ORS: EL SISTEMA QUÍMICO PARA RECUPERAR EL COLOR DE LAS PELÍCULAS DESVANECIDAS

En el archivo de películas cinematográficas en color, uno de los principales problemas, además del temido Síndrome de Vinagre, para todas los postivos que no son LPP o Technicolor, es el desvanecimiento del color.  Es muy fácil recuperar el color en digital pero ¿cómo hacerlo con una copia física, para que esta pueda seguir proyectándose, sino con el esplendor original, sí al menos con una mínima dignidad?

Un importante laboratorio italiano ha desarrollado un sistema químico,  bajo el acrónimo O.R.S., que ya lleva un par de años en el mercado, recuperando con éxito copias físicas que se consideraban desahuciadas. La exclusiva de aplicación la tiene Alberto Vangelisti, el mismo técnico que pista magnéticamente las copias cinematográficas del laboratorio alemán Andec.

Describí en profundidad el sistema O.R.S. en SILVERGRAIN CLASSICS,  la única revista totalmente dedicada en inglés a la tecnología y el arte fotoquímicos, publicada en Alemania pero con distribución internacional. El número se puede obtener del editor por correo aéreo. Aquí, en el blog,  explicamos un breve resumen.

 

ORS en "El señor de la Salle": film antes y después del tratamiento químico, no digital. from IB CINEMA Motion Picture Films on Vimeo.

El O.R.S. es un procedimiento que utiliza un tratamiento químico sustractivo, que elimina el rojo dominante. Desde luego, es mejor aplicar el sistema a las películas que, bajo el rojo (Kodak) o el marrón (Fuji) predominantes, aún conservan algunos otros colores:  si están ahí, volverán a salir. Lo que hay o lo que no está no se cambia ni se altera. Los negros y el contraste se vuelven a recuperar casi en sus valores originales.

Lo he comprobado con 3 positivos desvanecidos a rojo, y sin negros,  y, sí, el sistema sustractivo ORS funciona bastante bien. Por supuesto, la copia nunca será como cuando salió del laboratorio original, pero al menos quedará proyectable y con posibilidad de ser disfrutada nuevamente.

El O.R.S. nos brinda a nosotros, los coleccionistas y archivistas de películas, la ocasión de devolver a la vida alguno de los títulos mas queridos de nuestros archivos.

O.R.S. chemical substractive treatment for faded Kodak films from IB CINEMA Motion Picture Films on Vimeo.

O.R.S. TREATMENT: ALREADY AVAILABLE FOR 35 MM TOO

Archiving colour motion pictures films, one of the main troubles, besides V.S., for all non LPP or Technicolor prints, is the colour fade. This serious trouble, for film archivist and collectors, is now solved, thanks a chemical process developed in Italy by a very well know film technician.

The O.R.S. system is described in depth in SilverGrain Classics, the only one magazine fully devoted in English at photochemical technology and art, published in Germany in English. The issue can be obtained from the publisher by air mail. Here, on the blog, we explain a brief summary.

The O.R.S. substractive system is a procedure that uses a substractive chemical treatment, which is very different from coloring the film.
In the O.R.S. substractive system the red dominant is removed. So, the systems is better advisable to apply to film stocks which, under the red (Kodak) or brown (Fuji) dominant, still retain some other colours. if they are there, then they will come out again. What is there or what is not is not changed or altered. 
I have checked it with 3 faded prints and, yes, the ORS Substractive System works pretty well. Of course, the print never will be as it was new but it will be projectable and enjoyable again. 
The O.R.S. Substractive System give us, the film collectors and film archivists, the ocasion to return to life some of our beloved faded prints. 

ORS: IS NOT A MIRACLE.  
The ORS Substractive System is not a miraculous system that returns colours that it no longer has, but manages to remove the red dominant present in the print itself. Fading is like a kind of oxidation, so this procedure is divided into two phases: 

1) In phase one, it removes the fading, with the red being subtracted in a chemical process!!!

2) in phase two, adjusts the contrast as much as possible.

