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Ultra 16 labs in Europe


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#1 andres victorero

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Posted 23 January 2009 - 04:02 PM

Hi I´m very interested in U16 format. I know that is a great format but i don´t know if there are enought support by the european labs.
Someone know if there are labs in Europe that do the processing - telecine of Ultra 16?

thanks in advance
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#2 Tom Hepburn

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Posted 23 January 2009 - 04:11 PM

Hi Andres,

I'm not sure if there is enough support here in the US at this point. I only know of one.

I'm not aware of any in Europe.

Good luck,
Tom

Edited by Tom Hepburn, 23 January 2009 - 04:12 PM.

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#3 Saul Rodgar

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Posted 23 January 2009 - 07:31 PM

The processing part will be fine pretty much anywhere they can handle S16, which is anywhere they can handle R16 as far as I am concerned. I have never seen a processing lab that would scratch ANY of the negative area. Not one that I would sent my footage too, anyway.

And I asked my telecine lab in SF. CA. They said their Spirit DaVinci 2k can handle 2 perf 35 mm and U16 mm, so maybe any other labs with a similar sprocket-less drive scanner and color correction hardware / software would too. The way I understand it is that the gate is more electronic than physical, until you reach the width of the 4 perf 35mm frame and then it stops. But pretty much inside that area they can scan in any shape you can think of -at 24 fps for 16mm or 24 fps for 35mm, but one has to choose the 16mm 24 fps setting for 2 perf 35 mm to get the right results.

That is what I understand based on what they said, but I am no expert.
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#4 marc barbé

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Posted 24 January 2009 - 03:55 AM

The processing part will be fine pretty much anywhere they can handle S16, which is anywhere they can handle R16 as far as I am concerned. I have never seen a processing lab that would scratch ANY of the negative area. Not one that I would sent my footage too, anyway.

And I asked my telecine lab in SF. CA. They said their Spirit DaVinci 2k can handle 2 perf 35 mm and U16 mm, so maybe any other labs with a similar sprocket-less drive scanner and color correction hardware / software would too. The way I understand it is that the gate is more electronic than physical, until you reach the width of the 4 perf 35mm frame and then it stops. But pretty much inside that area they can scan in any shape you can think of -at 24 fps for 16mm or 24 fps for 35mm, but one has to choose the 16mm 24 fps setting for 2 perf 35 mm to get the right results.

That is what I understand based on what they said, but I am no expert.



hi,
I'm in France. I work in 16mm and S16 (blow up to 35mm). I must point out that major labs over here have been known recently to scratch S16 negs pretty badly. I found out from inside sources that this is due to poor maintenance of their traditionnal blow up equipment. They invested on the digital chain (scan before going to 35mm print) and, following Kodak's new technology, they push the customer to scan the 16mm neg.
Regards to all
Marc.
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#5 Stephen Williams

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Posted 24 January 2009 - 06:23 AM

The processing part will be fine pretty much anywhere they can handle S16, which is anywhere they can handle R16 as far as I am concerned. I have never seen a processing lab that would scratch ANY of the negative area. Not one that I would sent my footage too, anyway.

And I asked my telecine lab in SF. CA. They said their Spirit DaVinci 2k can handle 2 perf 35 mm and U16 mm, so maybe any other labs with a similar sprocket-less drive scanner and color correction hardware / software would too.


Hi,

Processing equipment could easily scratch one side of U16, it's designed to handle film using the sprocket area.
I think the Telecine lab did not know what you meant by U16, if a Spirit S16 gate could be used then everybody would have been doing it for years.

Stephen
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