Part 3 Chapter 14 Portland Noir Instructions for Camera Directions

Portland Noir Instructions for CAMERA DIRECTIONS11

FILM NOIR22

Film Noir (literally 'black film or cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres following the war, such as http://www.filmsite.org/malt.htmlThe Maltese Falcon (1941), Murder, My Sweet (1944), http://www.filmsite.org/doub.htmlDouble Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Fear, mistrust, bleakness, loss of innocence, despair and paranoia are readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs. 33

Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960 (marked by the 'last' film of the classic film noir era, Orson Welles' http://www.filmsite.org/touc.htmlTouch of Evil (1958)). 44

Important Note: Strictly speaking, film noir is not a genre, but rather the mood, style, point-of-view, or tone of a film. It is also helpful to realize that 'film noir' usually refers to a distinct historical period of film history - the decade of film-making after World War II, similar to the German Expressionism or the French New Wave periods. However, it was labeled as such only after the classic period - early noir film-makers didn't even use the film designation (as they would the labels "western" or "musical"), and were not conscious that their films would be labeled noirs. 55

Very often, a film noir story was developed around a cynical, hard-hearted, disillusioned male character [e.g., Robert Mitchum, Fred MacMurray, or Humphrey Bogart] who encountered a beautiful but promiscuous, amoral, double-dealing and seductive femme fatale [e.g., Mary Astor, Veronica Lake, Jane Greer, Barbara Stanwyck, or Lana Turner]. She would use her feminine wiles and come-hither sexuality to manipulate him into becoming the fall guy - often following a murder. After a betrayal or double-cross, she was frequently destroyed as well, often at the cost of the hero's life. As women during the war period were given new-found independence and better job-earning power in the homeland during the war, they would suffer -- on the screen -- in these films of the 40s. 66

Titles of many film noirs often reflected the nature or tone of the style and content itself: Dark Passage (1947), The Naked City (1948), Fear in the Night (1947), http://www.filmsite.org/outo.htmlOut of the Past (1947), Kiss Me Deadly (1955), etc. 77

Primary Characteristics and Conventions of Film Noir: Themes and Styles 88

The primary moods of classic film noir were melancholy, alienation, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia. 99

Heroes (or anti-heroes), corrupt characters and villains included down-and-out, conflicted hard-boiled detectives or private eyes, cops, gangsters, government agents, a lone wolf, socio-paths or killers, crooks, war veterans, politicians, petty criminals, murderers, or just plain Joes. These protagonists were often morally-ambiguous low-lifes from the dark and gloomy underworld of violent crime and corruption. Distinctively, they were cynical, tarnished, obsessive (sexual or otherwise), brooding, menacing, sinister, sardonic, disillusioned, frightened and insecure loners (usually men), struggling to survive - and in the end, ultimately losing. 1010

Storylines were often elliptical, non-linear and twisting. Narratives were frequently complex, maze-like and convoluted, and typically told with foreboding background music, flashbacks (or a series of flashbacks), witty, razor-sharp and acerbic dialogue, and/or reflective and confessional, first-person voice-over narration. Amnesia suffered by the protagonist was a common plot device, as was the downfall of an innocent Everyman who fell victim to temptation or was framed. Revelations regarding the hero were made to explain/justify the hero's own cynical perspective on life. 1111

Film noir films (mostly shot in gloomy grays, blacks and whites) thematically showed the dark and inhumane side of human nature with cynicism and doomed love, and they emphasized the brutal, unhealthy, seamy, shadowy, dark and sadistic sides of the human experience. An oppressive atmosphere of menace, pessimism, anxiety, suspicion that anything can go wrong, dingy realism, futility, fatalism, defeat and entrapment were stylized characteristics of film noir. The protagonists in film noir were normally driven by their past or by human weakness to repeat former mistakes. 1212

