Anyone any experience with this Rollei Digibase CR200 Slide Film?

I'm intending to get some of it in 35mm to try - its actually re-packaged Agfachrome RSX II 200 Professional (which is the professional version of the old proper Agfa Precisia [not the new re-packed Fuji stuff]) made by Agfa-Geveant (the aerial film division of Agfa that was spun off shortly before Agfa itself collapsed in 2006).

I've heard its slightly more grainy than competing Fuji or Kodak E-6 films, but has a more 'warmish' to neutral colour balance compared to them, and is slightly less saturated. To me that sounds good to me (and its apparently very good for cross-processing as well - RSX/Precisia films used to be well known for it)
 
I was considering it as well, looking for slightly cheaper stock to practice my E6 developing.
 
steveo_mcg said:
I was considering it as well, looking for slightly cheaper stock to practice my E6 developing.
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Just wondered what it would bring to the mix as I am pretty much addicted to slide film for MF.
 
not sure if i've had the 120 in but the 35mm is physically very thin yet very tough to rip off the spindle, very curly and very tough to cut too.
 
RumpFace said:
not sure if i've had the 120 in but the 35mm is physically very thin yet very tough to rip off the spindle, very curly and very tough to cut too.
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Thats because its on a polyester base, like AG Photographic say with all the Rollei films (which are really Agfa-Geveant aerial films cut down to more commercial sizes and re-spooled) they sell the base is so strong that the camera wind on mechanism will break before the film will! Due to its toughness, polyester is now used pretty much exclusively for release prints of films in cinemas, and IMAX uses it for both filming and projection (which is unusual) as it provides better registration (because the perforations are completely unaffected during processing - although if the camera/projector should jam then that could be a very expensive failure!).
 
RumpFace said:
not sure if i've had the 120 in but the 35mm is physically very thin yet very tough to rip off the spindle, very curly and very tough to cut too.
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So if I try some 120 will Peak be ok with it :-)
 
Haven't tried it dev'd properly but forget it for X Pro, it's just shades of browny yellow and the worst grain I've ever seen.
 
I haven't tried the Rollei but having clicked on the above link and gone back a page to the colour slide film at Firstcall I found their own branded stuff, Firstcall Chrome 200PE1. It's only £2.99 per roll. Has anyone tried this?

Link here
 
wickerman said:
I haven't tried the Rollei but having clicked on the above link and gone back a page to the colour slide film at Firstcall I found their own branded stuff, Firstcall Chrome 200PE1. It's only £2.99 per roll. Has anyone tried this?

Link here
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Its very likely the same stuff as the Rollei (which is really Agfa as I mentioned above) namely because at the moment Agfachrome RSX II 200 is the only non-Fuji E-6 film being produced to my knowledge (and the only one faster than ISO 100); Firstcall say that it can be processed in 'ASP 44 or E-6 Process' (Agfa call their version of the E-6 process AP44); and also if you look at the picture you can see that its also called CR-200, and its says its on a polyester base (which is very rare in still film - again Agfa produce that emulsion on polyester as its designed for aerial photography). Its is however actually slightly cheaper than the two pack of 35mm Rollei which they sell so thanks for pointing that out!

The new ISO 200 Wittnerchrome 200D 16mm/Super 8 transparency motion film is also the Agfachrome RSX II 200 cut down and re-spooled. Until/if Ferrenia get their new E-6 film produce in production that looks like all there is apart from Fuji.
 
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s162216 said:
Its very likely the same stuff as the Rollei (which is really Agfa as I mentioned above) namely because at the moment Agfachrome RSX II 200 is the only non-Fuji E-6 film being produced to my knowledge (and the only one faster than ISO 100); Firstcall say that it can be processed in 'ASP 44 or E-6 Process' (Agfa call their version of the E-6 process AP44); and also if you look at the picture you can see that its also called CR-200, and its says its on a polyester base (which is very rare in still film - again Agfa produce that emulsion on polyester as its designed for aerial photography). Its is however actually slightly cheaper than the two pack of 35mm Rollei which they sell so thanks for pointing that out!

The new ISO 200 Wittnerchrome 200D 16mm/Super 8 transparency motion film is also the Agfachrome RSX II 200 cut down and re-spooled. Until/if Ferrenia get their new E-6 film produce in production that looks like all there is apart from Fuji.
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Thanks for that. I might give it a try at that price.
 
