it even if they do keep it. If I go in to see it, I need to go in knowing more than they do about their own equipment, which shouldn't be a phenomenally difficult task. I need to be able to make, at the very least, a confident assessment of the equipment: how much it might be worth, how to ballpark what particular model it might be and how much work it'd need (there's no denying it will).
It's a fairly long list, but they've sort of sneakily added different features of the same piece of equipment in some places to make it look longer. I'm attaching an assortment of pictures as well, as many as I could find. they're slightly small, but you can get a look at most of the equipment on them.
all the headings/categories are of their own making, I just typed it out as is. here's the list:
So. First impressions:
These guys have been open from the early 1970's, and I don't think they've replaced or upgraded their equipment since they originally bought it. The Nagra III's came out in 1962(ish), the Westrex system they're referring to is most likely one from the early 60's as well. (I still find that awesome, but then that's just me being geeky). From what little I know, the Westrex systems were optical recorders, and would be packaged with an Altec Lansing speaker, and often with a Quad Amp, so I think I might be right.
So really, what I need to know is what condition it's in, and if it can easily be converted to process super 35 and (more importantly) super 16 film. That still applies regardless of who owns it. I'd rather own it than having to try and push someone into putting money into their own equipment. I imagine though, it'd be hard to get them to relinquish it. On the other hand, when I called them up, they had to transfer me a couple of times before anyone knew what I was talking about. They thought I wanted something to do with the studio/sound-stage and sounded very noticeably surprised when I asked about the lab. It is still open apparently.
Now, how much does a bare bones lab from the 60's cost to buy in the States? How much would it cost to upgrade...? How much would it cost to use? What all from the list above do I really need, if I want to concentrate on 2K DI? How do you work Calder film processors? What all would you want from a film lab in way of services...? So on and so forth. You get the idea. Again, I have basic knowledge of sensitometry and lab practice, but I don't feel I know nearly enough to operate stuff myself (although I say this more than anything out of being cautious), much less supervise it if I want to get my film developed.
I cannot stress how much I want some sort of structured introduction to lab practices, followed by hopefully in depth practical and theoretical knowledge of it all. Unfortunately, I can't visit a working lab in this country, nor can I just pack up and fly out to somewhere else, and knock on a film lab's door in another country. Or at least, that easily. I need to know if this is an opportunity I can take advantage of. After that, I am more than willing to somehow find my way across the world to learn first hand from someone.
If you recognize any of the other names of the equipment listed, please do tell. I can't figure out more than a few. like: "Printing Machine Takeda", "Color Film Analyzer 200M-50" and "Electric Rewinder SIGMA with Table". If it helps, you're helping someone start up a film industry from the ground up.
oh, and if I've made some sort of noobish mistakes, I apologize. Thanks in advance, whether you reply or not, just for reading this entire post!
So, firstly, does anyone know some sort of a book that addresses handling and developing film, i.e. a little more than just the basics? workflow, techniques, common practices? more importantly, theory? currently I know little more than basic sensitometry, and what I learnt from processing my own still photography. Anything helps, really. I've tried looking a lot myself, but I haven't found anything yet.
Recently, I found an old film lab attached to a studio, that barely ever gets business anymore. it opened up in 1975, I doubt they've processed more than 30 or so films since. anyway, they have a list of equipment, and considering the current state of the industry I doubt they know anything about it besides which button to press when a light turns on. Either way, its an old Calder system, and I want to approach them with an offer to take it off their hands. But since it's the only one in the country, they might just hold out for more than it's worth, even though they're not going to make any money off it even if they do keep it. If I go in to see it, I need to go in knowing more than they do about their own equipment, which shouldn't be a phenomenally difficult task. I need to be able to make, at the very least, a confident assessment of the equipment: how much it might be worth, how to ballpark what particular model it might be and how much work it'd need (there's no denying it will).
It's a fairly long list, but they've sort of sneakily added different features of the same piece of equipment in some places to make it look longer. I'm attaching an assortment of pictures as well, as many as I could find. they're slightly small, but you can get a look at most of the equipment on them.