Film noir films were marked visually by expressionistic lighting, deep-focus or depth of field camera work, disorienting visual schemes, jarring editing or juxtaposition of elements, ominous shadows, skewed camera angles (usually vertical or diagonal rather than horizontal), circling cigarette smoke, existential sensibilities, and unbalanced or moody compositions. Settings were often interiors with low-key (or single-source) lighting, venetian-blinded windows and rooms, and dark, claustrophobic, gloomy appearances. Exteriors were often urban night scenes with deep shadows, wet asphalt, dark alleyways, rain-slicked or mean streets, flashing neon lights, and low key lighting. Story locations were often in murky and dark streets, dimly-lit and low-rent apartments and hotel rooms of big cities, or abandoned warehouses. [Often-times, war-time scarcities were the reason for the reduced budgets and shadowy, stark sets of B-pictures and film noirs.] 1313

KEEP THIS DOOR1414

CLOSED 1515

AT1616

ALL TIMES1717

FIRE HAZARD1818

Coffee Room Rules. Army 1944 1919

(00538)2020

"Coffee Room Rules.2121

No More Than Four Persons Will Drink Coffee At Any One Time.2222

All Personnel Will Wash Cups And Spoons Thoroughly After Use.2323

Spilled Coffee And Sugar Will Be Immediately Mopped Up.2424

Coffee Will Be Prepared Only By the Chemical Man On Duty2525

Who Will Be Responsible For The Police Of The Room.2626

(signed) By Order Of The Laboratory Commander"2727

Photo by US Army A-2 Photo Section, New Guinea, 19442828

Super 16mm K-32929

Battery adapter kit3030

for the internal lightmeter. 3131

Overview 3232

The Krasnogorsk-3 is a 16-mm windup camera made in the former Soviet Union. The name "Krasnogorsk" comes from the suburb of Moscow where the plant is located. 3333

The K-3 has been adopted by many film schools, including the University of Southern California's School of Cinema and Television.3434

Its low price, rugged construction and sophisticated optics have made it very popular with both beginning filmmakers and professionals. Among the K-3's credits are music videos for the Spin Doctors and Suicidal Tendencies. 3535

Director Spike Lee shot some of the footage in his film Get On The Bus using a K-3. There is a photo of Spike holding a K-3 on the cover of the soundtrack CD. 3636

The Krasnogorsk-3 features:3737

 17-69mm f1.9 zoom precision Zenit Lens 3838

 Electronic exposure meter 3939

 Continuously variable speed from 8-48 fps 4040

 Single-frame animation 4141

 Rotating mirror beam-splitter 4242

 Film counter 4343

The Krasnogorsk-3 is sold in a package that includes everything needed to get started.4444

 Pistol Grip with Shoulder brace 4545

 Filters 4646

 2x Close-up diopter 4747

 Carrying case 4848

 Cable release 4949

 Lightmeter Battery adapter kit 5050

Available accessories include:5151

 TimeFlow Intervalometer 5252

"Ok, where can I get one?"5353

Right here!5454

Well, see the ordering page for information. We ship worldwide!5555

We also have spare parts for the K-3! See the ordering page (towards the bottom).5656

Music Video shot with the K-3 5757

Also Eiki 16mm Projectors and some Eiki Parts5858

Battery adapter kit for the internal lightmeter. 5959

Includes precision machined brass adapter and four cells. Order Online! Only $29!6060

http://discovermagazine.com/http://discovermagazine.com/6161

3) A Two-Timing Universe6262

For nearly a century, physicists have tried to reconcile Einstein’s vision of the universe (including three dimensions of space and one of time) with the bizarre realm of quantum physics, rife with such oddities as instant communication at a distance and being in two places at once. The effort to unify the views has resulted in a stream of elaborate hypotheses positing worlds with multiple dimensions of space, most notably string theory and its successor, M-theory.6363

Itzhak Bars, a theoretical physicist at the University of Southern California, thinks these hypotheses are missing a crucial ingredient: an extra dimension of time. By adding a second dimension of time and a fourth dimension of space to Einstein’s standard space-time, Bars has come up with a new model providing “additional information that remained hidden in previous formulations” of physics, including current versions of M-theory. Such a model could better explain “how nature works,” he says.6464

Physicists had never added a second dimension of time to their models because it opens the possibility of traveling back in time and introduces negative probabilities and other scenarios that seem nonsensical. In his equations Bars has solved these problems with a new symmetry that treats an object’s position and its momentum as interchangeable at any given instant.6565

