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Daniel Lee

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Everything posted by Daniel Lee

  1. "Why do people come at the wrong time." - Faith Sim

  2. Already in trouble with the police, tsk tsk Selina

  3. Oh my god the line. I cannot see the end.

  4. 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.
  5. Someone my own age tried to tell me that American horror movies are weak and pathetic, and European movies are 'edgy' (should have been a red flag right here), then back pedaled on to say 'since 2000'.I can't **(obscenity removed)** believe what they said next - 'oh except drag me to hell', and try to tell me how terrific of a horror film Drag me to Hell is. Holy **(obscenity removed)**.They backed up their claim with they 'have been watching horror for 5 years' and ' even owned an uncut...

  6. 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.
  7. 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.
  8. 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.
  9. Averaging 2 frames instead of chopping 1 would maintain the shutter angle used.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. It's the thought that counts which is much appreciated :) I got starter for plenty of other things, and the raw chemistry to make my own.
  17. If that's what depresses you I don't even want to think about what I've done. In fact, I think I'll go take an amnesia pill.
  18. Something about something for environmental reasons it was removed from the final rinse for E-6 (formaldehyde) I think. In any case it was changed. The formaldehyde is still in the pre-bleach as sodium formaldehyde bisulphite, E-6 still needs a stabilising bath if you want to last even a moderate amount of time. Hence with cross-processing the best bet is ECN-2 + stabiliser so the dye is stable. Plus every experiment I run with different colour developer agents, they always form a thinner density range (dMax-dMin) than the correct agent, and appears to have detrimental impact on image quality. I tried some 5201 50D through Flexicolor C-41 once since people said you could do it if you removed the remjet.. it was amazingly terrible and unuseable. Ektachrome films don't get too heavy on the dMax because the processing time is correct for their rated speed, Fujichrome (the still films, not the CP movie films) need a longer first developer time for their rated speed, hence most people liking them better 2/3rd's of a stop slower, and underexposure giving heavy dMax. You can see the density curves for E100G and GX here, they're basically the same - http://www.kodak.com/global/en/professional/support/techPubs/e4024/e4024.pdf I'm in Australia, Melbourne. It's film mecca in Australia and film processing is such an oddity.. and well.. expensive, and the results are poorer compared to a good home setup anyway, at least for stills. For ECN-2, I didn't get around it, I got a 200L kit. I lfit the 20L concentrate cube to pour a small amount into a beaker and then measure that. Current sample test I used 862mL H2O 212mL A 56mL B = 1.125L, dropped pH with sulphuric acid as it was a tad on the high side (over 10.5 iirc), maybe less A or more B. I never bought starter since the price is a joke and I planned on replenishing and letting the film adjusting the chemistry to the right mix, I watered it out to 1.5L and added 0.69g KBr to compensate for a lack of starter, dMin a little high, but still a nice density range. But I think my part A may have metal contamination, I notice there is no chelating agent in the mix, and it dies over night in a sealed container, used straight away is good though, and it's not from a lack of preservative, it did the same thing with HAS added (Which is not specified in the recipe or in the ECN-2 parts). Which gave me this image after adjusting to taste; 50D in ECN-2 test #1 by athiril, on Flickr ECN-2 recipe on page 28; Given the disclosed fresh tank and replenisher recipes from Kodak, you could calculate a more accurate starter. I am unsure about replenisher dilution.. typically it makes sense to be the same dilution as seasoned developer.. just less restrainer since film has added it in.. for long lengths in movie processing machines, there might be a lot of carry over water, hence replenisher being less diluted than working solution.. unlike C-41 or E-6 etc etc. So for still size tanks can't give advice on replenishment till I can get my head better around it, as I could only imagine the concentration of all the salts and ingredients would just increase over time to basically what's in the replenisher..
  19. Chemistry isn't too bad, starter price is a joke though, price on the right is GST inclusive. KODAK ECN-2 Kit Chemicals 5159942 ECN-2 Kit Prebath and Replenisher 66.6 litres $28.00 $2.80 $30.80 5159959* ECN-2 Kit Color Developer Starter 200 litres $69.00 $6.90 $75.90 5160064 ECN-2 Kit Color Developer Replenisher, Part A 100 litres $24.00 $2.40 $26.40 5160072 ECN-2 Kit Color Developer Replenisher, Part B 100 litres $104.00 $10.40 $114.40 5159975 ECN-2 Kit Bleach and Replenisher 33.3 litres $58.00 $5.80 $63.80 5159983 ECN-2 Kit Fixer and Replenisher 66.6 litres $35.00 $3.50 $38.50 KODAK ECP-2B Kit Chemicals 5159991 ECN-2/ECP-2B Kit Final Rinse and Replenisher 800 litres $58.00 $5.80 $63.80 5159967 ECN-2/ECP-2B Kit Stop Batch and Replenisher 200 litres $18.00 $1.80 $19.80 5160007* ECP-2B Kit Color Developer Replenisher, Part A 100 litres $36.00 $3.60 $39.60 5160015* ECP-2B Kit Color Developer Replenisher, Part B&C 100 litres $48.00 $4.80 $52.80 5160023* ECP-2B Kit Bleach Replenisher 33.3 litres $92.00 $9.20 $101.20 5160031* ECP-2B Kit Color Developer Starter 200 litres $33.00 $3.30 $36.30 5256334* ECP-2B Kit Sound Track Developer 2x5 litres $17.00 $1.70 $18.70 There's a special on 400ft of 35mm atm - $300 http://www.sound-vision.com.au/products/index.html
