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Brian Pritchard

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Everything posted by Brian Pritchard

  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
  16. Bill Vinten with a 1930s Vinten film printer which he rescued from the basement of a London film laboratory.I thought you might like to see this picture of Bill Vinten. Bill Vinten in 2005 with a 1930s Vinten 16mm film printer which he rescued from the basement of a London film laboratory.
  17. I am sorry to say that Bill Vinten of Vinten camera fame died on the 8th November 2015 aged 95. My Colleague David Cleveland has written an obituary which I have attached.Bill Vinten.doc Brian
  18. Hello Carl I have done a quick check and the cost to Australia would be £60.; I am afraid that the book is large and heavy (2.4Kgs -A4). The cost to the US is £52. The 'Buy Now' option on my website is for UK delivery only and international deliveries should be paid by Paypal directly to my email brianrpritchard@aol.com. Thanks Brian
  19. Hello Bill I do have quite a large number of film stock data sheets so if I can help just let me know. My email address is brian(at)brianpritchard(dot)com. Best wishes Brian
  20. My good friend, David Cleveland and I have just published 'How Films Were Made And Shown'. It is A4 with 453 pages and 900 illustrations, many in colour. It is quite a heavy tome, 2.5 kgs. Kevin Brownlow on receiving his copy said "the book is not only unputdownable - it is heavy enough to be unpickupable!" For film archivists and those interested in the technical side of film, there are chapters on How It Worked; The Film Business Gets Going; The 1920s - Time of Change; A Quest For Colour; The 1930s and 40s; New Film, New Colour, New Sound, New Screens of the 1950s and 60s; The Film Laboratory, and Slow Fade Out covering from the 70s to 2015. If you would like further information please look at my website:http://www.brianpritchard.com/How_Films_Were_Made_and_Shown.htm. Unfortunately the weight makes it rather expensive to ship. Brian
  21. I believe that they are still processing 35 mm colour positive which I-dailies cannot do. Brian
  22. I understand that Film and Photo will close at the end of March and that Deluxe Denham will cease film processing on the 21st March. Brian
  23. The masks come from coloured couplers in two of the layers. The coupler that produces the cyan dye is coloured magenta and the layer that produces the magenta dye is coloured yellow. Together they make the orange colour. The layer that produces the yellow dye is colourless. The masks correct for unwanted transmissions in the dyes. There isn't an appropriately coloure coupler for the yellow dye and also the yellow dye does not have any great unwanted absorptions. If you are interested I have a page on my website with some film samples that show the individual layers with and without masking. http://www.brianpritchard.com/why_colour_negative_is_orange.htm These pictures were made at the Kodak research laboratory in Harrow on specially coated samples as there ia no other way to see the individual layers. Brian
  24. Whilst this is true of colour negs and interpos, black and white dupe negs and duplicating positives were quite often printed as combined picture and sound. If the duplicates were for foreign versions to be printed abroad, they were often printed in level sync so that the duplicates could be edited. Brian
  25. Dirk is quite right, of course. You can't make a CRI from an Ektachrome original. You have to make an 'normal' internegative. However if you are looking at a negative it will be masked and you wouldn't be able to see that the blacks are green without using a video analyser, the black areas would be white in the negative. Again it wasn't normal to make 35mm Ektachrome dupes. Would it be possible to post a frame scan so we can see what you are looking at? Brian
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