Does this mean we could actually experience a second dimension of time? “Yes,” Bars says, “but only indirectly,” by thinking of the world around us as many shadows that look different depending on the perspective of the light source. “The predicted relations among the different shadows contain most of the information about the extra dimensions,” he explains. Next, Bars and his team are developing tests for two-time physics and investigating how to apply the theory to all the natural forces, including gravity. Adding two-time physics to M-theory, he says, should help us close in on “the fundamental theory that so far has eluded all of us.”6666

Two Shadow Rendering Algorithms6767

by Chris Bentley 6868

Introduction6969

In computer graphics objects are often rendered without shadows, and appear not to be anchored in the environment. Shadows convey a large amount of information because they provide what is essentially a second view of an object. This presentation (web page) will discuss two popular algorithms for generating shadows when rendering polygon mesh models. 7070

Object rendered with no shadow, appears to float above plane: 7171

Anatomy of a Shadow7272

A point is in shadow relative to a given light source if rays from that light source cannot directly reach the point. Stated another way: shadowed points are points that the light cannot "see". Point light sources produce shadows with "hard" edges. Non-point light sources produce both umbra and penumbra shadows. Here, I will only consider point light sources, although extending one of the shadow algorithms to handle area light sources would not be difficult. 7373

Overview of Shadow Rendering7474

Numerous methods exist to render shadows using polygonal mesh data: 7575

1. Transforming polygons to "ground", creating shadow polygons for each object polygon 7676

2. Storing shadow information in shadow Z-buffer 7777

3. Calculating shadow pixels by tracing rays from points on object to light source location. 7878

4. Precalculating shadow volumes 7979

5. Calculating shadows using radiosity 8080

The discussion in this presentation will focus on algorithms 1 and 2, considering only the case of point light sources, which produce hard edges. 8181

I. Transforming Polygons to Ground8282

This method is descibed by Jim Blinn, [BLIN88]. In this article, Blinn describes the equations for transforming a polgyon onto the z = 0 plane, opposite the direction that the light is shining from. He discusses two cases: 8383

1. light at infinity 8484

2. local light source 8585

This method uses the geometric relationship of light sources and polygons, i.e. similar triangles, to calculate each polygon's projection on z = 0 plane. The "shadow polygon" generated in this way should be generated for every light source. So for N lights there will be N projections of each polygon. 8686

Case 1. light at infinity 8787

Light source at infinity: 8888

For the case of a light source positioned infinitely far away, we will assume that all the rays reaching the object are parallel. This will allow us to solve the shadow equations once, and apply the solutions to every vertex in our object. Given 2 points: 8989

1. light point, 9090

2. vertex point, 9191

We want to calculate: 9292

shadow point, 9393

From similar triangles we have: 9494

Solving for : 9595

If L is vector from point (P) to the light, then the Point-Vector form of the line is: 9696

Since we require that , this becomes: 9797

or 9898

Then, solving for : 9999

with being similar. 100100

In matrix form: 101101

Now given the world coordinates of any polygon vertex, P , we can multiply: 102102

This computes the projected shadow points of the polygon, which we can fill, producing a shadow polygon. 103103

Shadows using "ground transformation" with two light sources at infinity: 104104

Case 2. local light sources 105105

Perspective shadow from local light source: 106106

The equations for an infinite light source with parallel rays can be extended for the case of light sources that are positioned at some point in space, a finite distance away from the object being rendered. Note that now we will need to perform an additional calculation for every vertex in our object, because each vertex will, in general, have a different vector to the light. However, in this case too we can place most of our calculations in a matrix. 107107

If, now, l is the location of the light source, and (P) is the polygon vertex, we can again use the Point-Vector form of the line: 108108

Again, we require that , so: 109109

and 110110

with being similar. 111111

By using the division performed when turning homogeneous coordinates into 3D coordinates, we can write the matrix: 112112

