This workflow was somewhat common in the late 70 through mid 80 s on lower budget films, I m not so sure on how less expensive this work flow was, being all the film labs back then had reduction printers maybe it wasn't. Anther step the filmmakers had to go through is once the reduction print was made before cutting it for editing the work print and matching 35mm negative then had to have a new edge-code applied to the 35mm negative, the 16mm work print and the 16mm mag this was necessary so that the negative cutter can accurately cut the 35mm negative to the 16mm work print. We at Metro Post are currently building a new lab in New Jersey we will be offering to start S8.16mm b/w reversal processing Ektachrome S8/16mm reversal processing I m also installing all 3 of my SEKI optical printers there with those we can do 35 to 16 reduction 16 to 35mm blow up super 35mm to anamorphic 35mm and 1 to 1 printing all wet or dry gate.
John RizzoMember Since 21 Dec 2006
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New York N.Y.