First of all, thanks for setting up such experiments and sharing it to the community!! I really like your account and appreciate the work you put in there :) But for this video it would have been interesting what were the results when white balancing on the film border before conversion. That’s the workflow that Nate, the creator of negative lab pro, recommends for using its software. I personally get very different results when white balancing on the film border before vs not doing it.
Yep, i also try to do this, but in general problem not in the balance, but in shifts at highlight and shadow’s which you hardly can fix in post and looks like rendition of colours in general
Durst sold a fairly expensive slide copier made up from a heavy enlarger column set up to attach a film camera and a base made up from a dichroic color head adapted from their enlargers. 25 years ago, I bought one at a swap meet in new condition for $50. The made several models over the years under the name "Durst Chromapro". If you can find one, it's a lot more practical than breaking down an enlarger and using a cheap copy stand. I bought mine to copy color negative onto matching print film to create slides, but I never so around to doing that. Given what those cheap, plastic film holders are priced for these days and the separate cost of a very cheap, fixed color, light source, I must be sitting on a little gold mine there.
Massive difference! Clearly demonstrated in the picture at the end of the video. Having similar issues with a Kaiser light pad. Always get a slight cyan/green cast. Have to look for an enlarger head.
I have the Valoi/Cinestill setup.For me it works better to do a white balance adjustment on the edge of the image frame *BEFORE* conversion with NLP. Then I do a second white balance adjustment within NLP after conversion. It usually turns out perfect.
What you suggest sometimes help, but what i show in the end of the video - problem with strange casts in the shadows and highlights and it's really hard to make good adjustments after, always feels like you have no control on color.
Thx, it’s interesting finding! I also thinking about LED with better quality and a bit different wavelengths. At the moment i’m doing a bit of research in background.
Try it and share experience! If you will use Durst - also good idea to pre-setup white balance to halogen lamp of 3000K, sometimes cameras get confused with auto, but D800 is crazy good camera i had it for like 10 years, still miss it a lot.
@@NordicLab I have already scanned 6-7 rolls of 35mm film using the Durst enlarger. However, I haven't scanned the same film rolls that I previously scanned with different light sources (specifically, the Raleno 95+ CRI recommended by Valoi) for a better comparison. I'm delighted with the results! As you suggested, I pre-set the white balance on the camera and used the enlarger negative holder, which I also found very useful. P.S. I also used a supplementary filter on the Durst M605 (located on the backside of the enlarger) to increase the amount of light, and my shutter speed has never been so high when using other light sources (4-5 times faster, crazy!)
With this setup, the D800 and Durst M605, I'm finally achieving results that I truly like, and they are very close to lab scans. Most of the photos from a 36-frame roll are exactly how I wanted them straight from the conversion.
First of all, thanks for setting up such experiments and sharing it to the community!! I really like your account and appreciate the work you put in there :)
But for this video it would have been interesting what were the results when white balancing on the film border before conversion. That’s the workflow that Nate, the creator of negative lab pro, recommends for using its software. I personally get very different results when white balancing on the film border before vs not doing it.
Yep, i also try to do this, but in general problem not in the balance, but in shifts at highlight and shadow’s which you hardly can fix in post and looks like rendition of colours in general
I definitely prefer the durst head method. Looks very good to me.
Durst sold a fairly expensive slide copier made up from a heavy enlarger column set up to attach a film camera and a base made up from a dichroic color head adapted from their enlargers. 25 years ago, I bought one at a swap meet in new condition for $50. The made several models over the years under the name "Durst Chromapro". If you can find one, it's a lot more practical than breaking down an enlarger and using a cheap copy stand. I bought mine to copy color negative onto matching print film to create slides, but I never so around to doing that. Given what those cheap, plastic film holders are priced for these days and the separate cost of a very cheap, fixed color, light source, I must be sitting on a little gold mine there.
Incredible difference- it just shows how important the light source quality is to the process.
This is a bit surprising, but this is how it goes 🫡
Massive difference! Clearly demonstrated in the picture at the end of the video. Having similar issues with a Kaiser light pad. Always get a slight cyan/green cast. Have to look for an enlarger head.
My question for not is only one - "why it's like this?" :D
I have the Valoi/Cinestill setup.For me it works better to do a white balance adjustment on the edge of the image frame *BEFORE* conversion with NLP. Then I do a second white balance adjustment within NLP after conversion. It usually turns out perfect.
What you suggest sometimes help, but what i show in the end of the video - problem with strange casts in the shadows and highlights and it's really hard to make good adjustments after, always feels like you have no control on color.
Can confirm the findings. I went from LED backlights to Halogen to narrowband discreet R,G,B. Scanning R,G,B now for the last couple of years.
Thx, it’s interesting finding! I also thinking about LED with better quality and a bit different wavelengths. At the moment i’m doing a bit of research in background.
Интересно было бы сравнить результаты со сканера Plustek OpticFilm 8300i Ai или Nikon Coolscan 9000
I definitely need to test my Durst 605 enlarger with Nikon D800 / 60mm f/2.8 versus Raleno Light source and compare the results.
Try it and share experience! If you will use Durst - also good idea to pre-setup white balance to halogen lamp of 3000K, sometimes cameras get confused with auto, but D800 is crazy good camera i had it for like 10 years, still miss it a lot.
@@NordicLab I have already scanned 6-7 rolls of 35mm film using the Durst enlarger. However, I haven't scanned the same film rolls that I previously scanned with different light sources (specifically, the Raleno 95+ CRI recommended by Valoi) for a better comparison. I'm delighted with the results! As you suggested, I pre-set the white balance on the camera and used the enlarger negative holder, which I also found very useful.
P.S. I also used a supplementary filter on the Durst M605 (located on the backside of the enlarger) to increase the amount of light, and my shutter speed has never been so high when using other light sources (4-5 times faster, crazy!)
With this setup, the D800 and Durst M605, I'm finally achieving results that I truly like, and they are very close to lab scans. Most of the photos from a 36-frame roll are exactly how I wanted them straight from the conversion.