Again, given the world coordinates of any polygon vertex, P , we can multiply: 113113

and then homogenize to compute projected shadow point. 114114

Shadows using "ground transformation" with local light source: 115115

Implementation of Ground Transformation116116

Here is the code to load the shadow transformation matrix, W : 117117

/*118118

* get world coordinates of light119119

*/120120

copy_vect( light_point, view->lights[n]->world_coords );121121

/*122122

* initialize shadow matrix, W, and then load rows, cols123123

*/124124

ident_mat( W );125125

W[0][0] = -light_point[2];126126

W[0][2] = light_point[0];127127

W[1][1] = -light_point[2];128128

W[1][2] = light_point[1];129129

W[2][2] = 0;130130

W[3][3] = -light_point[2];131131

And here is the code for multiplying a polygon's world coordinates by the shadow matrix to project the polygon onto the z = 0 plane: 132132

/*133133

* transform object world coordinates into z = 0 plane, using W matrix134134

*/135135

pt_matrix_mult( wpt, W, v[i].world_coords );136136

homo( v[i].world_coords );137137

/*138138

* transform new coordinates of shadow point by viewing139139

* and perspective transformations140140

*/141141

pt_matrix_mult( v[i].world_coords,cur_view->VPN,v[i].screen_coords);142142

homo( v[i].screen_coords );143143

II. Shadow Z-buffer Calculation144144

Adapting the Z-buffer hidden surface removal algorithm in order to calculate shadows was first described by Williams [WILL78]. This method follows directly from the idea that shadow points are "hidden" from light. In other words, shadows are "hidden surfaces" from the point of view of a light. If we pretend that the light point is the center of projection (i.e an eye point), we can render the scene from the light's point of view, using a Z-buffer to compute surfaces visible to the light. The Z-buffer resulting from this will record all of the points that are closest to the light. Any point that has a "farther" Z value at a given pixel is invisible to the light and hence is in shadow. 145145

The Z-buffer method involves looking at the object from the point of view of each light in the scene, and computing a Z-buffer of the object as seen by each light. After this preprocessing is performed, the object is rendered from the "true" eye position. For every pixel visible to the eye, we will transform the object point into the light's view to determine whether that point was also visible to the light. If it was not, then that point is in shadow. 146146

Note that when we are calculating the hidden surfaces from the point of view of each light source, we only care about the depth information, and we are not interested in performing lighting calculations for these polygons, because the "light's eye views" will not normally be seen by the user. This permits faster rendering when precalculating the shadow Z-buffers. 147147

Implementation of Shadow Z-buffer Algorithm148148

Precomputing phase 149149

1.0 for each light source150150

1.1 make light point be center of projection151151

1.2 calculate transformation matrices152152

1.3 transform object using light point matrices153153

1.4 render object using zbuffer - lighting is skipped154154

1.5 save computed zbuffer (depth info)155155

Object rendering phase 156156

2.0 make eye point be center of projection157157

3.0 recalculate transformation matrices158158

4.0 transform object using eye point matrices159159

5.0 render object using zbuffer160160

5.1 for every pixel visible from eye161161

5.1.1 transform world point corresponding to pixel to shadow coordinates162162

5.1.2 for every light source 163163

5.1.2.1 sample saved zbuffer for that light164164

5.1.2.2 if shadow coordinates < zbuffer value165165

5.1.2.2.1 pixel is in shadow166166

Problems in Shadow Z-buffer Algorithm167167

The shadow Z-buffer algorithm has two serious problems relating to how the precomputed Z-buffers are sampled. To see the first problem consider a point that is visible to both the eye and a light. Assume the shadow Z-buffer for the light has already been computed. When transforming the point's world coordinates to shadow coordinates the point will (ideally) project in the shadow Z-buffer to the same spot that this point projected to when viewed from the light. If this is the case, though, the algorithm may decide that the point is in shadow. Also, due to inaccuracies in the projection calculations, the point may project to a spot in the shadow Z-buffer that has a slightly "nearer" z value. In other words, points can appear in shadow, because they shadow themselves, or because we are mistakenly comparing them with their neighbors! 168168

The solution to the problem of points "shadowing themselves" is to cheat a little: when transforming the point into shadow coordinates to see whether it is obscured by anything, we add a small fudge factor so that points project in front of themselves, and thus do not shadow themselves. The solution to the problem of comparing with the wrong Z-buffer values is to perform "Area Sampling" of the Z-buffer around the projected point, rather than just "Point Sampling". However, simply averaging the Z-buffer values in the neighborhood is not sufficient. A better solution is "Percent Closer Filtering", as described in Watt [Watt]. This method also provides a small amount of antialiasing of shadow edges, which produces shadows with slightly softer edges. 169169

