L K Keerthi Basu Posted January 15, 2005 Share Posted January 15, 2005 dear friends, Please tell me about the 4th layer in the fuji Reala 500D. Iam in need because this is the first time Iam going to use a Fuji Film. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 15, 2005 Premium Member Share Posted January 15, 2005 It supress the formation of excess magenta dye (green in the image) when shooting under fluorescents (I believe... I'm not sure how it works); because of this fourth layer, there is more grain in the image though compared to Fuji F-500T. Only F-500D has this fourth layer. Link to comment Share on other sites More sharing options...
Dominic Case Posted January 16, 2005 Share Posted January 16, 2005 It is an emulsion layer that is sensitive to cyan-green light. It doesn't form a dye - rather, it applies an inter-layer effect to the red-sensitive dye layer adjacent to it, reducing the formation of cyan dye. So in other words, exposure to light in that region of the spectrum (peaking at around 530nm) results in less cyan dye being formed. This is a clever way of imitating the negative part of the red curve in the CIE tristimulus curves (which define how we see colour). Other film emulsions use an interlayer effect, but base it on the magenta-forming green-sensitive layer (a failry good approximation) instead of the more precisely designed fourth layer. The result is that colours in the yellow-green part of the spectrum are more accurately reproduced. The red-sensitive layer is also slightly different, with the result that bluish purple colours are reproduced much more faithfully. The same shift in the red layer also (and this is perhaps the most useful feature), matches it more closely to fluorescent tubes, reducing the greenish cast that most stocks show undef flouro lights. If you have access to SMPTE journals, it is explained in the April 2002 issue. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 17, 2005 Premium Member Share Posted January 17, 2005 Wouldn't the reduction in the formation of cyan dye on the negative result in less red saturation in the positive image, not less green? Link to comment Share on other sites More sharing options...
Dominic Case Posted January 17, 2005 Share Posted January 17, 2005 Wouldn't the reduction in the formation of cyan dye on the negative result in less red saturation in the positive image, not less green? Deep breath, get more coffee . . . . Specifically, flouro lamps emit light at a few very narrow bands of frequency. Typically, there are peaks at around 435 (deep blue), sometimes somewhere in the 550 (yellow/green range) and 580 (yellow). The yellow and blue give a good white balance to the eye- but whereas the 580nm light excites the R & G rods in the eye more or less equally, it makes very little impression on the red-sensitive layer of most filmstocks, with the result that the green response outweighs the red response, so giving a very green bias to the photographed image. What the Fuji 500 does, is shift the red layer's sensitivity down to a slighly lower range of wavelengths so that it responds more equally to the 580nm spike in the flouro spectrum. It's the same shift that reduces the film's response to extreme red wavelengths near the infra-red range (680nm and longer), which tended to result in mauves and violets appearing on filmstocks as too reddish. So far as the fourth layer is concerned, what I failed to explain before, is that many film stocks have a device to reduce cyan dye formation to simulate the CIE tristimulus curves: but mostly they simply use the green-sensitive layer to inhibit the adjacent cyan layer. It's unbelievably clever chemistry - but not such good colour science, as it's working with the wrong part of the spectrum. To do the CIE thing, we really need colours in the greeny-cyan range to inhibit the cyan-forming layer, not the pure green: in other words, lower wavelengths. So far as response to fluoro light is concerned, light at 580nm (the yellow spike) incorrectly causes interlayer reduction of cyan dye in conventional films, but much less so in the four-layer emulsion. Link to comment Share on other sites More sharing options...
jordan kersten Posted January 24, 2005 Share Posted January 24, 2005 I got Fulji's demo DVD in the mail and the Reala 500D was by far my favorite (out of F-125, F-64D, F-500, F-250 and 250D, and F-400) The F-500 was my least favorite however, it could have been the particular demo on the DVD. I thought the Reala 500D was awesome... Link to comment Share on other sites More sharing options...
Nate Yolles Posted January 25, 2005 Share Posted January 25, 2005 I got Fulji's demo DVD in the mail and the Reala 500D was by far my favorite (out of F-125, F-64D, F-500, F-250 and 250D, and F-400) The F-500 was my least favorite however, it could have been the particular demo on the DVD. I thought the Reala 500D was awesome... <{POST_SNAPBACK}> If you call Fuji they'll project those same examples you saw on the DVD from a 35mm print using the screening rooms at FotoKem. You'll really see a difference from watching the DVD. I just came up on a roll of 8522 (64-D) and I'm really excited, I've been wanting to shoot this one for a while. Link to comment Share on other sites More sharing options...