If under the red or brown dominant there was no longer any color, then, the result would be very similar to the monochrome. O.R.S. substractive system  subtract what disturbs the vision of the film (the red dominant, which is a kind of "oxidation" that is removed),  which, it's definitely surprising in positive. I  have tested the two phases of the ORS substractive system with 3 ex airline prints, all Eastman SP polyester film, fully faded, and I´m now very happy: nobody. except some crazy collector friend of mine, was looking to watch this faded prints, but now my family can enjoy them again!

The O.R,S. substractive system is able to remove the fading that is very similar to an oxide, from the film, so we can see again the colours that are still under the red cast (fading).
The ORS Substractive System certainly almost completely eliminated the red dominant and contrast is now high.
In the second phase of the treatment it is also possible to act in correction on the contrast. This is how, as can be understood, one does not invent what is not there, and does not alter what is there. 
With regards to the duration of the treatment: aging tests have been carried out and have given excellent results also from this point of view, for some years there should be no further alteration. 

 

O.R.S. version II, test comparativo from IB CINEMA Motion Picture Films on Vimeo.

ADDENDUM: It does not go in any way to remove a color or a dye, but, in an absolutely subtractive way, to remove the kind of oxide that the base color, the cyano, due to a wrong chemical process in its time, erroneously has profit causing the dominant red. Furthermore, in the second phase of the treatment, the contrast is rebalanced, completing the treatment as if it were a new print. This makes it possible to appreciate all the colours that are still present and to interrupt that sort of oxidation which, in fact, would continue to cause the other colours to deteriorate, dragging the film definitively towards red monochrome. The worst thing is to do nothing by witnessing the irreversible deterioration of your movie. If you really like your movies, this is the best thing to be able to enjoy again and keep them for many years.  

 

O.R.S. chemical substractive treatment for faded Kodak films from IB CINEMA Motion Picture Films on Vimeo.

IF YOU WANT TO KNOW SOMETHING MORE...
The Italiab lab, after years and years of experience in the printing of movies, has developed a machine that removes the excess oxide millimetrically caused by cyano. After that ... the colours below are all there where they were: nothing gets altered.
If there are no colors present below, then we will have a sort of monochromatism.
Some stocks (Kodak SP or last generation of Easrman for example and many Fuji too), the colours below are all right ... so, the nice thing is that we will come back to appreciate them again.
In the second phase of the treatment, the contrast is rebalanced also giving strength to the blacks. It is important to know that there are precise times for treating the film ... and that the machine designed in the Italian lab succeeds perfectly in all this micrometrically.

Article published in the international magazine SilverGrain Classics (formerly Photoklassik International)

YEARS OF EXPERIMENTATION.
Regarding the imbibing of cyano, it was taken into consideration by the lab at the beginning of the experiments, but immediately rejected by him because it removes contrast, so the proceeded with the current system.

PRICE
The treatment is not expensive. For 16 mm and Super8 prices are only 50 € of reels up 480 meters; or 60 € for reels betwenn 480 meters to 750 meters. Ask to Alberto for 35 mm prices.

ADDRESS.
The exclusive collect address, the only one authorized for the lab, is Movie Magnetic, the Italian firm that is the only one in the World adding paste striping to 16 mm and S8 prints (triacetate or polyester).
Movie Magnetic is owned by Alberto Vangelisti, with a large background in the movie industry. His personal email is: moviemagnetic@gmail.com

And the postal address is: 
MOVIE MAGNETIC
Via Don Miliani, 42.
52028 Terranuova
Italia

O.R.S.-II : ¡MEJORADO!

Uno de los males mas terroríficos para el archivista cinematográfico, aparte del síndrome del vinagre, es el enrojecimiento de los positivos en color Eastman anteriores al advenimiento de la tecnología LPP.  Es un problema fácil de solucionar en digital pero no nos vale para archivistas y coleccionistas pues de lo que se trata, para nosotros, es de proyectar el positivo cinematográfico original, con proyector de cine, no en videoproyección.

