Scanning info

Mutascan info bank

FILM STOCK

Super 8

Estimated running time of a single 15 m (50 ft) film cartridge at the most typical frame rates:

18 frames per second = 3min 20s
24 frames per second = 2min 30s
25 frames per second = 2min 24s

(Calculated running times, may vary by camera model)

Super8 KODAK VISION3 50D color negative film 7203

  • For Super 8 cameras
  • Film sensitivity: 50 ASA (Daylight 5500K)
  • Film in cartridge: 15m / 50ft
  • Daylight balanced color negative film.
  • Due to the fine grain, the image looks clean with full of color and detail.
  • Ideal for high contrast daylight exteriors.
  • Development Process: Color Negative ECN-2

Download PDF: KODAK 7203 Technical Data

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Super8 KODAK VISION3 200T color negative film 7213

  • For Super 8 cameras
  • Film Sensitivity: 200 ASA (Tungsten 3200K)
  • Film in cartridge: 15m / 50ft
  • Tungsten balanced color negative film that provides the image structure of a 100 speed film with the versatility of a 200 speed product for improved extreme exposure control without sacrificing detail or definition.
  • This film performs well in both controlled interiors and in challenging high-contrast exteriors.
  • Good highlight latitude and reduced grain in shadows to offer great flexibility in post-production.
  • Development Process: Color Negative ECN-2

Download PDF: KODAK 7213 Technical Data

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Super8 KODAK VISION3 500T color negative film 7219

  • For Super 8 cameras
  • Film Sensitivity: 500 ASA (Tungsten 3200K)
  • Film in cartridge: 15m / 50ft
  • Tungsten balanced color negative film.
  • Film’s extended highlight latitude gives you great flexibility when lighting extreme situations, and lets you pull even more detail out of highlights.
  • Development Process: Color Negative ECN-2

Download PDF: KODAK 7219 Technical Data


NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Super8 KODAK EKTACHROME 100D color reversal film 7294

  • For Super8 cameras
  • Film sensitivity: 100 ASA (Daylight 5500K)
  • Film in cartridge: 15m / 50ft
  • Daylight balanced color reversal film that moderately enhances color saturation but maintains natural skin tones.
  • The developed EKTACHROME 100D film can be viewed on a film projector because in the development process the colors of the film are turned from negative to positive.
  • Ideal for situations where a moderate color saturation is desired.
  • Development Process: Color reversal E-6

Download PDF: KODAK 7294 Technical Data

NOTE: The developed EKTACHROME 100D film can be viewed on a projector as the color of the film is turned from negative to positive in the development process (hence the reversal film). After development, EKTACHROME 100D can be scanned into digital format.

Super8 KODAK TRI-X 160 Black&White reversal film 7266

  • For Super 8 cameras
  • Film sensitivity: 200 ASA (Daylight 5500K) / 160 ASA (Tungsten 3200K), TRI-X is suitable for both tungsten and daylight.
  • Film in cartridge: 15m / 50ft
  • Black & White reversal film is characterized by excellent tonal gradation, a distinctive fine grain structure and exceptional sharpness.
  • Development Process: KODAK B&W Reversal Process

Download PDF: KODAK 7266 Technical Data

NOTE: The developed TRI-X film can be viewed on a projector as the gray tones of the film are turned from negative to positive in the development process (hence the reversal film).
After development TRI-X can be scanned into a digital format.

Double 8

Estimated running time of a D8 spool with 2x10m (2x33ft) film at the most typical frame rates:

18 frames per second ≈ 4min 53s (2min 26s / side)
24 frames per second ≈ 3min 18s (1min 50s / side)


(Calculated running times, may vary by camera model)

D8 FOMAPAN R 100 2x8mm B&W reversal film

  • For Double 8 cameras
    (NOTE: Not compatible with Super8 cartridge cameras)
  • Film sensitivity: 100 ASA
  • A double-edge perforated film with Normal 8 mm-style perforations on a 10m (33ft) or on a 30m (100ft) daylight spool.
  • Panchromatic sensitized Black & White reversal film features a very good resolving power, fine grain and high contour sharpness.
  • Development Process: R-100

Download PDF: Fomapan R 100 Technical Data

NOTE: The developed FOMAPAN R 100 film can be viewed on a projector as the gray tones of the film are turned from negative to positive in the development process (hence the reversal film) and the film is spliced into two 8mm film strips.
After development, the FOMAPAN R 100 can be scanned into a digital format.

