Reviving this blog after a long hiatus as a place to keep records regarding various processes.
I’m about to do some contact printing and was wondering about processing the ORWO print stock
As ever, Richard Tuohy – THE go to man for all things DIY film processing – was on hand to advise:
More questions! I hope you don’t mind.
This time all with reference to the Orwo Print Stock.
1. As Neg:
7 mins @ 21°?
2. As Pos:
Regular Tri-X Process?
From what I could glean from the ORWO publications they suggest D-96 for neg and D-97 for pos. Is it worth mixing that for this stock?
always ask me, and if I can help i don’t mind at all
D96 is the official kodak developer for bw neg stock. It is very much the same as d76. D76 was itself formulated as a bw motion picture neg developer. I have used D96 but can’t see meaningful difference.
D97 is a high contrast developer. It too is the kodak recommended dev for black and white prints. And D94a is the kodak recommended dev for bw reversal. But in BW there is no need to stick to the ‘official’ kodak recommendations. Unlike colour.
So, no, don’t mix 96 or 97 or 94 or 95 (the official second developer for reversal). Just use D76 and D19 (67).
As for times, yes, I would use that and do an exposure test and rate the film at whatever gave the best neg with that development
Now that I’ve come to the other side of my first batch of motion picture processing it’s worth noting some general observations about what has been discovered. In no particular order:
B&W Reversal processing:
- The Fomapan stock needs to be developed a lot longer than the recommended B&W reversal times (10 mins as opposed to 6) and ideally the clearing bath should be stronger & longer too. This goes for both 1st & 2nd developer.
8mm & 16mm colour neg in C41 chemicals:
- The neg, to look at, has come out quite well but until I get a decent transfer it’s really impossible to tell what I’m dealing with. This obviously has larger implications in decisions about what to buy & shoot. If I don’t have access to cheap yet half decent telecine then it makes working with colour neg impossible. I’m still optimistic that I can get a DIY telecine to acceptable quality. Finding the time is another thing.
My feeling after dealing with Rem-Jet…and yes, it’s fucking messy. But the biggest hassle in my mind is not being able do anything with it without access or the funds to get a proper telecine. Until then its just neg on a reel. Useless to project and pointless to do an off the wall telecine, except as an effect.
Having processed some of the B&W ORWO stock that’s available at the moment I was wondering about how the stocks would handle neg processing. What difference might there be. After some research I found this guy in the US who I think works for a processing lab in LA and they’d run some tests. His answer to my question is useful information about processing this stock.
Link to his Vimeo page where some of the tests can be seen:
I processed the colour using the 3 Bath Tetenal Kit. The B&W was the home brewed Tri-X formula.
10 months since I began, I’ve finally developed my first motion picture!
The 16mm was ORWO and the 8mm was Tri-X. I processed them both as reversal in the LOMO tank using home mixed Tri-X formula . I’m pretty happy for a first go.
Added some sound sync and cropping experiments too.
The telecine was just a rushed DIY off the wall. Will be nice to get these transferred properly one day…
Crappy film off the wall telecine but I’m very pleased to get an image.The result, however, does throw up many questions……
Thanks Andy for providing the test film!
I also need to work out how to properly correct a negative (last test) in post. I just dragged the invert filter and it looks pretty bad. There must be a better way