I'd offer two suggestions, 1) In my experience its better to have two 35mm rolls. One used and one obviously fresh and to feed the fresh into the used roll. It goes much more smoothly plus your lowering the chances of dust getting into your negative as less of it is being exposed at any one time. 2) In regards to medium format, redscalling 120 is a massive pain but Reflex Lab have aerocolour IV in 220 so you just need to put the wrong around the wrong way for the most part. The difficulty is the starting line. But you can work that out from a measure of pulls.
I woke up this morning thinking, "I wonder how difficult it would be to redscale 120 so I could expose both sides of the film" and now I know! I'll definitely be watching the comments here for tips. Thanks for this video!
Having a rather full bag of badly stored 20 year old Kodak Gold I've been normally loading that into a second camera when I go out with the full 35mm kit. Sadly most of the time it's very much just come out as a mess of greenscale. My normal solution for 120 is to just respool it as 220 and use a 220 back. If you need some 220 backing paper as a guide how to cut your old 120 backing paper something like Shanghai GP3 is a perfect guide.
Having shot 35mm on 120 backing numerous times, the trick to keeping the start point correct is to un-role the film from the backing paper, then remove the tape from the film where it is atached to the bacling paper. Flip the film and re-attach to the tape wher it is attached to the original point on the backing paper. Now instead of re roling from the free end of the backing paper, continue to spool from the taped end until you reach the free end of the film, then rewind the now tensioned film and backing paper and role back to the begining of the spool. By roling from the tapped end to the free end, the film can be corectly tensioned to the backing paper and then re roling will not introduce the bulge caused by the diffrence in diamaters of the film and backing paper when re-wound to the start. A second advantage is that by first spooling to the free end, especially with 35mm film, you caln allighn the film correctly before re-roleing. I hope this helps.
Ought to try slicing down 65mm Vision3 to 61mm, and then rolling that into your own 120 films, using recycled backing paper. You get (kind of) better at it after a while, but it's never a process you can fully trust.
Just a quick random idea for 120 (fyi, I never redscaled any film): - Unwrap the entire roll of 120 *without* undoing the original sticker for now - When you get to the end of the film, flip it over and fix it with some tape - Then you can respool carefully, flipping the film over bit by bit as you go and keeping it tight - When you reach the starting point, undo the sticker, flip the film and secure it with some more tape I guess this could be a method tidy enough for changing bags that are never big enough :D
I have some rolls of lomo redscale 120 and I probable wont reverse 120 myself... I did revere some expired 135 with one of those bulk loaders that turned out fine (the underexposure is my fault of course :D) the loading was fine and i expected waisted frames at the end/beginning of the roll
Sry for being off topic but i havent found a way to pn you. I would be interested in you making a video about souping as your chemistry background could be very interesting. I always thought that a lot of potential is left on the road as people just use whatever. There could be way more interesting substances than dish soap and lemon juice. Maybe there are way to affect the dyes in an interesting way? Just an idea if you are interested.
I've had this geeky thought about redscale that's been on my mind for a while. It’s related to cross-processing color negative film in black-and-white developer, re-exposing it to light, and then finishing with the C41 process to get slides. Some people say that during the re-exposure step after the black-and-white developer, you should expose both the emulsion side and the back side of the film to light. But… if we flip the film during that step, aren't we essentially redscaling it? I'm not expecting miracles from making slides with Kodak Gold, but maybe this could actually result in a less orange cast. I haven’t tried it yet-just waiting on my chemicals. Just sharing a weird thought!
The re-exposure and second development steps are global, total exposure and development of every bit of silver and dye coupler in the film, so it isn't possible to introduce any colour bias by preferentially exposing one side or the other.
@@Shaka1277 Ah yes, silly me! Thank you for your answer. So things to consider get narrowed down to correct exposure, BW development time and color filtration I guess.
@@motorvelo Yes but I'm talking about different process. Some call it "x-pro reversal". You develop c-41 negative in BW developer, re-expose it to light and then go on with normal c41 processing (with some time adjustments). It will give you positive image. It's also sometimes used to develop normal slide film by people who have both BW developer and C-41 kit but don't want to buy extra E6 chemicals.
@@Shaka1277 I mean making a how to video with instructions on how to do something and then end it with "I've never succeeded" basically saying this is what I have done and it hasn't worked for me. Why would anyone want to do what you did then?
Because redscaling 120 is notoriously difficult but some folks are able to do it, and there is demand - I've been asked in the past. Being able to give people some indication of the steps and things to consider is enough for me, especially as part of a larger video on the topic.
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I'd offer two suggestions, 1) In my experience its better to have two 35mm rolls. One used and one obviously fresh and to feed the fresh into the used roll. It goes much more smoothly plus your lowering the chances of dust getting into your negative as less of it is being exposed at any one time. 2) In regards to medium format, redscalling 120 is a massive pain but Reflex Lab have aerocolour IV in 220 so you just need to put the wrong around the wrong way for the most part. The difficulty is the starting line. But you can work that out from a measure of pulls.