DS8 FOMAPAN R 100 2xS8mm Black&White reversal film

  • For Double Super8 (DS 8) cameras
    (NOTE: Not compatible with Super8 cartridge cameras)
  • Film sensitivity: 100 ASA
  • Double-edge perforated DS 8mm film with Super8-style perforations on a 10m (33ft) daylight spool.
  • Panchromatic sensitized Black & White reversal film features a very good resolving power, fine grain and high contour sharpness.
  • Development Process: R-100

NOTE: The developed FOMAPAN R 100 film can be viewed on a projector as the gray tones of the film are turned from negative to positive in the development process (hence the reversal film) and the film is spliced into two 8mm film strips.
After development, the FOMAPAN R 100 can be scanned into a digital format.

Download PDF: Fomapan R 100 Technical Data  

16mm

Estimated running time with lengths of 30.5m (100ft) and 122m (400ft) of footage at the typical frame rates:

30.5m (100ft) R-90 daylight spool:

24 frames per second = 2min 49s
25 frames per second = 2min 42s

122m (400ft) roll with a core:

24 frames per second = 11min 6s
25 frames per second = 10min 40s

16mm KODAK VISION3 50D color negative 7203

  • For 16mm cameras
  • Film sensitivity: 50 ASA (Daylight 5500K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (SP 457).
  • Daylight balanced color negative film.
  • Due to the fine grain, the image looks clean with full of color and detail.
  • Ideal for high contrast daylight exteriors.
  • Development process: Color Negative ECN-2

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Download PDF: KODAK 7203 Technical Data

16mm KODAK VISION3 250D color negative film 7207

  • 16mm cameras
  • Film sensitivity: 250 ASA (Daylight 5500K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (SP 457).
  • Daylight balanced color negative film.
  • Great detail in shadows and extended highlight latitude.
  • Development process: Color Negative ECN-2

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Download PDF: KODAK 7207 Technical Data

16mm KODAK VISION3 200T color negative film 7213

  • For 16mm cameras
  • Film Sensitivity: 200 ASA (Tungsten 3200K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (SP 457).
  • Tungsten balanced color negative film that provides the image structure of a 100 speed film with the versatility of a 200 speed product for improved extreme exposure control without sacrificing detail or definition.
  • This film performs well in both controlled interiors and in challenging high-contrast exteriors.
  • Good highlight latitude and reduced grain in shadows to offer great flexibility in post-production.
  • Development Process: Color Negative ECN-2

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Download PDF: KODAK 7213 Technical Data

16mm KODAK VISION3 500T color negative film 7219

  • For 16mm cameras
  • Film sensitivity: 500 ASA (Tungsten 3200K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (SP 457).
  • Tungsten balanced color negative film.
  • Film’s extended highlight latitude gives you great flexibility when lighting extreme situations, and lets you pull even more detail out of highlights.
  • Development Process: Color Negative ECN-2

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development, the negative film can be scanned into a digital format in which the colors are turned to normal.

Download PDF: KODAK 7219 Technical Data

16mm KODAK EKTACHROME 100D color reversal film 7294

  • For 16mm cameras
  • Film sensitivity: 100 ASA (Daylight 5500K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (DXN 457).
  • Daylight balanced color reversal film that moderately enhances color saturation but maintains natural skin tones.
  • The developed EKTACHROME 100D film can be viewed on a film projector because in the development process the colors of the film are turned from negative to positive.
  • Ideal for situations where a moderate color saturation is desired.
  • Development Process: Color reversal E-6

NOTE: The developed EKTACHROME 100D film can be viewed on a projector as the color of the film is turned from negative to positive in the development process (hence the reversal film). After development, EKTACHROME 100D can be scanned into digital format.

Download PDF: KODAK 7294 Technical Data

16mm EASTMAN DOUBLE-X 250 Black&White negative film 7222

  • For 16mm cameras
  • Film sensitivity: 200 ASA (Tungsten 3200K)
  • Film sensitivity: 250 ASA (Daylight 5500K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (DXN 455) and on 122m (400ft) roll with a core (DXN 457).
  • Black&White negative film for general production, use both outdoors and in the studio.
  • Good image-structure characteristics and excellent sharpness.
  • Development Process: Black&White Negative

NOTE: The film is developed as a negative so it is not directly viewable on a projector because its colors are inverted (hence the negative). After development,, the negative film can be scanned into a digital format in which the colors are turned to normal.