Object as viewed from light #1: 170170

Object as viewed from light #2: 171171

The Z-buffer algorithm produces shadows not only on z = 0 plane: 172172

Conclusion173173

Pros and Cons of Two Algorithms: 174174

A. The Ground Transformation Algorithm 175175

 Requires no extra memory, and easily handles any number of light sources 176176

 However, it only shadows onto ground plane, so it cannot handle objects which shadow other complex objects 177177

 Every polygon is rendered N times, where N is number of light sources 178178

B. The Z-Buffer Algorithm 179179

 Can shadow ANY scene which can be rendered using Z-buffer 180180

 However, it requires a separate memory buffer for each light source 181181

 Again, every polygon is rendered N times, where N is number of light sources, but N-1 views do not need lighting calculations 182182

The Z-buffer algorithm is clearly more versatile, with its ability to add shadows to scenes of arbitrary complexity. Also the precomputed shadow buffers can be used to render views from any eye point as long as the relative positions of the lights and objects are constant between these views. However, if memory resources are limited, the ground transformation algorithm produces pleasing results if only ground shadowing is required. 183183

References184184

[WILL78] 185185

Williams, L., "Casting Curved Shadows on Curved Surfaces", Computer Graphics, vol. 12, no. 3, pp270-4, 1978. 186186

[BLIN78] 187187

Blinn, James, "Me and my (fake) shadow", IEEE Computer Graphics and Applications, January 1988. 188188

Examples189189

Multiple objects illuminated by two light sources: 190190

Shadowing of texture mapped objects: 191191

Visible surfaces shadowing themselves: 192192

Chris Lawson Bentley 193193

chrisb@wpi.edu 194194

Fri Apr 28 14:54:17 EDT 1995 195195

Hi, 196196

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Antics 204204

Please Note: Antics V4 Home has replaced the BasePack as our free version. It is a standalone product which is not time limited in any way. Antics Home does not contain the Google SketchUp or 3DS Max importers, so if you need these features you will either need to take advantage of our $95 offer, or keep using Antics v.3.1 205205

It was sent from: Antics, Los Angeles Center Studios 1201 West 5th Street, Suite F-40, Los Angeles, CA 90017. You can modify/update your subscription via the link below.206206

