Daniel Lee

Just wanted to add on the topic of Kodak 50D being not so good in the MTF in the data sheets.. the 5201 data sheet was similar.. seemingly inferior to all the other stocks in sharpness. In any case, back in uni, I shot some 5201 50D on Super16 on a Aaton XTR Prod, with a Canon zoom lens (forget which), all footage shot at 5.6 Watched a 2K Spirit DataCine transfer as it was happening a nice screen, I have to say it was quite crystal clear, I don't think it'd be lacking in the detail department, obviously I didn't get to try 200T or 250D side by side and haven't done motion picture film shooting since, but it was fantastic stock to shoot on, and delivered beyond expectation for a small format (I shoot a lot of still film). More people should go for 50D, we shot very early morning to late afternoon, all through the day, 5.6 and 180 degree all the way through no ND to start with and up to 3 stop ND when it got to the brightest conditions. Detail also depends on subject contrast too. 50D would be a good stock to shoot contrasty scenes with I would think as well.

Are you set on D-76? "D-76 is a standard developer, although not one I use. - Ansel Adams - The Negative" Xtol is pretty cheap, and you can also use it in a replenished system. Kodak reckons it gives better film speed, sharper images and finer grain than D-76.

The best way to colour correct cross-processed slides is to have them scanned/digitised as if they received normal E-6 processing (with the range set to make sure it captures the entire density range if it does end up a bit dense). Then in post straight invert it, then colour correct/balance. The image from your link is also green, given that it corrects fine (below), there's no reason you can't achieve the look in post. As any 'look' achieved from a neg.. well ultimately it's from the colour treatment/balance/correction/etc, as it's not a positive any longer etc.

Damnit.. remove the damn start new topic button from the bottom when inside a thread. :/ K Borowski is on the money. I want to say E-6 in ECN-2 gives better results than in C-41, but I do not know. But it's sure to give far more stable dyes when a stabilising bath is run due to it using the same colour developing agent. E-6 will drop in contrast and saturation with a pull and colour shift... I've pulled Velvia 50 4 stops in E-6 FD, it had a long range but nothing could be done about the dull contrast and saturation, everything in that department was gone. I've pulled Velvia 100 4 stops in C-41, contrast and saturation easily restored to a high level just setting contrast. Highlights don't clip processing E-6 as a neg, they can get dense and problematic however. Highlights clip in E-6 due to sodium thiocyanate which is there in first developer as a weak fixer to make sure there's nothing left to develop in highlights (clear the highlights) in the colour developer, and that shadows are not too dense as well. Without it you get black slides (even the highlights). Here is a demonstration Normal E-6 Normal Neg Developer Hammered Neg Developer, processed so that highlights reach maximum density (takes a developing time of "forever"). If it were me I'd save the money, shoot Kodak 7201 50D, get a better digital transfer with the saved money and treat it in post. Pulling E-6 will drop contrast and saturation and colour shift (the example of Velvia 50 didn't even have clear highlights, film though transparent at a level for normal scanning and correction). Cross-processing seems to maintain a level of saturation even with increased exposure and pulling so you can get a longer range, and mask areas or do whatever. You would need testing to see how it would respond in ECN-2.

Averaging 2 frames instead of chopping 1 would maintain the shutter angle used.

5219 is currently the best 500T, there are a couple others still around like the "newer" 5230 (vision2 based iirc), which is less expensive and made for TV shooters (a Kodak rep called me and explained the difference), the rep also said you'll see the difference on the big screen with 5219. For any HD/BluRay content in Super16, you'd pic 7219 over 7230 that means, and 5219 over 5230 for cinema or stills photography.

To clarify; As above colour is a perception phenomenon. Your eye has no violet cones. Violet influences the response of other cones outside the wavelength of a violet light. The colour you perceive is violet, and may be a false-colour/colour-crossover effect, but it is the real colour violet, as again it is a perception thing. Therefore anything that can respond in the same colour-crossover manner as the eye does can reproduce the true colour violet according to the human perceptual experience regardless of any missing wavelength.

Violet IS predominantly blue. Regardless of being spectrally different, ie: having a different wavelength, the actual true colour is predpredominantly blue. As colour is a visual perception phenomenon. Therefore the true colour of violet is the perception of it. If film responds in a similar manner to the violet wavelength so that it is added to other wavelengths of dyes in the image like the eye, then film is truly reproducing the colour violet. It is as simple as that.

Over-dramatisation. If worse comes to worse, you can get Lucky Color (equivalent to 80's Kodak Gold) in 2000ft tins, it's C-41 and remjet-less though.

The other thing I forgot to mention is if you want to heat up a large volume of chemistry, you can do it on a stove (ceramic centered wire gauze matt and borosciliate glass beaker for gas stoves), there is an equation to work out the temperature of the final solution of mixing 2 solutions (of the same stuff) together of different volumes and temps. So you can work out how hot you need to heat up a smaller volume to mix back into a large volume to reach processing temperature - even if you have to do it a few times if it's quite a large volume.

You do not need to use pre-bleach and E-6 bleach. Pre-Bleach contains the dye preservative, if you skip it, include a stabiliser as your final rinse (such as Stabiliser III, or photoflo with formalin/formaldehyde added). E-6 is actually one of the easier processes, it is just longer and more tedious, replenishing is simpler and easier, as is mixing up developer, the first developer is the critical component here, different processing temperatures give colour shifts which is very important on E-6 since it has cleared highlights and projection contrast, not as flexible for correction if you've clipped info you need for correction on the film itself. The first developer is a 1 part concentrate, the one we have here mixes up in 1+4 for replenisher (800ml of water, 200ml of concentrate), and then added water + starter for working tank solution, it is very simple. I pre-soak all my film including E-6, it works very well, I have no problems with this, though movie lengths of film in annoying tanks may retain more water in the tank from a pre-soak, be sure to drain as much as possible if you plan on replenishing. Pre-soaking heats the tank and film up to processing temp, I usually put in ~45c water, and it drops a few degrees, so that the first developer will become stable in a plastic tank over the 6 minutes processing time. It's not simply wash between 1st dev and reversal, that's incorrect. You need to wash around the same temp as first dev, the first wash you need to put in after first dev, agitate for the first 30 seconds, then lit it sit for a total of 2 minutes (this weakly continues development and is part of the process) (the 2 minutes includes the 30 seconds agitation). Then you run subsequent washes, then you run the reversal bath. If you want to run an alternate bleach you can, even C-41 bleach, or a ferricyanide bleach, the important component of the bleach is the pH for colour, just don't run pre-bleach before it (or rinse several times after pre-bleach), if you are skipping pre-bleach, run a stabiliser at the end as final rinse. You should rinse after bleach as well. Using other bleaches introduces other things you may need to do such as clearing bathes for a ferricyanide bleach.