Existe un tratamiento para parar, y en cierto modo, rescatar a las películas de su enrojecimiento: el sistema químico substrativo ORS, de Movie Magnetic, cuyas excelencias tuve ocasión de probar en exclusiva para en el penúltimo número de la revista  Silvergrain Classics, y que describo de forma minuciosa en mi artículo del cual en fragmento de su primera página se reproduce en la fotografía siguiente. 

Los técnicos de Movie Magnetic, en Italia, han sacado una nueva versión de su tratamiento químico substractivo, el O.R.S.-II, que mejora todavía mas el contraste. Un ejemplo puede verse en la siguiente pantalla. Aviso: no hay tratamiento de postproducción digital. Se trata del "antes y el después" de la restauración química, de una película que estaba completamente roja. 

O.R.S. version II, test comparativo from IB CINEMA Motion Picture Films on Vimeo.

Quien quiera saber mas, y no tenga acceso a la revista, puede leer informaciones ya publicadas en esta bitácora, como por ejemplo: https://mimundoensuper-8.blogspot.com/2019/07/ors-system-more-about-substrative.html

Si la película original conserva algo de color, como suele ocurrir con los positivos SP 4B, los resultados son todavía mas espectaculares, como tuve ocasión de verificar hace un año con "Los tres caballeros" (reiteramos: ¡¡¡restauración química!!!, no digital, para proyectar el original cinematográfico) 

O.R.S. chemical substractive treatment for faded Kodak films from IB CINEMA Motion Picture Films on Vimeo.

Para subscribirse a "SilverGrain Classics", la biblia internacional de la tecnología fotoquímica, por favor, vayan a la página de la editorial en el enlace inferior. Aunque se edita en Alemania, se encuentra escrita en el esperanto moderno que es el inglés: https://silvergrainclassics.com/en/

RESCATADO DEL TERROR ROJO

Quedé sorprendido que, con la que está cayendo, con lo que ya se sabe acerca de la propagación del coronavirus, haya hoy servicio de Correos;  es una irresponsabilidad por parte de citado organismo, para con sus empleados y para con  el resto de la población: personalmente, podría haber esperado un mes, o lo que fuera, para recibir todo lo que me ha entregado hoy mi abnegada cartera (repartiendo, aun encima, en moto, bajo la lluvia, con una mascarilla regalo de una empresa).
Mi cartera, madre de familia, a la que desde aquí quiero reconocer su abnegado servicio, me ha entregado el último número de Silvergrain Classics. 

• DESVANECIMIENTO A ROJO SOLVENTADO

Uno de los males mas terroríficos para el archivista cinematográfico, aparte del síndrome del vinagre, es el enrojecimiento de los positivos en color Eastman anteriores al advenimiento de la tecnología LPP. 

Existe un tratamiento para parar, y en cierto modo, rescatar a las películas de su enrojecimiento: el sistema químico substrativo ORS, de Movie Magnetic, cuyas excelencias tuve ocasión de probar en exclusiva para el último número de la revista  Silvergrain Classics, y que describo de forma minuciosa en mi artículo.

DONALD IS HAPPY WITH THE O.R.S. SYSTEM TO IMPROVE RED FADED KODAK RELEASE PRINTS

In next issue of  PhotoKlassik International, the best selling magazine in English about photo chemical technology, I will write about as the O.R.S. substractive chemical system and as the treatment made Donald a happy duck having improved my 16 mm print of "Los 3 caballeros". 

The image on the left is after receiving the O.R.S. chemical treatment. On the monitor of the right, the same image as it was before the treatment.
The O.R.S. system is applied in Italy by Movie Magnetic, the firm of Alberto Vangelisti

LA ÚLTIMA INVENCIÓN DE MATTEO RICHETTI: ¡¡¡UN SINCRONIZADOR DE SONIDO PARA CUALQUIER CÁMARA!!!