Part One207207

Fight scene208208

20 exposure SFW-XL 200 film (1999) Develop as ECN-2.209209

WE HANDLE MOST TYPES OF210210

FILM FORMAT, INCLUDING:211211

Roll film : 120, 620, 127, 828, 116,212212

616, 101, 102, 105, 117, 118, 121,213213

122, 124, 125, 128, 129, 130, 220,214214

240, 24/36, 4A, 20, 35, 62, A8, 00,215215

PD-16, PB-20, B2-8, B2¼, G6, E10216216

Cassettes : 135, 110, 126, Disc,217217

Rapid, Karat, SL Kassette, K16,218218

Minolta-16, 16mm, Minox, Acmel,219219

Films for Spy Cameras220220

We handle old unprocessed Cine film221221

such as Kodak Kodachrome II and222222

Agfa Moviechrome, in Super-8,223223

Standard-8mm or 16mm formats.224224

(We don't accept new or 'in-date' Cine film225225

or transfer pre-processed film to video)226226

We can also scan any shape or size of227227

negative or slide up to around 10"x8".228228

YOUR QUESTIONS & ANSWERS:229229

"I have found some old film. Can you230230

process it and is it worth it?"231231

Yes. We specialise in all types of old232232

film. Don’t worry if you are unsure what233233

film type you have, we can still help.234234

"Will the pictures come out ?"235235

There is a very good chance, but much236236

can depend upon how old the film is and237237

how it has been stored. It can also be238238

tricky to tell if some film has even been239239

used. Almost all exposed films will yield240240

images, but there may be some deterioration,241241

due to a number of factors:242242

• Colour dyes can weaken over time243243

• Heat or natural radiation can fog films244244

• Dampness can cause a blotchy effect245245

• The film can become brittle246246

• Contrast can often be reduced247247

• Roll film can stick to the backing paper248248

We use special treatments which help249249

counteract the effect of ageing, but our250250

aim is always the recovery of the actual251251

image, whatever the condition. We are252252

very proud of our success with old film.253253

OUR CURRENT IMAGE RECOVERY RATE IS254254

ABOVE 97% FOR ALL FILM RECEIVED.255255

“How do you get the results?”256256

We know exactly how to deal with any257257

given old film or negative, what to do258258

and what will produce the best results.259259

We are always improving our methods260260

to make more once-lost images appear261261

just as they were originally taken.262262

"Can’t I take my old film or negatives263263

to a local one-hour lab?"264264

Old film, even if using a current process,265265

requires specialist care and attention.266266

Regular labs don't have the expertise267267

for this type of restoration work, and268268

precious images may be lost forever.269269

Handling old film is a very specialist270270

job and best left to the experts.271271

"Can you make prints or a CD?"272272

Certainly. We firstly concentrate on273273

careful film processing. We then use a274274

powerful scanner to convert film images275275

to digital files for restoration. We can276276

store the final images on a CD or make277277

traditional prints, whichever you prefer.278278

WE HANDLE ALL TYPES OF279279

FILM PROCESS, INCLUDING:280280

C-22 (Colour Negative)281281

Outdated C-41 (Colour Negative)282282

Agfacolor CN (Colour Negative)283283

Any type of C-41A Disc film284284

E-4, E-3, E-2 or E-6 (Colour Reversal)285285

Agfacolor CT (Colour Reversal)286286

3M CR-50 (Colour Reversal)287287

ALL Ilford film (Colour or B/W)288288

Kodachrome K-11, K-12 or K-14289289

Dufaycolor (Colour Reversal)290290

Any ORWO NC, UT or NP film291291

ALL old Black & White film292292

Agfa Scala or Dia-Direct film293293

Infra-red and Ortho films294294

Further information is detailed overleaf.295295

If YOU have it296296

WE can process it297297

We offer a specialist service for old and out-of-date films, perhaps found in old cameras298298

or given to you by friends or relatives. We can scan almost any format of negative, slide,299299

or photographic print, and restore old deteriorated images for printing or CD storage.300300

The films we receive have usually not been made for many years and require different301301

handling to those used today. Film undergoes highly specialised treatments simply302302

unavailable elsewhere. We offer a professional and expert service to help recover your303303

lost memories - you can be assured that our years of experience will help get the best304304

results possible from your old film, slides, negatives or photographs.305305

We have recovered good images from film dating back as far as the 1920’s, and recently306306

a stunning set of pre-war colour photographs from a roll of Dufaycolor film.307307

SERVICES FOR OLD FILMS, NEGATIVES AND SLIDES308308

PO BOX 496 Telephone (0845) 2244 496309309

MARGATE info@processc22.co.uk310310

CT9 9EE311311

ENGLAND312312

PLEASE NOTE OUR313313

NEW DETAILS314314

"How long will it take?"315315

With our Standard Service, a turnaround316316

time is neither given nor guaranteed, as317317

film is dealt with in small batches around318318

2-3 times per year, depending on volume.319319

We can often offer a faster turnaround for320320

most films, although at a premium price :321321

Express Service : +100% surcharge322322

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Both services by prior arrangement only.326326

Express Services are not available for327327

certain film types (such as 8mm Cine film)328328

"Is there a guarantee or refund if329329

nothing comes out ?"330330

Unfortunately no refund of the processing331331

charge is available, although pre-paid332332

printing charges are refunded in the event333333

of film failure. The hand-prepared components334334

and methods are complex and timeconsuming.335335

If your order is unsuccessful,336336

we return it safely with a detailed report.337337

Our guarantee is that we will do all we338338

can to recover your memories.339339

"What do I get for my money ?"340340

Your film will be handled with the utmost341341

care and attention, along with a friendly342342

and personal service. We are specialists343343

in photographic film recovery and promise344344

to do our very best for you!345345

Most types of old films :346346

Process Only - £15 per film347347

Process and Print - £30 per film348348

Process and CD-Rom - £30 per film349349

(Please ask about bulk order discounts.)350350

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1-4 Discs - £16 each352352

5+ Discs - £13 each353353

(*This service can also be used for all C-41354354

126 or 110 film cassettes under 15 years old.)355355

Other film types (Process Only) :356356

Agfa Scala - £12.50 per film357357

Agfa Dia-Direct - £20 per film358358

Dufaycolor - £20 per film359359

Fujichrome 100ix APS - £17 per film360360

Polaroid Instant 35mm - £20 per film361361

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Terms: Due to natural age deterioration of old363363