Download PDF: KODAK 7222 Technical Data

16mm KODAK TRI-X 160 Black&White reversal film 7266

  • For 16mm cameras
  • Film sensitivity: 200 ASA (Daylight 5500K)
  • Film sensitivity: 160 ASA  (Tungsten 3200K)
  • Single edge perforated 16mm film available on 30.5m (100ft) R-90 daylight spool (SP 455) and on 122m (400ft) roll with a core (SP 457).
  • Black & White reversal film is characterized by excellent tonal gradation, a distinctive fine grain structure and exceptional sharpness.
  • Development Process: KODAK B&W Reversal Process

NOTE: The developed TRI-X film can be viewed on a projector as the gray tones of the film are turned from negative to positive in the development process (hence the reversal film). After development, TRI-X can be scanned into a digital format.

Download PDF: KODAK 7266 Technical Data

16mm FOMAPAN R 100 Black&White reversal film

  • For 16mm cameras
  • Film sensitivity: 100 ASA
  • Single edge perforated and double edge perforated 16mm film are available on a 30.5m (100ft) R-90 daylight spool.
  • Panchromatic sensitized Black & White reversal film features a very good resolving power, fine grain and high contour sharpness.
  • Development Process: R-100

NOTE: The developed FOMAPAN R 100 film can be viewed on a projector as the gray tones of the film are turned from negative to positive in the development process (hence the reversal film). After development, the FOMAPAN R 100 can be scanned into a digital format.

Download PDF: Fomapan R-100 Technical Data

Orwo UN54 B/W negative

  • For 16mm Cameras
  • Film Sensitivity: 100ASA
  • A black and white negative film suitable for both artificial and daylight situations.
  • Available on a 30.5m (100ft) R-90 daylight spool and on core.
  • ORWO Universal Negative Film UN54 is a panchromatic medium speed black-and-white negative camera film for both outdoor and indoor usage. 
  • ORWO UN54 film can be processed as black and white reversal film and be used to produce direct positives.

Additional Information

Data Sheet
Processing

35mm

Shooting times at most common shooting speeds:

24 fps – 4 perf camera
61m ≈ 2min 13sec
122m ≈ 4min 26sec
305m ≈ 11min 06sec

24 fps – 3 perf camera
61m ≈ 2min 57sec
122m ≈ 5min 55sec
305m ≈ 14min 49sec

24 fps – 2 perf camera
61m ≈ 4min 26sec
122m ≈ 8min 53sec
305m ≈ 25min 30sec

25 fps – 4 perf camera
61m ≈ 2min 08sec
122m ≈ 4min 16sec
305m ≈ 10min 40sec

25 fps – 3 perf camera
61m ≈ 2min 50sec
122m ≈ 5min 41sec
305m ≈ 14min 13sec

25 fps – 2 perf camera
61m ≈ 4min 16sec
122m ≈ 8min 32sec
305m ≈ 21min 20sec

35mm KODAK VISION3 50D color negative 5203

  • 35mm cameras
  • Film  sensitivity: 50 ASA (Daylight 5500K)
  • Available in 30m, 60m, 122m and 305m on core.
  • Colored negative film balanced for daylight  .
  • Thanks to the small film body, the picture looks clean and the details are clearly distinguished.
  • Ideal for use in bright daylight.
  • Highlight playback and high contrast allow flexibility in digital color definition.
  • Development Process: Color Negative ECN-2

Download PDF:  KODAK 5203 Technical Data

35mm KODAK VISION3 250D color negative 5207

  • 35mm cameras
  • Film  sensitivity: 250 ASA (Daylight 5500K)
  • Available in 30m, 60m, 122m and 305m on core
  • Colored negative film balanced for daylight  .
  • Thanks to the small film body, the picture looks clean and the details are clearly distinguished.
  • Ideal for use in daylight.
  • Highlight playback and high contrast allow flexibility in digital color definition.
  • Development Process: Color Negative ECN-2

Download PDF:  KODAK 5207 Technical Data

35mm KODAK VISION3 200T color negative 5213

  • 35mm cameras
  • Film Sensitivity: 200 ASA  (Artificial Light 3200K)
  • Available in 30m, 60m, 122m and 305m on core.
  • A balanced negative film with artificial light that combines a small ASA film with a grain size of 200 ASA for greater sensitivity.
  • The film is suitable for both indoor and outdoor lighting under challenging lighting conditions.
  • The low freshness of shadows and good peak light reproduction give flexibility to digital color definition.
  • Development Process: Color Negative ECN-2

