John Pytlak RIP

Hello, it's Anne again. Thank you so much for all your kind words and sharing of memories. Some have inquired about the arrangements:

John offered his physical body to the University of Rochester anatomical gift program. A memorial Mass will be held at the Church of St. Jerome, 207 South Garfield Street, East Rochester, NY 14445 at noon on Saturday, August 25, 2007.

In lieu of flowers, donations may be made in John's name to: The George Eastman House, 900 East Avenue, Rochester, NY 14607.

Hi everyone,

This is Anne, John's daughter. I am so sorry to give you the news that my dad passed away last night at 11:40pm EST after a year-long battle with cancer. My dad had a fantastic day Thursday -- he felt the strongest he has in a long time and had a very enjoyable day with his sister and brother-in-law who came to visit. He has been sleeping downstairs the past few weeks in a hospital bed and I have been nearby on the couch, and he slept quite well Thursday night. Friday morning he said he felt weaker than usual, but was very optimistic about trying to have more nutrition within the next few weeks. At 10am, he started having severe cramping and it got progressively worse as time went on. He was on 2ml morphine every half hour and nothing could stop the intense pain. Even though he had so much morphine, he never lost his consciousness and was very alert throughout the whole ordeal. He decided to enter hospice that evening. My sister Katie flew home from Boston and arrived around 10:30pm. At hospice, the nurses were able to give him enough sedatives to lessen pain, and he fell into a deep sleep. He died very peacefully, surrounded by family.

He gave me his username and password a few weeks ago and wanted me to inform you of the news when needed. He loved participating on film tech, cinematography.com, and various film boards and he had such admiration and respect for you. He -- and my family -- appreciated all your kind words and prayers. My dad may not have met many of you face to face but he considered you all his dear friends.

I am still "hanging in there". The main issue is now getting enough protein and calories into my system to sustain itself. For now, the cancer center does NOT want to use direct protein infusion into an IV "PIC Line" which has a very high risk of infection that could kill me. They prefer trying to heavily dilute my oral protein and calorie supplement so it does not cause cramping or build up excessively in my totally blocked small intestine. Without nutrition (calories), my body is getting very weak --- a few days ago, I fell from weakness, and needed someone to lift me back up again to use the walker to support myself.

You can calculate the gamma of the various Kodak film stocks from the graphs on their website of characteristic curves. For example http://www.kodak.com/US/en/motion/products...mp;lc=en#graphs gives you the curves for 5201. The left hand scale is density and the lower scale is Log Exposure. The density change over 1.0 Log E gives you the gamma. In the case of the red layer for 5201 the density change from Log E -1.00 to 0.00 is 0.5 to 1.10 approximately, giving a gamma of 1.10 - 0.5 = 0.6. These are general curves and do not apply to particular emulsions. Stock manufacturers use different ways to calculate the contrast of a film according to its purpose. Gamma is not usually used as it is just the slope of the straight line portion of the curve. It does give you an approximation of the contrast. Most film stocks fall into regular categories, camera stocks are around 0.6, intermediate films around 1.0, B/W Duplicating positive 1.6 and so on. If you push or pull process stocks you will change the gamma (contrast).

Brian

Remember, the particular lab process you are using will have some effect on the sensitometry of the process and what "gamma" and curve shape you will get. For detailed results, work closely with your lab, and better yet, actually run some picture and exposure tests.

Unfortunately, some of the thicker "clear liquid" supplements like "Enlive" have caused SEVERE painful cramping. Last evening, I was in great pain for over an hour until the thick residue drained out though my drainage tube and eventually got vomited. Remember, nothing is going through my small intestine, which is blocked by tumors, so what goes in by mouth has to come out by mouth (vomit). :(

I would expect such old film to have significant buildup of graininess, and to have quite a bit of age and radiation fogging, leading to very low black densities and likely severe contrast mismatch.

I personally would not invest in trying to use such old film.

I'm still hanging in there!

Recovered well from the fall. Have a hospital bed and very comfortable recliner set up in our family room. Able to use a walker to get around the house, and to twice-weekly IV hydration at the cancer clinic. Unfortunately, not able to get many calories or much protein into my system, so I continue to lose weight and strength. (Have vomited several times in last week, so I am probably not getting 1000 calories and 60 grams of protein per day).

Support from family and friends has been great. Your prayers and good wishes continue to cheer and help me.

"Percentage" flash is sometimes used to measure the degree of flash level. In most cases, the best measure is the amount of density the flash adds to the normal minimum density (D-Min) of each imaging layer of the negative. In general, with a neutral flash, the increase is the same in each layer.

An increase of +0.10 density would be a relatively low level of flash, an increase of +0.30 density is more of a contrast decrease in the shadows. Remember, the effect of the flash also depends on your basic exposure -- as you increase exposure, the scene information is placed higher on the sensitometric curve, lessening the effect of the flash exposure, which primarily is softening the "toe" of the negative.

That is why it is important to work with your lab in seeing the effect of various flash levels/techniques, and running some practical picture tests to establish the flash and exposure level.

The AC flicker issue with a direct discharge lamp (sodium vapor, mercury vapor, neon) will be more severe than with a flourescent tube, where the phosphor's light output has some "lag" or afterglow. Of course, in a large filament tungsten lamp, there is lots of lag or afterglow between cycles, and so very minimal flicker with typical studio tungsten lighting.

Hello to all my friends here on Cinematography.com! I've just had a "near death experience":

I just spent two days in the hospital (Thursday and Friday, July 26-27) after a very scary event on Wednesday evening.