  20. Chemistry isn't too bad, starter price is a joke though, price on the right is GST inclusive. KODAK ECN-2 Kit Chemicals 5159942 ECN-2 Kit Prebath and Replenisher 66.6 litres $28.00 $2.80 $30.80 5159959* ECN-2 Kit Color Developer Starter 200 litres $69.00 $6.90 $75.90 5160064 ECN-2 Kit Color Developer Replenisher, Part A 100 litres $24.00 $2.40 $26.40 5160072 ECN-2 Kit Color Developer Replenisher, Part B 100 litres $104.00 $10.40 $114.40 5159975 ECN-2 Kit Bleach and Replenisher 33.3 litres $58.00 $5.80 $63.80 5159983 ECN-2 Kit Fixer and Replenisher 66.6 litres $35.00 $3.50 $38.50 KODAK ECP-2B Kit Chemicals 5159991 ECN-2/ECP-2B Kit Final Rinse and Replenisher 800 litres $58.00 $5.80 $63.80 5159967 ECN-2/ECP-2B Kit Stop Batch and Replenisher 200 litres $18.00 $1.80 $19.80 5160007* ECP-2B Kit Color Developer Replenisher, Part A 100 litres $36.00 $3.60 $39.60 5160015* ECP-2B Kit Color Developer Replenisher, Part B&C 100 litres $48.00 $4.80 $52.80 5160023* ECP-2B Kit Bleach Replenisher 33.3 litres $92.00 $9.20 $101.20 5160031* ECP-2B Kit Color Developer Starter 200 litres $33.00 $3.30 $36.30 5256334* ECP-2B Kit Sound Track Developer 2x5 litres $17.00 $1.70 $18.70 There's a special on 400ft of 35mm atm - $300 http://www.sound-vision.com.au/products/index.html
  21. Rent some filters. Are you shooting into sunset, or away from sunset? If you've got a straight horizon and no tilting shots or subjects cutting across the horizon, see if you can find someone who has a reverse heavy grad ND
  22. O/T: Richard I just got back this very second from Daylesford!
  23. It's not adjusting gain, that's adjusting the illumination level if you read my post. Maximum density on E100VS is typically limited to under 4.0 http://www.kodak.com/global/en/professional/support/techPubs/e163/e163.pdf and http://motion.kodak.com/motion/uploadedFiles/TI2496.pdf You don't really have problems with E-6 and density unless it's underexposed, but current process also limits density since the current specification, a 2 min first wash is supposed to be run after first developer with initial agitation then allowing to soak for the rest of the 2 mins before continuing continues development weakly in the shadow areas. C-41 specification doens't need a stabiliser step, that is the old process, it only needs a final rinse sans formaldehyde (stabiliser) as stabiliser is built into the film for a while now, labs may or may not run Stabiliser III, CD-4 will produce related but slightly different set of organic dyes using the couplers in E-6 which are different to the couplers in C-41, so the organic dyes will neither be here (C-41) nor there (E-6) and not have great stability with stabiliser. Not of what I was talking about is modifying existing chemistry, but mixing up new raw chemistry. Typical scanners can deal with it fine (Spirit DataCine - the most typical telecine here used for stuff), and as said nothing will be out of range for a high end scanner (PMT based). Sorry Hal Smith, I run my own ECN-2 in still lengths, and all my own chemistry for every process including custom being in a Heathen land for film. But there are labs here willing to listen, but it'll cost you (time setting up, material cost, etc). Money talks, bullshit walks.
  24. It's not adjusting gain, that's adjusting the illumination level if you read my post. Maximum density on E100VS is typically limited to under 4.0 You don't really have problems with E-6 and density unless it's underexposed, but current process also limits density since the current specification, a 2 min first wash is supposed to be run after first developer with initial agitation then allowing to soak for the rest of the 2 mins before continuing continues development weakly in the shadow areas. C-41 specification doens't need a stabiliser step, that is the old process, it only needs a final rinse sans formaldehyde (stabiliser) as stabiliser is built into the film for a while now, labs may or may not run Stabiliser III, CD-4 will produce related but slightly different set of organic dyes using the couplers in E-6 which are different to the couplers in C-41, so the organic dyes will neither be here (C-41) nor there (E-6) and not have great stability with stabiliser. Not of what I was talking about is modifying existing chemistry, but mixing up new raw chemistry. Typical scanners can deal with it fine (Spirit DataCine - the most typical telecine here used for stuff), and as said nothing will be out of range for a high end scanner (PMT based). Sorry Hal Smith, I run my own ECN-2 in still lengths, and all my own chemistry for every process including custom being in a Heathen land for film. But there are labs here willing to listen, but it'll cost you (time setting up, material cost, etc). Money talks, bullshit walks.
  25. It's not adjusting gain, that's adjusting the illumination level if you read my post. Maximum density on E100VS is typically limited to under 4.0 You don't really have problems with E-6 and density unless it's underexposed, but current process also limits density since the current specification, a 2 min first wash is supposed to be run after first developer with initial agitation then allowing to soak for the rest of the 2 mins before continuing continues development weakly in the shadow areas.
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