Download PDF:  KODAK 5213 Technical Data

35mm KODAK VISION3 500T color negative 5219

  • 35mm cameras
  • Film Sensitivity: 500 ASA  (Artificial Light 3200K)
  • Available in 30m, 60m, 122m and 305m on core.
  • Colored negative film balanced with artificial light.
  • The low freshness of shadows and good peak light reproduction give flexibility to digital color definition.
  • Development Process: Color Negative ECN-2

Download PDF:  KODAK 5219 Technical Data

35mm EASTMAN DOUBLE-X 250 black&white negative 5222

  • 35mm cameras
  • Film Sensitivity: 200 ASA (Artificial Light 3200K)
  • Film sensitivity: 250 ASA (Daylight 5500K)
  • Available in 30m, 60m, 122m and 305m on core.
  • A black and white negative film, suitable for both artificial and daylight situations.
  • Thanks to the small film body, the picture looks clean and the details are clearly distinguished.

Download PDF:  KODAK 5222 Technical Data

35mm Orwo UN54 B/W negative 

  • For 35mm Cameras
  • Film Sensitivity: 100ASA
  • Available in 30m and 122 on core.
  • A black and white negative film, suitable for both artificial and daylight situations.
  • ORWO Universal Negative Film UN54 is a panchromatic medium speed black-and-white negative camera film for both outdoor and indoor usage. 
  • ORWO UN54 film can be processed as black and white reversal film and be used to produce direct positives.

Additional Information 

Data Sheet
Processing

SHIPPING FILMS TO US

When shipping your films to us for processing and/or scanning services please: 

  • Mark the cans/cartridges clearly with the film type, length (16mm & 35mm), any special processing requirements or notes, your name and email address or your order number 

Example:  7203 – 16mm – 80m – PUSH + 1 – Jane Doe – jane.doe@example.com

Example: Orwo UN54 – B/W neg – 35mm – 122m  – order S0056

We do not take responsibility for development mistakes due to insufficient or false information on the delivered box.  Please ensure there is no contradicting or confusing information on the delivered film container.

Ship your films to:

Hämeentie 157, 5th floor
00560 HELSINKI
FINLAND

Tel: +358 50 465 9378
Email: shipping@elokuvakonepaja.com 

  • All unprocessed films (except vintage stock) need to arrive with us by noon on Monday to make it into that week’s processing batch. Films arriving any other day will be shipped for processing the following Monday unless Hyper Rush services have been ordered. 

We do not take responsibility for shipping companies’ schedules, delivery times or delays. 

  • Shipping from abroad: We recommend using express shipping services such as DHL Express, UPS or FedEx to ensure fast and reliable delivery with a trustworthy tracking code. 

IMPORTANT: Send us the tracking code for your parcel!

  • You can also send the films to us via our UPS account for an extra shipping fee. 

PROCESSING

We have no in-house processing, instead, we collaborate with the best labs in Europe. The lab depends on the type of film in question, schedules and availability.  

Please note that all cans, boxes and cartridges of film need to be clearly marked with the information of which type of film it contains, ASA and length of the film (16mm / 35mm).

Example:  7203 – 16mm – 80m – PUSH + 1 – Jane Doe – jane.doe@example.com

Example: Orwo UN54 – B/W neg – 35mm – 122m  – John Doe – john.doe@example.com

We do not take responsibility for development mistakes due to insufficient or false information on the delivered box.  Please ensure there is no contradicting or confusing information on the box. 

D8 Processing includes splicing of the film from the middle – unless specifically requested otherwise. 

Special Processing 

Push or Pull development is possible for films if required. Please contact us if any special development  is required. Also note that there will be additional costs.

Push processing is used to recover information from underexposed negative in processing by increasing the developing time. Push processing will lead to grainier and more contrasty images and some color shifts in highlights and shadows. Some sharpness loss can also be expected.

In pull processing, the developing time of the film is decreased. Pull processing with overexposed footage will lead to a less grainy and contrasty image with some minor color shifts in highlights and shadows.

Kodak has published an excellent quick read about push and pull processing on their website which we strongly recommend reading. You can find it here:  KODAK Push & Pull development guide 

https://www.kodak.com/en/motion/page/push-pull-processing

Please make clear notes on the can/cartridge of film requiring special processing and how many stops pull or push are needed.