Si hay un país en el mundo repleto de genios ese es Italia, la nación madre de nuestra cultura. Estoy orgulloso de Italia ¡y no por ser nieto de italiano!, sino por que es la nación que nos ha dado, a los europeos, nuestro alfabeto, la forma de comportarnos y enfrentarnos a la vida, la regulación de nuestras leyes, nuestra religión... y tantas cosas que hasta en mi ciudad, La Coruña (en la antigua Gallaecia de los últimos confines del Imperio Romano, ahora España), incluye importantes monumentos, desde iglesias, hasta el faro romano mas antiguo del mundo, la Torre de Hércules, funcionando todavía hoy ¡¡¡dos mil años después de haber sido erigido!!!

¿Qué sería del mundo sin la cultura que nos ha legado el pueblo italiano? Viviríamos en la barbarie.

ITALIA Y EL CINE.

Una de mis películas favoritas, "Cinema Paradiso", es italiana, como lo son emblemáticos directores por mi admirados, empezando por Fellini y terminando por Argento. En el terreno técnico, Italia consiguió un logro sólo al alcance de muy pocos: tener su fábrica de película en color, Ferrania, con tecnología cien por ciento italiana.

También fue, Italia, el país con el mayor número de fabricante de proyectores de cine, todos de altísima calidad: Cinemeccanica, Prevost, Veronese, Cinemec, Fumeo... y muchos más, incluyendo a Ducati, que, además de motos, también fabricó proyectores. 

En el terreno del Súper-8, una fábrica italiana diseñó el proyector más potente del mundo, el Fumeo 9145 de xenon 500, capaz de rellenar con altísima calidad una pantalla de mas de ocho metros de base. 

ITALIA Y EL FUTURO DEL CINE.

Por una parte, un grupo de emprendedores del norte de Italia ha conseguido poner en marcha de nuevo la factoría de película Ferrania: de momento ya han sacado al mercado una emulsión en blanco y negro riquísima en plata y se encuentran investigando para producir en serie una película inversible en color: fabricar una película inversible en color de calidad es una de las actividades industriales mas difíciles, pues al dominio de secretos saberes químicos y mecánicos se une una sabiduría artesanal que no se encuentra plasmada en ninguna literatura al alcance de los estudiosos. 

PISTA MAGNÉTICA LÍQUIDA: MOVIE MAGNETIC

Además, en Italia, tienen toda una serie de genios desarrollando iniciativas de forma individual, en pequeños laboratorios renacentistas,  logros fantásticos, como, por ejemplo,  Alberto Vangelisti, al frente de Movie Magnetic, ha conseguido ultimar un sistema de pistado magnético líquido (que fuera el tradicional de la industria,  interrumpido hace unos seis años por Fujifilm y EVT Magnetics), sistema muy superior al laminado o pegado. Alberto ofrece este sistema desde hace dos años para Súper-8 y 16 mm (incluyendo, si el cliente lo demanda, el repicado del sonido en alta fidelidad con sincronización labial). La gigantesca maquinaria de Alberto se puede adaptar, también, para otros pasos cinematográficos, incluyendo 70 mm. 

O.R.S. SYSTEM: RECUPERACIÓN SUBSTRACTIVA DEL COLOR.

Alberto, en colaboración con  un bien conocido laboratorio italiano, ha desarrollado un sistema substractivo para la recuperación del color (hasta cierto punto) en películas que se han desvanecido a rojo. Lo he comprobado con mis ojos; positivos totalmente rojos ahora pueden ser proyectados con un mínimo de dignidad.  Mas información sobre el sistema substractivo O.R.S.:  https://mimundoensuper-8.blogspot.com/2019/07/ors-system-more-about-substrative.html
Clip antes del tratamiento con el sistema O.R.S:

El mismo clip después del tratamiento con dicho sistema químico substractivo: 

HINCHADOS DE SÚPER-8 A 16 MM DE ALTÍSIMA CALIDAD. 

Esto es lo que nos ofrece otro verdadero genio, Marco Emiliani, al frente de su laboratorio Onda Radio Service. Poco a poco, voy pasando a 16 mm, para su conservación, todos mis materiales en Súper-8. Con esta calidad y precio, el servicio de Marco Emiliani es único en el mundo (la banda sonora puede ser óptica o magnética). 

