L K Keerthi Basu

But I have removed the remjet with the use of the prebath solution. I have done this to shoot the film without the remjet. And I have no problem with this as you said. How many feet of film are you using for 1 litre. I had a problem like this when I developed like you in the C41 without removing the remjet in the prebath stage. As you said that carbon remjet is inert chemical in the developer then why they need a prebath stage before it enter the developing?

Remjet will be the biggest problem to you because, as you said the remjet is dissolved in the stop bath and most of them are loosen in the fix bath. This remjet will contaminates your Developer , stop and fix bath solution by further more process in the same bath. Remjet will become loosen when it is dipped in water for some time, so that some of the remjet will be left in the developer also. This will stay in the solution, some of them will even stick to the emulsion side of the of your negative and impossible to remove with your cleaning solutions. So use a prebath and wash the remjet with adequate water , take much care that the remjet should not stick to the emulsion. Go through the KODAK prebath formula it will cost you only little. Wash throughly after every stage , this will give you better quality. L.K.Keerthibasu

Thank you, John. I know about the Internal masking in the negative which produce these amber color in the base. I got it but what i like know is Why any two negatives let us take that 5212 and 5218 for ex.,dont have the same base color density? Why this is like that ? whether this is due to the usage of different color couplers for different stocks or due to the ASA of the film and grain size. I dont know why this slight density change in the amber color of the base. I also found this will change because of the wrong processing controls in the lab. L.K.Keerthibasu

I basically have a doubt in the negative base. Why all the negative bases are not matching to each other from a same manufacturer? I think that they use same dyes for all the emulsion or they are different in each and every stock. The base density in each stock is differing why this happens?Did they happen due to the different ASAs grain size. Why it is not possible to manufacture the films with same base density? Is there any scientific reasons behind this? L.K.Keerthibasu

Digi Beta is quite well for the quality, and use very softlight. Since it is a table top you can control your light to bring out the textures in the food, it will tell the remaining story you want to present. L.K.Keerthibasu

As others said about the movie I too have some thing to say, Steven is continiously using this searching sequence, Like the aliens video detectors i actually dont know the name of the that which is seaching Tom and Dakota underground. He uses this same sequences even in Jurassic Park and Minority Report. That sequence In WOTW was not building any thrilling like that in Jurassic Park and Minority Report. One thing I want to say If others don't mind it as a wrong comparison, Tom was actually avoiding Dakota from seeing the Destructions happening around them. This is some thing which is followed in Life is Beautiful. However the two storyline where different but the content is one like avoiding destructive thing to the childerns. It is not a Steven's Film. I had great expectation for this movie but it not satisfied me in Story and Directorial touch. Sound, Art Direction, Cinematography and Special Effects are really great. Iam a fan of Janusz Kaminski, He is following his same style in this film also, that is What I found. Keeping the Back light and Background light overexposed then the subject , and creating smoke light streaks patterns. I loved the lighting strikes and lighting Inside the Tom's House interior and Nice close-ups in the interior.

I think that exposure is critical because you can shoot this only in the very bright sun to expose normal. The ASA may be 3 or 5. The print perforation will make some problems due to the pitch. L.K.Keerthibasu

I have a very basic doubt on f-stops calibration to the T-stops. We are taking exposure meter readings in the f-stops ,while cutting the exposure in the lens it is T-stops. How their calibrating the f-sops to the T-stops in the lens. I know the difference between the T-stops and the f-stops. Please kindly forgive me if I have asked a silly question. L.K.Keerthibasu

Actually ORTHOCHROMATIC is sensitive to two colors they are BLUE and GREEN. All the B/W print films are ORTHOCHROMATIC.

What is the running sound level of a movie camera in decibels? From what distance is this measured? What is the recommended level for the spot recording(sound)? I think this should be known to a cinematographer because one of the sound recordist has asked me about this. L.K.Keerthibasu

As John said,I have heard only about increasing the Time and Temp for achiving the PUSH process. When we alter the PH, developing will not be under our control.Some times when changing the Chemistry they may lead to decompose the equaliberium of the formula, they cause some color shift and even make the chemical fog,because I tried this before. In earlier Black and White film processing some were increasing the Ph of the formula with the excess alkalis to finish the work very fast but this is not the right way. They buildup high contrast negatives. L.K.Keerthibasu

I understood. Iam a Final year student of Film and T.V Institute of Tamilnadu(FTIT),chennai. Currently Iam working as a apperentice in a Film lab and also as AC to a famous DP here. Good Luck, I know that how difficult to get into FTII because at a time I have applied to FTII and FTIT but it turned out only in the FTIT. I found that Iam really lucky to study in FTIT. L.K.Keerthibasu

First of all Why are you trying your studies in abroad? I think that Film and T.V Institute of India, Pune is a Film school with International standard. I Don"t want to mention this,because most of the outstanding DPs and Directors are form this Institute. I think there is no difference between aboard film school and Indian film schools because in both you are going to study the same art and techniques. Even though if you study in abroad the only thing will make you different from other DPs is your personel creativity and presentation. Good Luck. L.K.Keerthibasu

Thanks to all of you. since digital interemediate is more cost effective i want it to work with processing and printing methods. I need a Image like these.