all the headings/categories are of their own making, I just typed it out as is. here's the list:
Considering how deprived this industry is, I don't expect the people who are staffed at the lab to be very experienced, unless they've managed to retain someone who has been there for decades (despite getting no work, and probably little or no money). Either way, despite the awesomeness of almost vintage, hands-on equipment they have, the film processors probably need work. I doubt they've replenished their chemicals regularly either. I also don't see any particular attention given to dirt/debris/scratch removal. Here is where my knowledge of lab practices wears thin. I don't know anything beyond the theoretical basics.PLANT AND LABORATORY:
1. Color Positive Plant with Positive Temperature Control Unit (CALDER)
2. Color Negative Plant with Negative Temperature Unit (CALDER)
3. Black & White Plant with B&W Temperature Unit (CALDER)
4. Color Silver Recovery Machine
5. Squeegee Water Pump
6. Plant Gear Box
7. Manual Rewinder Table
8. 1 HP Pump
9. 1/2 HP Pump
10. 1/4 HP Pump
11. Steel Tanks
12. Plastic Drums
COLOR FILM ANALYZER:
1. Color Film Analyzer 200M-50
2. Biometric Scope
3. Table Rewinder
4. Splicer 35mm
5. Perforation Repairing Machine
6. R F Punching Machine
SOUND:
1. Mixer Westrex
2. Recorder 4 Track
3. Reproducer
4. Optical Recorder with single track Recorder (Quard Power Amp) <--- this is probably Quad, not Quard
5. Altec Speaker
6. Nagra III
7. Cinema Scope Lens for Projectors
8. Amplifier - Quartz
9. Editing Equipment Set
10. Rewinder Table
11. Array Type Editing Table
12. Editing Table
13. Film Synchronizer & sound cutting punch
EDITING & GRADING 35/16mm
1. Printing Machine B/H 6100D
2. Electric Rewinder SIGMA with Table
3. Manual Rewinder
4. Printing Machine DABRI TC BH 3066
5. Printing Machine (Old)
6. Chamber (use for loop)
7. Strip and Duplicate machine with Table
8. Splicer 35mm 6170D
9. Splicer 16mm 6173D
10. Viewer 16mm
11. Picture Viewer Complete
12. Printing Machine Takeda
PRINTING PLANT:
1. Printing Machine B/H 6100D
2. Electric Rewinder SIGMA with Table
3. Manual Rewinder
4. Printing Machine DABRI TC BH 3066
5. Printing Machine (Old)
6. Chamber (use for loop)
7. Strip and Duplicate machine with Table
8. Splicer 35mm 6170D
9. Splicer 16mm 6173D
10. Viewer 16mm
11. Picture Viewer Complete
12. Printing Machine Takeda
PROJECTION 35MM:
1. Projector 35mm West Tech
2. CinemaScope Lens
3. Projector 35mm (Portable)
4. Rewinder
5. Joiner
6. Air Compressor
So. First impressions:
These guys have been open from the early 1970's, and I don't think they've replaced or upgraded their equipment since they originally bought it. The Nagra III's came out in 1962(ish), the Westrex system they're referring to is most likely one from the early 60's as well. (I still find that awesome, but then that's just me being geeky). From what little I know, the Westrex systems were optical recorders, and would be packaged with an Altec Lansing speaker, and often with a Quad Amp, so I think I might be right.
So really, what I need to know is what condition it's in, and if it can easily be converted to process super 35 and (more importantly) super 16 film. That still applies regardless of who owns it. I'd rather own it than having to try and push someone into putting money into their own equipment. I imagine though, it'd be hard to get them to relinquish it. On the other hand, when I called them up, they had to transfer me a couple of times before anyone knew what I was talking about. They thought I wanted something to do with the studio/sound-stage and sounded very noticeably surprised when I asked about the lab. It is still open apparently.
Now, how much does a bare bones lab from the 60's cost to buy in the States? How much would it cost to upgrade...? How much would it cost to use? What all from the list above do I really need, if I want to concentrate on 2K DI? How do you work Calder film processors? What all would you want from a film lab in way of services...? So on and so forth. You get the idea. Again, I have basic knowledge of sensitometry and lab practice, but I don't feel I know nearly enough to operate stuff myself (although I say this more than anything out of being cautious), much less supervise it if I want to get my film developed.
I cannot stress how much I want some sort of structured introduction to lab practices, followed by hopefully in depth practical and theoretical knowledge of it all. Unfortunately, I can't visit a working lab in this country, nor can I just pack up and fly out to somewhere else, and knock on a film lab's door in another country. Or at least, that easily. I need to know if this is an opportunity I can take advantage of. After that, I am more than willing to somehow find my way across the world to learn first hand from someone.
If you recognize any of the other names of the equipment listed, please do tell. I can't figure out more than a few. like: "Printing Machine Takeda", "Color Film Analyzer 200M-50" and "Electric Rewinder SIGMA with Table". If it helps, you're helping someone start up a film industry from the ground up.
oh, and if I've made some sort of noobish mistakes, I apologize. Thanks in advance, whether you reply or not, just for reading this entire post!
so no, not in LA, or even in the US. I appreciate the thought though! would still be very grateful for any sort of help.