Onda Radio Service emplea, además, material sensible de copiado de alta calidad: sólo soporte de poliéster (inmune al Síndrome del Vinagre), Kodak para color y OrWo para blanco y negro. 
Un ejemplo de hinchado de Súper-8 a 16 mm: 
SPITSBERGEN, EL GUARDIÁN DEL ÁRTICO (teaser de pre producción) from IB CINEMA Motion Picture Films on Vimeo.
REVELADOS INVERSIBLES FABULOSOS DE MATERIAL CADUCADO.

Cuando Riccardo Pascucci, de Foto e Tulipani me reveló en Roma filmaciones rodadas con material sensible Fujichrome caducado en 1985 ¡aluciné con el resultado! Riccardo, en esta especialidad, es el mejor técnico de laboratorio a nivel mundial. Por supuesto, con material fresco, Riccardo es capaz de obtener hasta el matiz mas delicado. 

LUIGI PETRIN Y SU SINCRONIZADOR A CUARZO. 

Luigi ha hecho una pequeña producción del sincronizador a cuarzo para el Elmo GS1200, en varias versiones: 8, 24 y 25 f.p.s., a un precio tan contenido que lo vuelve asequible incluso para los estudiantes y los padres de familia numerosa. 

MATTEO RICHETTI: EL GENIO DEL TELECINE.

Matteo Richetti es un genio genovés que, con medios caseros, ha conseguido un telecine (o "escaner") de película cinematográfico, válido para varios formatos (8, S8, 9.5 mm, 17.5 mm, 16 mm y 35 mm), que consigue resultados muy superiores a telecines industriales que se encuentran en laboratorios de medio mundo. El telecine de Matteo Richetti avanza la película en continuo, sin movimiento intermitente, de forma que es posible digitalizar material con los perforaciones destrozadas, con el soporte contraído o mal cortado.

El resultado del invento de Matteo Richetti es alucinante, y eso que la prueba que le mandé se encuentra filmada a 18 fotogramas por segundo y no a 24. El metraje que le mandé, ¡Santo Dios, parece 16 mm!

LA NUEVA INVENCIÓN DE MATTEO: UN SINCRONIZADOR DE SONIDO PARA CUALQUIER CÁMARA. 

Matteo es una especie de Leonardo Da Vinci de la imagen que sabe conjugar lo mejor de la tecnología mecánico-química con la digital. 

Además, no tiene ningún problema en compartir su sabiduría con otros cineístas. Su nueva invención es un sistema de sincronización de sonido. Diseñó un circuito, cuyo diagrama encabeza este apartado, que permite que cualquier sistema de grabación estereofónico grabe en sincronización con cualquier cámara ¡que no necesita ser modificada!

El sistema, en funcionamiento, puede ser visto al  final de esta entrada. 

¡Gracias, Matteo! ¡¡¡GRANDE, ITALIA!!!

audio_synch from Matteo Ricchetti on Vimeo.

O.R.S. SYSTEM: MORE ABOUT THE SUBSTRACTIVE CHEMICAL SYSTEM TO IMPROVE RED-FADED PRINTS

Archiving colour motion pictures films, one of the main troubles, besides V.S., for all non LPP or Technicolor prints, is the colour fade.
This serious trouble, for film archivist and collectors, is now solved, thanks a chemical process developed in Italy by a very well know film technician.
The O.R.S. substractive system is a procedure that uses a substractive chemical treatment, which is very different from coloring the film.
In the O.R.S. substractive system the red dominant is removed. So, the systems is better advisable to apply to film stocks which, under the red (Kodak) or brown (Fuji) dominant, still retain some other colours. if they are there, then they will come out again. What is there or what is not is not changed or altered. 
I have checked it with 3 faded prints and, yes, the ORS Substractive System works pretty well. Of course, the print never will be as it was new but it will be projectable and enjoyable again. 
The O.R.S. Substractive System give us, the film collectors and film archivists, the ocasion to return to life some of our beloved faded prints. 
CLIP BEFORE THE TREATMENT:

THE SAME CLIP AFTER THE TREATMENT WITH THE CHEMICAL SUBSTRACTIVE O.R.S. SYSTEM:

ORS: IS NOT A MIRACLE.  
The ORS Substractive System is not a miraculous system that returns colours that it no longer has, but manages to remove the red dominant present in the print itself. Fading is like a kind of oxidation, so this procedure is divided into two phases: 

1) In phase one, it removes the fading, with the red being subtracted in a chemical process!!!

