"classic" look sounds good to me, scotchchrome seems to look rather like that if you ask me. We need such a film that gives warmer colours like what Kodak E100SW offered, since there is nothing on the market.
Sorry, if I disturb your view. That is not true. When Agfa-Gevaert, one of the big players, starts a coating run, guess what length of the stock is unusable. Less than a foot, about ten inches or 25 cm. They can coat short rolls and smaller rolls, no problem. Fuji have smaller machines and pilot coaters, too. The breaking point is purely on paper, in the heads of the planners. The big companies lack entrepreneurship, that fervent urge to make something. The Ferrania people have it, they don’t even really care about scaleability. They cut up base jumbos and coat. Slitters are there, perforators.
Unfortunatelly they don't make colour film anymore. They made CR200 and CN200 both aviphot material, but on their website one is marked as discontinued and the other as "phase out"...
With their huge and poorly downscalable coating infrastructure, Fuji's and Kodak's cost of making one master roll doesn't much depend on how long a sheet they coat. Therefore Fuji can afford to make as much Provia as they need to fill market demand, and sell extra material as AgfaPhoto CT Precisa at low cost (price difference in the US is much less, but still there). Ferrania will be able to compete (considering price/roll only) with Provia, but not with excess material sold off under different names.
Kodak's issue with E6 materials was not whether coaters could be used for different photographic products, but that the result of a single product run didn't last long enough for all the coated material to sell. This, and Kodak's strong dislike for E6 vs. C41 (just read PhotoEngeneer's statements about E6 as example).
It all depends on the supply chain, actually. Fuji makes film in Japan only. from there it's shipped to various national Fuji branches. From there it goes to wholesale dealers who buy large quantities. From them it goes to shops, either online or brick and mortar. From there it goes to the consumer. All those people want to make money on it so it becomes more and more expensive along the way.
I have heard a story from some photographic retailer in a small country neighboring a large country: some maker of photographic products has a local distribution office in the big, neighboring country, but not in the country that particular photographic retailer. The distribution office doesn't create much of value, but claims their hefty markup nonetheless. Retailers in small country can get stuff directly from maker of photographic product, whereas retailers from large country can't. Result: many retailers in large country get their product from retailer in small country rather than from distributor.
Its really unclear what that even means.
I've been surprised that Super 8 is making a comeback.
If you dig around the ADOX forum there was some interesting insights by Mirko. Essentially, developing a new reversal film wasn't in the works. Possible but uneconomic. Infact they developed an Agfa APX400 replacement (with views of an APX100) but withdrew the effort because of pricing difficulties and the development of an Efke successor, CHSII 100. They have a nice B&W market and like Ilford Harman, colour is a bit out of the scope because of its well discussed (hi PE!) difficulties.
Not easy but dooable, on my Ilford factory visit the coater was down for the change and they said two maybe three days to change over. That may not have included testing though
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