Dear Dominic, I have read most of your books. We students what to know more about only Film Processing, It should only cover about film processing, special film processing and photochemistry. Your previous books are covered about entire post production side, it was really a very valuable book. Please give us a book which contains entire film processing techniques , you can give us this most valuable knowledge. L.K.Keerthibasu

Is there any way to inactive a particular color sensitive layer with special processing technique. For example Magenta layer or Green sensitive layer is inactive we will get a image of two colors of BLUE and RED. While printing cut down the whole green light and print , is it possible. Iam having doubt there and never experimented on it. L.K.Keerthi basu

Use slow speed films and use NDs for the look of DOF you wanted. Tungsten balanced film without 85B will help you in giving much Bluer look and underexpose them. Shoot most of the interior scenes in the boat during the whole day with respect to the angle of the sun. For exhibiting shot like ELS,LS there is no other choice you have to shoot in the goldern hour or in the night. Use tungsten lamps take care that the lamps are brighter then the exterior if you commit the exterior because it should be darker then the interior. Practice some test with your still because the producer will not allow you to make any test in the motion picture film I think. May I know the name of the feature film, Iam a fan of malayalam films. See wheather it works. Best of Luck. L.K.Keerthi basu

First of all go and watch lot of HD movies and learn the lighting pattern they have used to bring down the look. I think it is the way you have to start up to learn lighting for any formatt. If you have any reading sources read American Cinematographer magazines which deal with you project you can gain up something from that I trust. If you want to learn about Green screen technique search some previous threads in this forum which deals about that. Follow RIK ANDINOs post it is really a valuable post to the student like us because We have the responsiblilities. First trust in yourself and you can make it. GOOD LUCK. L.K.Keerthibasu

Always observe things around you, while walking,eating,learning,traveling etc. Nature is a teacher. Observe lightings in a coffee shop while having your coffee, even in your living room and sometime you will get new things which others were not observed. One lighting I want to share is, It is a coffee shop in the highway it is almost sun to set. The sun was directly hitting the mirror in the shop the whole shop was fill with yellow light reflected from the mirror. The vehicles which were passing in the highway were blocking and opening the sun. So it created something like flickering effect in the shop. It was really a beautiful scene. L.K.Keerthibasu

Back light the rain so that the drops will sparkle. I think that when you specified it has a Song sequence so it is Day. Choose angular sun to shoot and add fill to artist with ARRIsun so that it can match your daylight even silver reflectors are enough I think. For back light use mirrors so that they can provide you a more specular reflection for the back light. L.K.Keerthi basu

Add grains to the image by push process and also go for some odd angles to compose. DoubleX is a good choice for push process. L.K.Keerthibasu

Dear Freya, Since you told that they are old stocks be aware of the previous storage properties. Some old stocks are still in good condition when their are stored in proper maintanance. First do a fog test. Films should be stored in a very cold temperature,It should be 0- -10degreeF. Store in frost free freezer. Before going for the shoot take the film form the freezer in advance and leave to reach the room temperature , don't open the cans before this, because it will form moisture content and spotting in the film. Don't heat the cans with any heater to make them warm. Film should always be stored in a very cold temperature. just go through for futher infomation in kodak, http://www.kodak.com/US/en/motion/support/...rage_cond.jhtml L.K.Keerthibasu

I wonder if I can do any home processing? I don't know anything about D76 processing. That is new to me. jack Dear Jack, First take different exposure test and developing tests if you are going to try this in home processing. Just shoot some with your Still camera it is a best way to practice i think. Developing with D76 is a good Idea and develop it for different time so you can achive its actual density. Actually when you develop this with D97 you get a very contrasty image. L.K.Keerthibasu

Dear Jack, First of all the main problem in exposing the sound negative is the differ in the perforation pitch, they are not curved pitch. They are very high contrast films so their stright line portion is very steap, from this we are understood that the exposure is very critical. We need lot of lights to expose this so daylight is the good source due to the very very fine grain emulsion. Since it is a orthocromatic emulsion we loose the RED color images as black. I have exposed ST 8D and 2378E of Kodak. These films are very useful in title making, I think that they are better then B/W print films in sharpe. These films are made for the SOUND recording so they are desinged only for this purpose. When we have to experiment we can do ,but we have to sacrifice some usual image formation. A different image is produced. L.K.Keerthi basu

Dear John, May I follow this blue tint for the future printing works, or it will cause any difficulties? Is it recommended to print like this? L.K.Keerthibasu