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Inter Negative to Realease Print to Projector


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Hi,

A Question related to workflow of between camera negative and release print.

The Inter Negative(I.N.) is printed to Release print.

While processing the release print, what layers of dye would be present in Release prints?

Is it same layers as I.N.? Yellow, Magenta and Cyan layers?

How the color reproduction happening in screen while going thru projector?

-Mathew Collins.

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Print stocks were (well, still are) made to have very low sensitivity, so they have extremely fine grain, and there may be some tweaks to the colour response and contrast to ensure things come out looking nice. Other people may be able to say more about that. At its core, though, it's all colour film producing a negative image using broadly the same basic chemistry.

P

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Just now, Phil Rhodes said:

Print stocks were (well, still are) made to have very low sensitivity, so they have extremely fine grain, and there may be some tweaks to the colour response and contrast to ensure things come out looking nice. Other people may be able to say more about that. At its core, though, it's all colour film producing a negative image using broadly the same basic chemistry.

P

Thank you Phil.

How would the image formed on screen, when white light passed through the Y,M,C layers of release print?

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The print stock is indeed sensitive to yellow, magenta and cyan, as these are the dyes present in the IN, but the layers are developed to blue, green and red, respectively, as these are the dyes required to produce a positive image.

 

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Just now, David Mullen ASC said:

https://en.m.wikipedia.org/wiki/Subtractive_color

Actually the color dyes in a print are yellow, cyan, and magenta in order to create all the colors.

When projector light passes through the print, does it have to pass thru 3 layers,

first, Green sensitive emulsion ie; Magenta Layer

Next, Red sensitive emulsion ie; Cyan layer

and finally Blue sensitive emulsion ie; Yellow layer

Then no light will be passed. I think there is something wrong with my understanding.

 

Edited by Mathew Collins
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You’re mixing up the concept of exposing the raw print stock with light versus passing light through the developed print. In the unexposed print stock, there are emulsion layers sensitive to colors that when processed form yellow, cyan, and magenta dyes. In the processed print, there can be areas with no dye, allowing white to be on the screen, or just one dye, or two dyes over each other, or all three dyes over each other. Unexposed film stock is opaque — processed film is semi-transparent.

When the white projector light passes through yellow dye, you get yellow on the screen, when it passes through cyan, you get cyan, when it passes through magenta, you get magenta. But when you have two dyes over each other:

yellow + magenta = red

yellow + cyan = green

cyan + magenta = blue

and

yellow + magenta + cyan = black

This is a subtractive process, the dye in the print is filtering out certain color wavelengths. 

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Just now, David Mullen ASC said:

You’re mixing up the concept of exposing the raw print stock with light versus passing light through the developed print. In the unexposed print stock, there are emulsion layers sensitive to colors that when processed form yellow, cyan, and magenta dyes. In the processed print, there can be areas with no dye, allowing white to be on the screen, or just one dye, or two dyes over each other, or all three dyes over each other. Unexposed film stock is opaque — processed film is semi-transparent.

When the white projector light passes through yellow dye, you get yellow on the screen, when it passes through cyan, you get cyan, when it passes through magenta, you get magenta. But when you have two dyes over each other:

yellow + magenta = red

yellow + cyan = green

cyan + magenta = blue

and

yellow + magenta + cyan = black

This is a subtractive process, the dye in the print is filtering out certain color wavelengths. 

David, Thanks for the information. Every time your one replay clears many questions.

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In the ECN-2 processing given in the link,

https://www.kodak.com/uploadedfiles/motion/h2407.pdf

The order of emulsion layers in Negative are in the order Yellow, Magenta, Cyan layers from the top to bottom.

 

But in KODAK VISION Color Print Film / 2383

https://www.kodak.com/uploadedfiles/motion/2383_ti2397.pdf

or in ECP-2E Processing document,

https://www.kodak.com/uploadedfiles/motion/h2409(2).pdf

The layers in the print film are given in a different order, Magenta, Cyan, Yellow .Any specific reasons for this change in order?

 

Edited by Mathew Collins
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