Example: 

Push +1 stop 
Push +2 stop

Pull -1 stop
Pull -2 stops  

Special development such as Push & Pull is always done on the ENTIRE roll and cannot be done on only parts of the film. 

Vintage films

We provide development services also for Vintage films, but please bear in mind that the probability of any images being salvageable is significantly smaller than with fresh stock. There are, of course, differences between films. 

Vintage films include all old film stock that is no longer manufactured and has a different developing process than the current fresh stock. 

Vintage films are for example:  Kodakhrome-40, AGFA  Agfachrome, AGFA moviechrome, Ektachrome -160, All Svema films, all Tasma Films, FUJI fujichrome R25N Single- 8, FUJI fujichrome RT200N Single 8, FUJI fujichrome RT200 Single-8, FUJI  fujichrome R25 Single-8, ORWO UP21, ORWO UP15

If you have ordered both processing and scanning for a vintage film, but it turns out there are no images on the film, we do not charge for the scanning. However, development costs are always charged in full. 


Vintage film processing turnaround time varies as we collect a larger batch of Vintage film for 3-6 weeks before sending them for development and do not send them individually unless Rush services are ordered. Turnaround is also affected by the processing specialist’s workload and schedule. 

SCANNING

Your films are scanned with Lasergraphic Scanstation 6.5K motion picture film scanner. With optical pin registration to stabilize the image, 2 pass HDR, high-resolution sensor up to 6.5K and diffused RGB LED light source makes the Scanstation one of the best scanners in its class. Scanstation also has a completely sprocketless free film transport system, so it’s extremely gentle for old vintage films.

Prep for scan

Leaders will be added to the beginning and the end of the reel which will guide the material through the scanner before the actual film. If there are multiple cartridges, they’ll be spooled onto a larger reel. Prepping is also necessary to ensure that the film is clean and checked for scanning.

Prep for scan is mandatory for all films that come for processing and scanning, and for most developed films that have not recently been cleaned and sufficient, fresh leaders added. 

If films are delivered developed with leaders, we will check they are in sufficient condition and length (3m). If the leaders are not sufficient for scanning, we will invoice for prep and add to, or replace, the leaders. 

FPS

16, 18, 24, 25, other (please specify) 

Frame Rate that the film has been shot on. We recommend shooting each cartridge / roll of film on one FPS. However, if you have used different frame rates within the same film roll, we recommend choosing the FPS the project will be displayed in for scanning. 

18fps was the standard frame rate for super 8 film format and as such, most all-automatic super 8 cameras shoot 18fps. And for normal 8mm film format the standard frame rate was 16 fps.

Usually, the standard frame rate for 16mm film is 24fps or 25fps. But 18 and 16 fps is not unheard of, especially for old cameras before the 1960’s.

Scan Style


FLAT/LOG
Low contrast and saturation scan that retains all information from the scan. Material scanned this way needs color grading. 12-bit log/linear scan.

ONELIGHT
Best choice if you want to make small corrections to your material and make your color grading in general easier. Each camera reel/cartridge gets an average check of exposure and color, protecting highlights and shadows. Output colorspace is rec.709.

TECHNICAL GRADE
A great choice for material going directly to social media and other platforms. Technical Rec.709 grade, in which exposure, contrast, and colors are checked and optimized by correcting each shot individually. Output colorspace is rec.709. 

Output format

Prores 4444
Completely lossless file type designed for the most demanding post-production work. 

Prores 422HQ
Preserves almost the same visual quality as Prores 4444, but with significantly smaller data rates and file sizes.

Prores Proxy 
The lightest version of the Prores file type should run quite easily with lower-end Apple computers.

MP4/ H.264
An extremely light codec that works on most devices and programs. Best file type to share your scanned material straight to social media and other platforms.

Other formats options

We can also output your scans to DPX, TIFF, DNxHR, Avi, H.265 etc. for an extra cost. Contact us in advance if you require other output formats. 

Digital files will be delivered to you onto a cloud service on MediaShuttle, from which you will receive an email notification with a direct link to your downloadable material.

We can also transfer your files onto your own hard drive, in this case, please remember to include your drive in the shipment with your films. 

Resolution

HD horizontal: 1280 px
2K horizontal: 2048 px
4K horizontal: 4096 px
5K horizontal: 5120 px  (on request for S16 or any 35mm)

HD
1280 horizontal pixels. Vertical pixel amount varies depending on the film format aspect ratio.

