是的 一次6張4Ｘ5

一次六张4*5？

感謝您及時回覆
我在台灣 沒使用QQ 我在龜龜攝影購買器材 我是否可麻煩龜龜寄紅色密封圈到台灣？ 其實在台灣真的遠 真怕維修故障 。
目前我使用在第5道漂白劑 給機器450ml 倒出來都剩下400 有50ml 都在水域中！  

我是使用OSIRIS F1 沖洗機沖的 罐子就用機台送的類似JOBO 2520那罐子 但片心我就用JOBO的片心

方法严谨，流程可控

可乐兄，你的45冲的很好，是用哪一款罐子冲洗的》?

abo兄的扫描偏色的厉害。

160NS

马编扫描的负片很透 给观者带来清新的感觉！

谢谢，负片调整确实费劲，而冲洗带来的问题几乎无解

这是Kodak G200的135小片，怎么弄也达不到理想效果

abo兄，我的调整思路如下：该图片色彩非常丰富，光比适中，想还原现场光线色彩，考虑控制红绿蓝三原色和中灰的地面。根据反转片的经验，在低色温下总体画面会带一点点红色，天空及阴影会稍偏蓝，青色要准确还原出来，灰色通过同时调整明暗和红黄色来获得。 本帖最后由 格物 于 2016-1-28 13:10 编辑

C41 E6 是2个固定程序  是不能修改的    

自定义模式  我们是用水洗次数来计算时间的  可以设定水洗次数

前期罐口红色密封圈  尺寸有些偏差   导致在倒药的会漏少部分到水浴水中  

若真的影响到使用 请联系我更换  QQ 519085118

我是台灣第一個收到Osiris F1 的 測試了快一個月 發現幾點問題
1.螢幕會閃屏
2.藥液回收不完全,殘留液體無法排乾淨,回收罐不好裝回機子內
3.電源接孔方向配置應該在後方
4.片夾很難裝片
5.藥水漏液會漏到遇熱池內
6. Ｅ6模式無法自選設定
7.Set A , Set B 無法控制水洗時間
請問各位老師 是否需要膠卷預濕？
使用Fuji C6R 藥水沖洗
以上幾點再請各位老師幫忙解決
沖了很多片子 分享一下！
1.
RDP3 4X5   Microtex Artix scan F2 掃描2.
RDP3 1203.
RVP100 4X5 本帖最后由 大可樂 于 2016-1-28 08:06 编辑

我觉得我越解释越让人糊涂，有些基本概念需要先了解清楚然后再谈论会好很多。

下面是由关负片色罩的深入分析和去除方案（总共13个步骤），看过之后咱们再讨论。

It's for anyone who has tried scanning colour negative themselves on their own DIY scanner, only to find it seemingly impossible to get a good colour result out of the scan. The reason it's so difficult is that the orange mask in the negative is not a flat signal. It actually contains an image (in fact two images) due to the way masks and dyes are coupled. These images need to be removed. So it requires a little more than just patiently moving colour balance sliders around all day. However it's relatively simple to implement in any NLE, once you get your head around it.

THEORY
A colour negative consist of 5 layers:

1. Blue Sensitive Layer (becomes Yellow Dye)
2. Yellow Mask (stops blue light diving deeper into the emulsion, but lets red and green light pass deeper)
3. Green Sensitive Layer (becomes Magenta Dye)
4. Magenta Mask (stops green light descending deeper into the emulsion, and lets red light pass deeper (and would also let blue light pass but there is no more blue light at this stage)
5. Red Sensitive Layer (becomes Cyan Dye)

In addition to this, each masking layer (Yellow Mask and Magenta Mask) is coupled to the layer directly below it: so the Yellow Mask is coupled to the Magenta Dye layer below it, and the Magenta Mask is coupled to the Cyan Dye layer below it. The result (during film development) is that the Yellow Mask acquires an inverse image of the Magenta Dye layer, and the Magenta Mask acquires an inverse image of the Cyan Dye layer. Both of these images need to be removed from the digital scan. But how? Well there is no Cyan Mask in the film which means the Cyan channel of the film is unpolluted. Since the Magenta Mask in the film is an inverted image of the Cyan layer, one can recreate the Magenta Mask from a copy of the Cyan layer, and then subtract that from the Magenta channel! The result being an unpolluted Magenta channel, ie. without the Magenta Mask. Repeat the same logic for the Yellow Mask and one has then removed the Yellow Mask, ending up with an unpolluted image. The rest is just fine tuning the image in the way you would otherwise fine tune an ordinary colour image.

PRACTICE

1. Digitise the negative with a blue filter such as an 80A.
The purpose of this is not colour correction. It's just to ensure the peaks in your RGB signal are closer together than they otherwise might be. It's for optimising the limited bandwidth of your capture device. A downside is that it will reduce your light source by about 2 stops, so you might want to skip this step.