Having had a search around, presumably the Firstcall stuff is this:

AVIPHOT CHROME 200 PE1
Panchromatic colour reversal film
Aviphot Chrome 200 PE1 is a panchromatic colour reversal film for aerial photography from low to medium altitude (15,000 ft or approx. 5,000 m). The film has a clear, dimensionally stable polyester base.
Thickness of the base: 0.10 mm; total thickness: 0.126 mm.
������
Applications
Aviphot Chrome 200 PE1 is designed for making aerial photographs in different types of cameras. The film is used for the interpretation of aerial photographs, in photogrammetry, for reconnaissance and publicity.
Although this is a chrome diapositive, the film renders clear information in the shadows thanks to its excellent contrast properties.
This film is particularly suitable for mapping and oblique photography. Since the images can be used directly in plotting equipment, copying is superfluous.
Prints can be generated on Agfa’s Rapitone C1 & C2 colour paper using an internegative film.

Features
• Sharp image, even in the smallest details.
• High colour saturation and colour purity.
• Exact grey balance.
• Good reciprocity characteristics.
• Good processing stability.
• Processing in ASP 44 or E6 chemistry.
• Good archival properties when correctly processed.
• Excellent dimensional stability

Photographic data
General sensitivity
ISO 200/24.
ASA 200.
DIN 24.

Colour rendering
A UV filter prevents colour shifts and unsharpness due to UV radiation. An interlayer prevents the diffusion of unwanted colour dyes form one sensitive layer into another. So, the colours are well separated and the colour saturation is very good. Aviphot Chrome 200 is suitable for a colour temperature of 5500K.
Fine grain
As some of the silver crystals have a flat structure, a lot of sensitisers can adhere to their large surface. As a consequence, the film combines high sensitivity with fine grain. The size of the crystals is as good as uniform. For greater improvement of the granularity each sensitive layer is composed of a fast and a slow layer.
RMS granularity
Diffuse RMS granularity (x1000) = 12.
Measured at diffuse density of 1.0 and with visual filter and a 48μm aperture.
TOC (Target Object Contrast)
Measured according to ANSI PH 22.23-1980.
TOC 1000:1 = 110 lp/mm or 220 dots/mm.
TOC 1.6:1 = 50 lp/mm or 100 dots/mm.

Darkroom lighting �� Production Guidelines
The film has to be handled in total darkness.
Exposure
The sensitivity of the film is 200 ASA. It can be exposed in all classical cameras. Exposure depends on the light reflected by the earth, the altitude and flying speed of the aircraft and processing conditions (pushed or not).
Processing
Automatic processing in roller processors.
Aviphot Chrome 200 can be developed in Agfa ASP 44 Process or in compatible chemistry (E6). By increasing the developing time in the first developer by 3 minutes, the film speed can be doubled.
Pushed processing may reduce the maximum density and show a less pleasing image.
Storage
Unexposed Aviphot Chrome 200 films should be stored in their original packaging, in a cool (under +13 °C) and dry place. When the films are kept in deep freeze (under –10 °C) their photographic properties can be kept stable for a longer period of time. After they are taken out of the deep freeze the films have to be kept for about 12 hours in room temperature before opening the original packaging. Otherwise, the humidity from the air may condense on the films.
Once the original packaging has been removed, the films should not be exposed to high temperatures or high relative humidity for a long time and it should be protected from noxious fumes.
Exposed films have to be processed immediately. Particularly under the influence of unfavourable climatic conditions, such as high temperatures and high relative humidity, the latent image may change and so may the colour balance. Processed films have to be stored in a cool and dry room, protected from noxious fumes (e.g. formalin, turpentine and mercury vapours, hydrogen sulphide, ammonia) and from the direct influence of light.

Assortment
Aviphot Chrome 200 PE1
Size
Spool/Winding/Perforation
Order code
24 cm x 76 m
9.7/16 in x 249 ft
AH897 – EI – NP
3DEUQ
24 cm x 135 m
9.7/16 in x 443 ft
AM897 – EI – NP
3DE13
* For all other sizes, please contact your local Agfa representative.
Sizes roll film: 16mm, 35mm, 70mm, 80mm, 126mm, 190mm, 240mm, 320mm.
Subject to changes without prior notice.
AGFA, the Agfa-Rhombus, Agfachrome and Aviphot are trademarks Agfa-Gevaert N.V., Belgium.
© 2009 Agfa-Gevaert N.V., Mortsel-Belgium.
January 2009
 
@wickerman thats the exact same stuff as I was saying about! Agfa Aviphot Chrome 200 = Agfachrome RSXII 200 on a polyester base for aerial photography. In fact nearly all of the aerial Aviphot films are actually just the old standard Agfa emulsions (possibly including the Aviphot 80S and 400S although I'm not sure what they were called as just standard Agfa films if they were ever marketed in that way) coated on a polyester base and distributed under a different name. I'm definitely going to get some of that Firstcall branded version when it becomes available on the 7th as its too economical to be ignored.
 
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