2) in phase two, adjusts the contrast as much as possible.

If under the red or brown dominant there was no longer any color, then, the result would be very similar to the monochrome. O.R.S. substractive system  subtract what disturbs the vision of the film (the red dominant, which is a kind of "oxidation" that is removed),  which, it's definitely surprising in positive. I  have tested the two phases of the ORS substractive system with 3 ex airline prints, all Eastman SP polyester film, fully faded, and I´m now very happy: nobody. except some crazy collector friend of mine, was looking to watch this faded prints, but now my family can enjoy them again!

The O.R,S. substractive system is able to remove the fading that is very similar to an oxide, from the film, so we can see again the colours that are still under the red cast (fading).
The ORS Substractive System certainly almost completely eliminated the red dominant and contrast is now high.
In the second phase of the treatment it is also possible to act in correction on the contrast. This is how, as can be understood, one does not invent what is not there, and does not alter what is there. 
With regards to the duration of the treatment: aging tests have been carried out and have given excellent results also from this point of view, for some years there should be no further alteration.

O.R.S. SUBSTRACTIVE SYSTEM: READY FOR KODAK AND FUJI FILM PRINTS.
The lab is able to apply the system also for Fuji film stock. 3M and AGFA is in process of experimentation (but Agfa rarely presents the problem of severe fading, most of the prints in circulation are not affected by fading). 
Besides test are now being made with 3M and AGFA colour stocks, also, the lab is working in a third phase for the process: I will write about when experimentations are finished. 
ADDENDUM: It does not go in any way to remove a color or a dye, but, in an absolutely subtractive way, to remove the kind of oxide that the base color, the cyano, due to a wrong chemical process in its time, erroneously has profit causing the dominant red. Furthermore, in the second phase of the treatment, the contrast is rebalanced, completing the treatment as if it were a new print. This makes it possible to appreciate all the colours that are still present and to interrupt that sort of oxidation which, in fact, would continue to cause the other colours to deteriorate, dragging the film definitively towards red monochrome. The worst thing is to do nothing by witnessing the irreversible deterioration of your movie. If you really like your movies, this is the best thing to be able to enjoy again and keep them for many years.
IF YOU WANT TO KNOW SOMETHING MORE...
The Italiab lab, after years and years of experience in the printing of movies, has developed a machine that removes the excess oxide millimetrically caused by cyano. After that ... the colours below are all there where they were: nothing gets altered.
If there are no colors present below, then we will have a sort of monochromatism.
Some stocks (Kodak SP or last generation of Easrman for example and many Fuji too), the colours below are all right ... so, the nice thing is that we will come back to appreciate them again.
In the second phase of the treatment, the contrast is rebalanced also giving strength to the blacks. It is important to know that there are precise times for treating the film ... and that the machine designed in the Italian lab succeeds perfectly in all this micrometrically.
YEARS OF EXPERIMENTATION.
Regarding the imbibing of cyano, it was taken into consideration by the lab at the beginning of the experiments, but immediately rejected by him because it removes contrast, so the proceeded with the current system.
PRICE
The treatment is not expensive. For 16 mm and Super8 prices are only 50 € of reels up 480 meters; or 60 € for reels betwenn 480 meters to 750 meters. 
ADDRESS.
The exclusive collect address, the only one authorized for the lab, is Movie Magnetic, the Italian firm that is the only one in the World adding paste striping to 16 mm and S8 prints (triacetate or polyester).
Movie Magnetic is owned by Alberto Vangelisti, with a large background in the movie industry. His personal email is: moviemagnetic@gmail.com

And the postal address is: 
MOVIE MAGNETIC
Via Don Miliani, 42.
52028 Terranuova
Italia