film, we cannot offer a guarantee of success364364

and the basic processing charge is nonrefundable365365

in event of film failure. An order366366

cannot be cancelled once received, but we do367367

reserve the right to refuse or cancel an order368368

(with refund) at our discretion. Placing an369369

order is seen as acceptance of these policies.370370

All tradenames and similar are copyright to their respective371371

owners, including Kodak, Ilford, Fuji, Agfa, Ferrania, Orwo.372372

(C) 2008 - Design / layout copyright to D. Roberts. E&OE373373

SPECIALIST PHOTO SERVICES374374

We may be able to help if you require375375

specialist photographic services not376376

available elsewhere. Please contact us377377

for further details and a quotation.378378

• High-resolution wet film scanning379379

• Water or fire-damaged film and prints380380

• Salvage of incorrectly processed film381381

• Digital repair of torn negatives/prints382382

• Glass Plate or Lantern Slide reprints383383

• Scans of Photogravure copper plates384384

• Film processing for artistic effects385385

CLASSIC CAMERA EQUIPMENT386386

We stock some obscure sizes of spools387387

including 620, 127, 828. We can supply388388

620 film and help source other types if389389

you wish to keep using your old camera.390390

POSTING YOUR FILM TO US391391

Always use secure packaging, such as a392392

jiffy bag - paper envelopes are not suitable393393

for films. New rules from the Royal Mail394394

mean it is advisable to check at a Post395395

Office, to avoid possible underpayment.396396

Handle paper-backed rollfilm in subdued397397

light, as they can work loose over time.398398

Secure the roll with an elastic band if it399399

looks fragile or if the sealing tab is loose.400400

DIGITAL PRINTING INFORMATION401401

Your old film will require further specialist402402

attention after processing. Deterioration403403

can be near-impossible to correct with404404

conventional photographic printing.405405

We are able to offer a high-quality digital406406

printing service. We use a powerful407407

scanner and high-end software to boost408408

old images, with impressive results.409409

• Our Digital printing service includes a410410

wide range of colour and contrast411411

corrections, cropping and retouching.412412

• Prices for printing services listed on this413413

page include both image scanning and414414

one set of 4" prints. Other print sizes415415

are available, please ask for details.416416

• If you order prints and your film holds417417

no images, the service is downgraded418418

to "Process Only" and the difference in419419

value is then refunded accordingly.420420

REPRINTS AND OTHER SERVICES421421

• Modern film types - £15 per film422422

(Hand ‘Process Only’ of more obscure423423

modern film e.g. Infra-red or Cross-process)424424

• Slide film mounting - £10 per film425425

• Extra set of 4" prints - £5 per film426426

• Add Images on CD - add £3 per order427427

‘Archival Gold’ CD - add £10 per order428428

(Can ONLY be used when prints are ordered)429429

• Reprints from Negatives or Slides -430430

Whole Disc Negative - £16 per Disc431431

D isc (Individual frames) - £2.50 per frame432432

Most other formats and film types :433433

Up to 5 images - £2.50 per print434434

6-20 images - £1.50 per print435435

21+ images - £1.00 per print436436

Glass plates - £5.00 per scan437437

Photogravure plates - £15.00 per scan438438

Images on CD - add £3.00 per order439439

Please add Postage - £1.00 per order440440

WE HANDLE ANY TYPE OR441441