2K 
2048 horizontal pixels. Vertical pixel amount varies depending on the film format aspect ratio. For Full HD mastering

4K 
4096 horizontal pixels. Vertical pixel amount varies depending on the film format aspect ratio.) For 4K mastering

5K
5120 horizontal pixels. Vertical pixel amount varies depending on the film format aspect ratio. Available for 35mm and Super16mm formats. 

Aspect ratio

We scan the film to its original camera gate aspect ratio, so nothing gets left outside the scan area, or has as little as possible unwanted area visible. For Super 8 and Normal 16 this is usually 1:37.1 and for Super 16 it’s 1:66.1.

But we can also scan your films straight into any aspect ratio you desire. For example vertical aspect ratios or 1×1 aspect ratio for social media etc. Contact us for more information. 

Aspect ratio example: 2K
Blue: 1850×1350 pixels
Red: 1745×1274 pixels
Yellow: 1710×1248 pixels

Aspect ratio example: 4K
Blue: 3700×2700 pixels
Red: 3490×2547 pixels
Yellow: 3420×2496 pixels

Cropping

Cropped

The scan area is framed so that film perforation and previous and next frames are left just outside the image.

Tight Overscan
The scan area is framed right to film frame edges.

Overscan
The scan area is framed so that film perforation and previous and next frames are notably visible

Super Overscan 
The scan area is framed so that almost the whole perforation and large parts of the previous and next frames are visible.

TURNAROUND 

Normal turnaround times

Films are shipped for processing every Monday, which is why all undeveloped films need to be with us latest by noon on Mondays. Processing takes 5-7 business days from each Monday. The delivery time for both processing and scanning is 10-14 business days from every Monday. 

Exceptions to the turnaround time

Please bear in mind the above turnaround times are not 100% guaranteed, as bank holidays, delivery delays for unforeseeable reasons, such as severe weather conditions for example, or other exceptions may affect the turnaround time. 

Large quantities of, for example, older films coming for only scanning, which we will make a delivery estimate once they arrive according to the situation and size of the job. 

Vintage films development turnaround can vary from 3-8 weeks depending on the development batch cycle as we collect a larger batch of film before shipping it off to get developed. The processing specialist’s schedules and workload also affect the estimated turnaround time. If you are in a hurry, please contact us about possible rush services. 

Rush Services

Rush services are available and will be arranged on a case by case basis and invoiced accordingly. Please note that Rush services are available more for 16mm and 35mm films, less for 8mm films as they are developed only once per week. 

Preliminary information on basic Rush services: 

Rush: 30€ / roll
Developed in the normal weekly batch but prioritized in the scanning queue cutting down the delivery time by 3-5 days depending on the order. 

Hyper Rush: 55€ / roll
Available only for 16mm, 35mm formats or already developed 8mm films – not available for vintage or undeveloped 8mm films, unless it is a batch of over 20 rolls. Hyper Rush means expedited processing and scanning services. Processed in less than a week and scanned immediately upon arrival, cutting down the delivery time by over half of the normal turnaround time. 

Please bear in mind the above turnaround times are not 100% guaranteed, as bank holidays, delivery delays for unforeseeable reasons, such as severe weather conditions for example, or other exceptions may affect the turnaround time. 

We require you to contact us in advance regarding any special orders so we can check availability and give a realistic estimate on time and cost for the special services requested. Please note that depending on the case other options may be available and the above-mentioned fees may vary depending on the case in question! 

ORIGINAL NEGATIVES

You can choose whether you want your original negatives back or not. If you do not want your negatives back, they will be disposed of by us. 

For getting your negatives back, you can choose either pick-up at our office in Helsinki, or delivery to your chosen shipping address for an extra shipping cost. 

If you have chosen pick-up but have not retrieved your negatives within 3 months of the completion of your film order, you will receive an email reminding you to either collect them or permit us to dispose of them. Failing to react to several emails of this nature, we will eventually dispose of your original negatives.

LARGE QUANTITIES

If you have large quantities of film, we are happy to make you an estimated cost calculation and quote based on the amount of film, their condition and requested scanning specs. In this case, please email us at service@mutascan.film or visit us in our office at Hämeentie 157, 5th floor, 00560 Helsinki 

PRICING

Please note that fresh S8 films processing is charged per cartridge, whilst all other films are charged per meter.  

If orders are insufficient, incorrect or additional services are added to the order at a later time, these will be invoiced separately and must be paid before access to scanned material is granted.