More information about MOVIE MAGNETIC:
https://mimundoensuper-8.blogspot.com/2018/03/nuevas-pistas-magneticas-para-super-8.html

VERY SOON: A VIDEO

h

O.R.S. CHEMICAL SYSTEM: THE SOLUTION TO RED-FADED PRINTS

Archiving colour motion pictures films, one of the main troubles, besides V.S., for all non LPP or Technicolor prints, is the fade. Personally, a sad example was my ex-airline print of "Little shop of horrors". I remember how fantastic the colour but, sadly, faded over the years: the print (Eastman pre LPP) gone fullly red.

This serious trouble, for film archivist and collectors, is now solved, thanks a chemical process developed in Italy by a very well know film tecnician. I have checked it with my fully faded prints or "Little shop of horrors" and "A Fish called Wanda" (both ex airline prints, struch on outdated SP stock) and, yes, the ORS System works pretty well. Of course, the print never will be as it was new but it will be projectable and enjoyable again. 
The O.R.S. System give us, the film collectors and film archivists, the ocasion to return to life some of our beloved faded prints. 

ORS: IS NOT A MIRACLE.  
The ORS System is not a miraculous system that returns colours that it no longer has, but manages to remove the red dominant present in the print itself. Fading is like a kind of oxidation, so this procedure is divided into two phases: 

1) In phase one, it removes the fading, with the red being subtracted in a chemical process!!!

2) in phase two, adjusts the contrast as much as possible.

I have tested the two phases of the ORS System with "The Little shop of horrors" and "A fish called Wanda", both Eastman SP polyester film, fully faded, and I´m now very happy: nobody. except some crazy collector friend of mine, was looking to watch this faded prints, but now my family can enjoy them again! The ORS System certainly almost completely eliminated the red dominant and contrast is now high.

ORS SYSTEM: READY FOR KODAK AND FUJI FILM PRINTS.
The lab is able to apply the system also for Fuji film stock. 3M and AGFA is in process of experimentation (but Agfa rarely presents the problem of severe fading, most of the prints in circulation are not affected by fading). 
Besides test are now being made with 3M and AGFA colour stocks, also, the lab is working in a third phase for the process: I will write about when experimentations are finished. 

PRICE
The treatment is not expensive. For 16 mm and Super8 prices are only 50 € of reels up 480 meters; or 60 € for reels betwenn 480 meters to 750 meters. 

ADDRESS.
The exclusive collect address, the only one authorized for the lab, is Movie Magnetic, the Italian firm that is the only one in the World adding paste striping to 16 mm and S8 prints (triacetate or polyester).
Movie Magnetic is owned by Alberto Vangelisti, with a large background in the movie industry. His personal email is: moviemagnetic@gmail.com

And the postal address is: 
MOVIE MAGNETIC
Via Don Miliani, 42.
52028 Terranuova
Italia

More information about MOVIE MAGNETIC:
https://mimundoensuper-8.blogspot.com/2018/03/nuevas-pistas-magneticas-para-super-8.html

ADDENDUM .
The O.R.S. system is a procedure that uses a subtractive chemical treatment. That is, the red dominant is removed. So, the systems is better advisable to apply to film stocks which, under the red (Kodak) or brown (Fuji) dominant, still retain some other colours. if they are there, then they will come out again. What is there or what is not is not changed or altered. 
If under the red or brown dominant there was no longer any color, then, the result would be very similar to the monochrome. O.R.S. system  subtract what disturbs the vision of the film (the red dominant, which is a kind of "oxidation" that is removed),  which, it's definitely surprising in positive. 
In the second phase of the treatment it is also possible to act in correction on the contrast. This is how, as can be understood, one does not invent what is not there, and does not alter what is there. 
With regards to the duration of the treatment: aging tests have been carried out and have given excellent results also from this point of view, for some years there should be no further alteration.

Finally, enjoyable again!!! "The little shop of horrors", previously fully red faded (and now, with magnetic tracks with stereo Spanish sound, with "liquid" magnetic tracks from Movie Magnetic):