BRAND OF FILM, INCLUDING:442442

Colour Negative films :443443

Kodacolor, Kodacolor-X, Kodacolor II,444444

Kodacolor 400, HR, VR, Kodak Gold,445445

Ektacolor Professional (CPS), ECN-II,446446

Agfacolor CN17, CNS, CNS2, CN14,447447

TriFCA (Mark IV, V, VI), Triple Print,448448

Ilford Colorprint, Ilfocolor, Scotch HR,449449

3M Color Print, ORWOcolor NC21,450450

Prinzcolor, Ferrania N27, Super-Color,451451

Fujicolor N100, N64, Fuji F-II, Fuji HR,452452

Konica SR, Colorneg ASA80, Pakolor,453453

Famous Brand, Tudor XL, Truprint XR,454454

Ansco, GAF Color, Seattle Filmworks,455455

Gevaert Gevacolor N5, Process G-25,456456

Perutz Perucolor, Technicolor TKN,457457

Shell film, Raycolor, Sakuracolor N100,458458

Boots Colourprint, Boots Colourprint II459459

Colour Reversal films :460460

Kodak Ektachrome, Ektachrome-X,461461

High Speed Ektachrome, EHB,462462

Ektachrome Professional (EP),463463

Ektachrome 64, Ektachrome 200464464

Infra-red 8443, 2236, IE, EIR,465465

Photomicrography Color Film 2483,466466

Agfacolor CT18, CT21, 50S, 50L, 64,467467

Perutz C18, C19, ORWOchrom UT18,468468

UT21, Fomachrom-II, Gevacolor R5,469469

Boots Colourslide, Anscochrome,470470

GAF 64, 200, Ilford Super Colorslide,471471

Fujichrome R100, RK, 3M Color Slide,472472

Ferrania Invertibile, CR-50, Taihang,473473

Gratispool International, Dufaycolor,474474

Fujichrome 100ix (APS format),475475

Polachrome 35 (Instant Slide System)476476

Black and White films :477477

‘Kodak Film’, Autographic film,478478

Eastman NC film, Hawk-Eye film,479479

Verichrome, Verichrome Pan,480480

Panatomic-X, Plus-X, Tri-X, Super-XX,481481

Royal-X, EF Pan, SS Pan, Microfile,482482

Infra-red HIE, 2481, Technical Pan,483483

Ilford FP2, FP3, FP4, Pan F, HP2,484484

HP3, HP4, HP5, HPS, XP1, XP2,485485

Selo film, Selochrome, SeloOrtho,486486

Fuji Neopan S, Boots Panchromatic,487487

Gratispool, Efke R14, ORWO NP21488488

Agfa Isopan F, ISS, Ortho, Vario-XL,489489

Gevaert Gevapan, Lumiere Altipan,490490

Perutz Peromnia, Pegrano, Perpantic,491491

Ferrania Ortho/Pan, Aviapan, Coronet,492492

Ensign FGP, 40X, Ultrachrome, Adox,493493

Univex Ultrachrome, Ansco Supreme,494494

All-Weather, Plenachrome, Speedex495495

Agfa Dia-Direct, Scala (reversal films)496496

Colour films which are now497497

processed as Black & White:498498

Kodachrome, Kodachrome II,499499

Kodachrome-X, Kodachrome F500500

Kodachrome 64 (120, 126, 110 format)501501

Ilford Colour Film, Type D, Type A,502502

Ilford Colorslide, Ilfochrome,503503

Dynachrome, Gratispool Colour Film504504

We can also handle any old film not listed.505505

Please add £1 to your order total to cover506506

First Class postage and packaging.507507

UK Recorded Delivery - an additional £1508508

UK Special Delivery - an additional £5509509

International Delivery - a fixed £5510510

• Postage charges cover up to three films. Please511511

check first if you have a larger order to send.512512

• Payment is usually due in advance before513513

processing. All Cheques / POs must only514514

be made payable to “D. Roberts”515515

• We take orders from all over the world and are516516

happy to accept many currencies including the517517

€uro and US Dollars, through the secure PayPal518518

Online Payment system. (www.paypal.com)519519

• Film is returned in protective archival sleeving.520520

• Price is the same regardless of film format/length.521521

• Prices may be subject to change without notice.522522

All figures are correct as of the 1st August 2008523523

PROCESSING PRICE LIST POSTAGE & PACKING CHARGES524524