EXR 50D under safelight

[Brian Rose]

All,

I recently shot a core load of exr 50d. Today, I transferred it from my magazine to the can, in a darkroom. Now, I haven't really any darkroom experience since I'm used to just using daylight spools. What happened was, I changed the film in total darkness, yet, after everything was said and done, I looked up and noticed the red safelight was on. I know Kodak says handle exr 50d under total darkness, so will this do anything to my film? The safelight, though it was on, was so muted that I did not even notice (the room was still pitch black) until I looked up and saw the red light. I estimate the film was exposed for perhaps a minute. Is it ruined?

Best,

BR

[Adam Frisch FSF]

If it was extremely muted, I'm sure it'll be alright. But neg is sensitive to all colors, so there is no such thing as a safe light.

[Laurent Andrieux]

When you enter a dark room it's usefull to wait a minute as to have your eyes done to the place before opening a mag. Sometimes, you have light leaks by the door or something...

 

Give your film to be processed anyway. There should be a possibility to correct a red cast in timing - if ever -

 

But it's also quite sure that that cast won't be the same all along the film, and maybe - worse - not on the whole frame. You will see that further at the editing.

 

One thing is the 2 perf ridges helps in 35. You have a security merge. If Super 16, you don't have it on one side...

 

Once again, you will see this on the positive and according to what you edit, as well as the possibility of correcting, if needed.

[John Pytlak RIP]

All,

I recently shot a core load of exr 50d. Today, I transferred it from my magazine to the can, in a darkroom. Now, I haven't really any darkroom experience since I'm used to just using daylight spools. What happened was, I changed the film in total darkness, yet, after everything was said and done, I looked up and noticed the red safelight was on. I know Kodak says handle exr 50d under total darkness, so will this do anything to my film? The safelight, though it was on, was so muted that I did not even notice (the room was still pitch black) until I looked up and saw the red light. I estimate the film was exposed for perhaps a minute. Is it ruined?

Best,

BR

 

Most likely, the red safelight will cause some degree of edge fogging, which could penetrate into the KeyKode area or the edge of the picture (especially for Super-16). Any fogging will be cyan in color, and red in the transfer or print.

 

If you rewound the film under the safelight, it could be fogged all across.

 

Of course the color and brightness of the safelight, and the time of exposure will determine how severe any fogging is. Fortunately, 7245 is slow, and so is the camera film least sensitive to any fogging.

 

It is worth processing the roll, but do expect to "work around" occasional edgefog.

 

As mentioned, it is very important to take some time to get your "night eyes" in the darkroom, and then carefully look for any light leaks. Always watch out for any other sources of light, such as illuminated watches, or the blinking status light on your cell phone. If you see the film roll, you have too much light.

 

Here is an SMPTE technical paper that I wrote about darkroom illumination:

 

http://www.kodak.com/US/en/motion/support/...on/page01.blind

[Brian Rose]

That is where I am fortunate. I did not unwind the film. I merely transferred it from the mag to the black bag and into the can. Further, I shot it on regular sixteen, so I'm not dependent on the edge area as much. So, I should think I can crop any edge fog without too much loss of clarity. But we'll see...

Best,

BR