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Brian Pritchard

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About Brian Pritchard

  • Birthday 04/19/1944

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  • Location
    Rushden UK
  • Specialties
    Film Archiving
    Film Photography
    Film Laboratory Technology

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  1. I am interested to know what you feel about the future of 3D. I am also interested to know if you think that the current necessity of wearing glasses has contributed to the loss of interest in 3D films. If 3D was available without the need for glasses would it encourage the production of 3D features? It is also important to know if the addition of 3D to a film other than those made with mainly special effects makes a contribution to the increase in its audience? I would be grateful for any opinions you have. Thanks Brian
  2. I believe they used hot foil printing to produce coloured sub-titles. Brian
  3. David, I am glad you have ordered a copy; I hope you enjoy it. Sorry to be so late to reply, I am just about retired now so I don't check the forum very often. If anyone has a problem with the book please let me know and I will sort it out. I don't want to get involved with Amazon, we sell the book at virtually cost so I don't want them taking a share. You certainly don't want to pay $238 when you can get a copy for £60. Brian
  4. Just to let you know that we have a few digitally printed soft-back copies available. They can be purchased from www.localeastanglianbooks.com Brian
  5. I have just checked a copy of the Kodak Price list for 1977. It does show 5302 available with both pos and neg perfs. It would be worth developing a section of your film as there could well be other information printed as a photographic image. Possibly a stock manufacturer, perforator number and strip number for example. Brian
  6. I don't believe that Kodak used ink edge printing on 5302 (B/W Fine Grain release positive) and it would not have edge numbers a it was a pos stock. It is possible that 5302 could have been produced with neg perfs but it would be unusual. Kodak duplicating stock 5366 (Fine grain duplicating positive) always had a 'D' prefix to the edge number. Incidently the horizontal line between the perfs indicates that the base is safety. Brian
  7. We printed 400 copies. We are not going to print a 2nd Edition, we would have to order the same number for it to be economic and it is likely that we would get left with most of them - we are talking about £10,000 and as we published it ourselves we can't afford to risk that amount of money. We are not planning to sell PDF copies. Brian
  8. Just to let you know that all copies of our book have now been sold and it is out of print. Thanks Brian
  9. Hello David You can't bleach reversal back to negative, if you bleach it you will end up with clear film. You should ensure that the film has been correct washed and then store it in cool, dry conditions, the colder the better. If the film is stored in very cold conditions you should always allow it to warm up before opening the can to avoid condensation. If possible it is good to rewind the film to the other end regularly, once a year would be good. Brian
  10. This is part of the C41 kit that is used for processing Kodacolor, Fujicolor, Vista and so on, stills film. The kit comes as a 1litre or a 5 litre set of solutions. There are three parts to the developer, two parts to the Bleach-Fix and 1 part to the stabiliser. Normal processing is at 38 degrees C. Here is the processing details.
  11. Flashing the positive will give a tinted print - that is the whites are coloured and the blacks remain black. Films were sometimes screened using a coloured filter over the projector which gives the same effect. Toning colours the blacks and the whites remain white. You achieve toning by printing a black and white negative with coloured light. A tinted and toned print has coloured highlights and coloured shadows. There are samples of all three on my website. Brian
  12. If you don't want to produce tones and tints chemically the usual way to get tint and tones is to use the method perfected by Noel Desmet of the Royal Belgian Archive. To get a blue tint you pre-flash the colour positive stock with yellow light and then print the black and white negative onto the pre-flashed stock. You need to do tests to ensure that the image is neutral. Obviously you can get any colour tint you want by flashing with the opposite colour. To get a blue tone it is just a question of grading the black and white image to give the colour you want. Usually you use a Wratten 85 filter of a piece of clear colour negative stock to ensure that you are able to grade the negative to the colour you want. Again you can do both and end up with a tinted and toned image. It is just necessary to do tests to ensure that you get the right result. If you just want tints you can use food dyes which are obviously not toxic (hopefully) as are most of the dyes recommended in articles such as you will find on my website http://www.brianpritchard.com/tinting_and_toning_of_eastman_po_4ed.htm Brian
  13. Thanks Mark. I have finally written to him; it just takes a letter a long time to get there. I am pleased to say the Academy in Hollywood has just ordered a copy for their library. Fame at last!!! Brian
  14. Thanks for the kind remarks, the sales of the book are going well. I have had an order by letter from R A Saffrey MBKS of Shenton Park in Western Australia, in order to send him his book I need a telephone number for the courier. Does anyone from Western Australia know this gentleman and have a telephone number or email address? Thanks Brian
  15. Some of you might find this of help: http://www.brianpritchard.com/why_colour_negative_is_orange.htm There are some scans of colour negative layers with and without masking. These slides I helped to make in the 60's for a lecture by Dr R W G Hunt on colour reproduction when I worked in the Kodak Research laboratories at Harrow in England. Emulsions were specially coated as single layers to illustrate the effects of masking which cannot be seen any other way. Brian
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