jordan kersten Posted January 25, 2005 Share Posted January 25, 2005 (edited) If you call Fuji they'll project those same examples you saw on the DVD from a 35mm print using the screening rooms at FotoKem. You'll really see a difference from watching the DVD. I just came up on a roll of 8522 (64-D) and I'm really excited, I've been wanting to shoot this one for a while. <{POST_SNAPBACK}> OOOOOOOOOOOOOOOO, I liked the 8522 very much, also. Thats the first to appear on the DVD. They shot some whales at Sea world and the contrast and color acuracy was amazing. One of the whales was an optical blow-up from 16mm to 35mm. It held up very good. They also did an underwater shot and the water was like blue velvet, without any filters. They also did a BMX race with only avaliable lighting: amazing. Again, supurb contrast. Another shot they did was of the Budwiser horses. Being from St. Louis, I have seen many of these and this is whats the most impressive about this stock: its ability to record color as how the human eye sees it. You will be very pleased and you should be exicted!! Have you ever shot (or saw from the 35mm print) the Reala 500D? If so, what'd you think? It was the F-500 (8572) that I didnt like. The Reala 500D (8592) was amazing, I thought. Edited January 25, 2005 by jordankersten Link to comment Share on other sites More sharing options...
Alvin Pingol Posted January 26, 2005 Share Posted January 26, 2005 One of the whales was an optical blow-up from 16mm to 35mm. It held up very good.<{POST_SNAPBACK}> I watched this on the DVD as well, though I doubt a blowup from 16mm to 35mm, versus direct 16, or 35, would be noticeable at SD resolutions. I did like the colors. I'd love to see a side-by-side comparison between this stock and Kodak 5245. Link to comment Share on other sites More sharing options...
jordan kersten Posted January 26, 2005 Share Posted January 26, 2005 I watched this on the DVD as well, though I doubt a blowup from 16mm to 35mm, versus direct 16, or 35, would be noticeable at SD resolutions. I did like the colors. I'd love to see a side-by-side comparison between this stock and Kodak 5245. <{POST_SNAPBACK}> True. Unfortunatly, I live in St. Louis and I have know means to veiw the actual film prints... Link to comment Share on other sites More sharing options...
Premium Member John Pytlak RIP Posted January 26, 2005 Premium Member Share Posted January 26, 2005 I did like the colors. I'd love to see a side-by-side comparison between this stock and Kodak 5245. Kodak VISION2 250D Color Negative Film 5205/7205 might be a more appropriate comparison. Even with some underexposure, the image quality and color reproduction of the Kodak film is excellent: http://www.kodak.com/US/en/motion/v2/5205/comments.jhtml http://www.kodak.com/US/en/motion/products...tive/5205.jhtml http://www.kodak.com/US/en/motion/v2/5205/pressRelease.jhtml Link to comment Share on other sites More sharing options...
L K Keerthi Basu Posted January 26, 2005 Author Share Posted January 26, 2005 Dear Friends, It is amazing to hear you all. Actually the problem with me is that I am living in India so I can't get this FREE DEMO DVD from FUJI . Can any one help me in getting that. This DVD is free only in US. Thank you, L.K.Keerthi basu Link to comment Share on other sites More sharing options...
Premium Member John Pytlak RIP Posted January 26, 2005 Premium Member Share Posted January 26, 2005 Kodak India is based in Mumbai, but it has reps throughout India, and I understand they have visited your school. They can get you the Kodak demos: http://www.kodak.com/US/en/motion/about/ww...4.5&lc=en#india Main office in Mumbai http://www.kodak.com/IN/en/motion/regionalOffices.jhtml Regional Offices Here is Kodak's motion picture website for India: http://www.kodak.com/IN/en/motion/ As you may know, Kodak manufactures motion-picture print film for the Indian market in India. :) Rainbow Colour Lab is the first lab in India certified by the Kodak IMAGECARE program: http://www.kodak.com/US/en/motion/support/...d=0.1.4.7&lc=en http://www.kodak.com/US/en/motion/support/...0.1.4.7.4&lc=en Link to comment Share on other sites More sharing options...
tor olsson Posted February 2, 2005 Share Posted February 2, 2005 hi there, i have a quite embarrassing question, how is reala 500 d doing with bluescreen? anyone? 500 at any rate isn't ideal but i will get a bunch of scans to key (10 log dpx full gate 2048x1556) any suggestions? tips who to talk to? kind regards tor Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted February 2, 2005 Premium Member Share Posted February 2, 2005 I seem to recall Mark Woods telling me when he saw the characteristic curves for RGB on the Reala that the crossover between green and blue meant it would not be ideal for chroma keying, at least on paper. Link to comment Share on other sites More sharing options...
Premium Member John Pytlak RIP Posted February 2, 2005 Premium Member Share Posted February 2, 2005 Making a film less able to discriminate colors (e.g., broader spectral sensitivity lobes, more overlap of spectral sensitivity) may adversely affect the ability for doing bluescreen or greenscreen. Link to comment Share on other sites More sharing options...
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