I woke up this morning thinking, "I wonder how difficult it would be to redscale 120 so I could expose both sides of the film" and now I know! I'll definitely be watching the comments here for tips. Thanks for this video!
You can’t exposed both sides of the film. Emulsion is only on one side.
Having a rather full bag of badly stored 20 year old Kodak Gold I've been normally loading that into a second camera when I go out with the full 35mm kit. Sadly most of the time it's very much just come out as a mess of greenscale.
My normal solution for 120 is to just respool it as 220 and use a 220 back. If you need some 220 backing paper as a guide how to cut your old 120 backing paper something like Shanghai GP3 is a perfect guide.
I love Kodak Gold as a redscale film in 35mm.
Having shot 35mm on 120 backing numerous times, the trick to keeping the start point correct is to un-role the film from the backing paper, then remove the tape from the film where it is atached to the bacling paper. Flip the film and re-attach to the tape wher it is attached to the original point on the backing paper. Now instead of re roling from the free end of the backing paper, continue to spool from the taped end until you reach the free end of the film, then rewind the now tensioned film and backing paper and role back to the begining of the spool. By roling from the tapped end to the free end, the film can be corectly tensioned to the backing paper and then re roling will not introduce the bulge caused by the diffrence in diamaters of the film and backing paper when re-wound to the start. A second advantage is that by first spooling to the free end, especially with 35mm film, you caln allighn the film correctly before re-roleing.
I hope this helps.
Ought to try slicing down 65mm Vision3 to 61mm, and then rolling that into your own 120 films, using recycled backing paper. You get (kind of) better at it after a while, but it's never a process you can fully trust.
Just a quick random idea for 120 (fyi, I never redscaled any film):
- Unwrap the entire roll of 120 *without* undoing the original sticker for now
- When you get to the end of the film, flip it over and fix it with some tape
- Then you can respool carefully, flipping the film over bit by bit as you go and keeping it tight
- When you reach the starting point, undo the sticker, flip the film and secure it with some more tape
I guess this could be a method tidy enough for changing bags that are never big enough :D
I have some rolls of lomo redscale 120 and I probable wont reverse 120 myself... I did revere some expired 135 with one of those bulk loaders that turned out fine (the underexposure is my fault of course :D) the loading was fine and i expected waisted frames at the end/beginning of the roll
Sheet film: flip it around. DONE! 😹😸👍 I did this back in the day with… some slide film, I think.
Yeah, provia in my F100 😸
7:38 that’s a fun little mnemonic I haven’t heard yet 😹😸👍
Sry for being off topic but i havent found a way to pn you.
I would be interested in you making a video about souping as your chemistry background could be very interesting. I always thought that a lot of potential is left on the road as people just use whatever. There could be way more interesting substances than dish soap and lemon juice. Maybe there are way to affect the dyes in an interesting way?
Just an idea if you are interested.
I've had this geeky thought about redscale that's been on my mind for a while. It’s related to cross-processing color negative film in black-and-white developer, re-exposing it to light, and then finishing with the C41 process to get slides.
Some people say that during the re-exposure step after the black-and-white developer, you should expose both the emulsion side and the back side of the film to light. But… if we flip the film during that step, aren't we essentially redscaling it?
I'm not expecting miracles from making slides with Kodak Gold, but maybe this could actually result in a less orange cast. I haven’t tried it yet-just waiting on my chemicals. Just sharing a weird thought!
The re-exposure and second development steps are global, total exposure and development of every bit of silver and dye coupler in the film, so it isn't possible to introduce any colour bias by preferentially exposing one side or the other.
@@Shaka1277 Ah yes, silly me! Thank you for your answer. So things to consider get narrowed down to correct exposure, BW development time and color filtration I guess.
The simplest would probably be something like an 80A to 80C temperature conversion filter, if you want bluer results!
Cross processing was processing C41 colour neg in E6 transparency chemicals not in B and W chemicals.
@@motorvelo Yes but I'm talking about different process. Some call it "x-pro reversal". You develop c-41 negative in BW developer, re-expose it to light and then go on with normal c41 processing (with some time adjustments). It will give you positive image. It's also sometimes used to develop normal slide film by people who have both BW developer and C-41 kit but don't want to buy extra E6 chemicals.
The 120 process seems like an absolute nightmare. Maybe if you have an access to a darkroom, but I can't imagine attempting this in a bag.
Yeah, truly. And as some have said, it's easier to do 220 or if you cut down your own 65 mm stuff.
9:33 is a great way to end the video after doing a how to.
Asking for help, you mean? I think it's a good way to acknowledge my limits and encourage engagement that can help - and some of the comments did. :)
@@Shaka1277 I mean making a how to video with instructions on how to do something and then end it with "I've never succeeded" basically saying this is what I have done and it hasn't worked for me. Why would anyone want to do what you did then?
Because redscaling 120 is notoriously difficult but some folks are able to do it, and there is demand - I've been asked in the past. Being able to give people some indication of the steps and things to consider is enough for me, especially as part of a larger video on the topic.
What happens when you "redscale" B&W?
Nothing.
no one knows how to properly deal with respooling 120 film correctly
Feel free to share!