2. Convert RGB capture to CMY (no K)
It's possible to work entirely in RGB space but it makes more sense (from an understanding point of view) to work in CMY space (the same space in which film works). You want to make three separate channels, each of which, on their own, are black and white. For example, in Adobe After Effects, to create a Cyan channel, you could use the Channel>Shift Channels effect on your source, setting: Take Red From: Red, Take Green From Red, Take Blue From Red. But why from Red? Well Cyan is the inverse of Red (Cyan = 1 - Red) so we start with red, however we won't do the invert here. We'll do the inversion later. In any case use the same logic to obtain a Magenta (from Green) and a Yellow (from Blue).

3. Copy Cyan channel into a new channel called Magenta Mask.
The Cyan channel is the only channel that contains a pure signal (uncontaminated by any mask) so we don't want to change this channel in any way. We want to leave it as is. What we are doing here is creating an image of what the Magenta Mask, in the film, would look like. We're effectively mimicking the way in which the Magenta Mask, in the film itself, is created.

4. Reduce levels on Magenta Mask to about 20%
This is to emulate the relative strength of the Magenta Mask with respect to the Magenta Dye layer, ie. it's about 20%.

5. Subtract Magenta Mask from the inverse of the original Magenta channel. Invert the result and call it Magenta Repaired.
Here is where we are correcting the Magenta channel. Without an image of the Magenta Mask, we wouldn't be able to correct the Magenta channel. We'd otherwise be fiddling with CC sliders all day long without getting any closer to a result. But here we have the magenta channel repaired. Magic.

6. Copy Magenta Repaired to a new channel called Yellow Mask. Reduce levels to about 20%
This is the same logic as Step 5 but instead of using the original Magenta channel to create an image of the Yellow Mask, we're using the repaired Magenta channel (this is in keeping with how the film develops. The Yellow Mask is coupled to the Magenta Dye image but not to the Magenta Mask)

7. Subtract Yellow Mask from the inverse of the Yellow Channel. Invert the result and call it Yellow Repaired.
We now have a repaired Yellow.

The following just recomposes our repaired CMY images back into a single RGB image.

8. Remove Green and Blue from the Cyan Channel, to make a new result called Red
9. Remove Red and Blue from the Magenta Repaired to make a new result called Green
10. Remove Red and Green from the Yellow Repaired to make a new result called Blue.
11. Combine Red Green and Blue with blend mode = Screen.

13. Invert the result of the above to obtain a positive image.

You now have an image in which the orange mask (yellow and magenta masks) have been removed. Feel free to dance around the room. From here on in it's just ordinary colour correction using your eyeballs and creativity.

If anyone needs any clarification, please ask.

Carl

ps. for the reverse process: digital out to print stock, the reverse process would be required - ie. ensuring your digital image has the orange mask put back in (plus some extra tweaking of the RGB channels to accommodate bias of print stocks).

继续发图！

继续

903SWC  F1  38.5  冲洗  imacon 扫描

记录 4CCD F1

记录 4CCD F1

幻境 4CCD F1

或有冲洗原因，但感觉更多跟调片子个人取舍有关。这个说起来麻烦

等我弄到有把握的冲洗对比后再说

暴力粗糙的G200

看来老兄喜欢重调子

这个必须向马编学习  不管你喜欢哪种调子  片子必须通透  而老兄的片子基本上都发闷  观后没有愉悦感  估计都是后期出差错 一说啊

kodak gold200感觉冲洗好很多 颗粒就能看出来
135的

不舒服

我敢肯定绝对是你后期瞎放作料

我把上午贴的图扒下来（扫描原图在办公室）重新拉拉曲线  偏色矫正了许多吧  至少不那么离谱了

近来一直在学习邻居折叠相机贴  一时发大兴网购了supper ikonta和super balda各一台  今天的贴图都是试机照  老机器还真给脸  确实赞

我把上午贴的图扒下来（扫描原图在办公室）重新拉拉曲线  偏色矫正了许多吧

近来一直在学习邻居折叠相机贴  一时发大兴网购了supper ikonta和super balda各一台  今天的贴图都是试机照  老机器还真给脸  确实赞

我把上午贴的图扒下来（扫描原图在办公室）重新拉拉曲线  偏色矫正了许多吧

近来一直在学习邻居折叠相机贴  一时发大兴网购了supper ikonta和super balda各一台  今天的贴图都是试机照  老机器还真给脸  确实赞

最有可能出问题的环节在冲片和后期调图

扫描是机械性工作，出问题可能性小

另外一卷 Portra160的135

我把上午贴的图扒下来（扫描原图在办公室）重新拉拉曲线  偏色矫正了许多吧

近来一直在学习邻居折叠相机贴  一时发大兴网购了supper ikonta和super balda各一台  今天的贴图都是试机照  老机器还真给脸  确实赞

同一卷