Our older daughter Katie had been spending the week in Rochester from Boston with us to help out. I had purchased a new Toshiba notebook computer system (with Windows Vista Home Premium) that was delivered earlier in the week, and had unpacked it. I was getting ready for bed at about 10:00pm Wednesday, and noticed some of the empty boxes were still in the side hall. I took one small box into the garage through the swinging storm door and down two steps. No problem, although my legs are getting quite weak and wobbly from loss of body mass, especially since mid May (down to 115 pounds from a pre-cancer weight of 172 pounds). The second empty box was large and bulky, so I decided to gently pull it backward through the swinging door. The last thing I remember is pulling on the box as I backed through the door. The next is the Ambulance EMT crew strapping me to a flat board with a neck brace, and shining lights into my eyes, probably 7-10 minutes later.

Katie heard the crash, and was the first to find me, flat on my back, totally unconscious on the cement floor of the garage. She says I was not breathing, and she began gentle chest compression and mouth-to-mouth resuscitation. Younger daughter Annie helped too, while my wife Betsy called 911 for the ambulance. Katie says I started breathing on my own in 30-40 seconds, and after a few minutes was groggily talking to her. The back top right side of my head was bleeding profusely from a deep ragged gash where I had hit my head during the fall backward onto the garage floor. I also had some bruising and abrasion along my back.

The Ambulance EMT crew was great. Our neighbor is an EMT, got the call, and ran right down to our house. After securing and checking me out, the ambulance crew rushed me to the hospital where I have been going since my illness began last September. Betsy rode in the ambulance, and our good neighbors gave Katie and Annie a ride to the hospital. At the hospital, they cleaned the head wound. It took six stitches to close the ragged gash. They took x-rays to look for rib or back injury, and a head CT scan. The head CT scan showed some fluid buildup on the right side of the brain, and there was a bit of weakness and tingling in my left foot. They prescribed a strong cortisone type drug to help reduce the brain swelling, and I spent the next two days

in the hospital to heal, build my strength, and recoup a bit. Katie's husband Jim and our grandson Ben drove in from Boston, and visited me in the hospital to cheer me, along with the constant daytime presence of Betsy, Katie and Annie in shifts. Before being released, I had some PT to be sure I could walk with the help of a walker, and even climb stairs with rails. Even though I can walk and climb stairs slowly, my muscle weakness and the weaker left side (I drag my left foot a bit) require that someone walk with me to steady me and be sure I don't fall down again.

I came home from the hospital late Friday afternoon (July 27). Saturday, a visiting home nurse checked my vital signs and redressed the head wound. Then a physical therapist gave me a home evaluation of my capabilities with a walker and stairs, and agreed that until I am more steady on my feet, I need someone to walk with me. It looks like I will still be able to travel to the local cancer clinic for my regular IV hydration on Tuesdays and Fridays. Everyone agrees that I not try to do too much on my own, especially never stairs into the garage or basement, lest I take another bad fall.

My sister and her husband visited Saturday, while the nurse and PT were here, and then spent most of the afternoon. It was an enjoyable visit, making Saturday a very full day. Katie, Jim and Ben drove back to Boston Saturday evening, as Jim has to work at his high school's summer retreat starting Sunday evening and for the week, and Katie is working half time at her campus ministry job at Boston College.

I am getting back on a normal schedule. I am able to have a "clear liquid" diet, which includes water, fruit juice, Jello, broth, and other clear liquids without bulk. Unfortunately, the complete intestinal blockage precludes more calorie-rich liquids like Boost or Ensure or soups. So at most, I am getting only about 500 calories per day, and likely to continue losing weight and strength. Fortunately, last week after several days of severe vomiting, I was prescribed Protonix to stop stomach acid, and it has somehow also helped greatly reduce the vomiting that I had been having to throw up digestive juices. So I am able to hold down these clear liquids and my medicines. For now, I am sleeping downstairs, in a fully adjustable hospital bed set up in our family room, right next to a comfortable recliner, both facing my new HD television -- a pretty cozy setup. :-) (But I still miss getting to see movies on a big theatre screen). Annie has been comuting each evening from her job in Buffalo, and plans to sleep downstairs if I need any help during the night.

I also spend time at the computer. Jim was able to set up my new notebook computer, and transfer most of the files and set it up on a wireless home network, and my plans are to complete the transfers from my old (Windows ME) system during the next week. In five years, I've accumulated over 5000 Kodak digital photos, that are now backed up to a separate USB hard drive, and tranferred to the new computer. I've always been a "pack rat" like my Dad (my basement is still filled with hundreds of boxes and files), and my computer files are no exception.

Well, as you can see, I've had quite a week! Katie jokes that she intends to write a book about her father's "nine lives" of experience since last September. In reality, everyone's prayers and good wishes have seen me through alot, and cheered me along the way this past year. I've gotten to see and play with my wonderful first grandchild Ben many times, I've just celebrated my 59th birthday, I still am able to help my friends on the Internet Support Groups, and now I've survived a near death experience (no, I didn't "see the light"). I'm ready for death, but life is certainly still worth living. Like the Engergizer Bunny, I keep on going.

Please keep those prayers and good wishes coming. Miracles don't always result in a "cure", but in lots of daily blessings to help though a severe illness.

Well, things can be 5 and more stops hot before they lose all detail. Overexposure to tighten up grain usually isn't that much. I like 2/3 of a stop myself.

Look at the sensitometric curve published by Kodak. As long as scene content is not falling on the flat "D-Max" of the curve, the film is still recording highlight "detail". And 7218 has a very long straight line portion, and gentle shoulder roll off, that can capture highlights that are overexposed by 4, 5, or more stops. Of course, the negative is becoming very dense, and will need extra light to print or transfer through the added density.

I'm looking to do a lot of various landscape styled outdoor shots at dusk/night and wondering if anyone has shot with the Fuji Reala 500D 8692 (for 16mm) and any likes or dislikes or general comments. Also if anyone has shot with Kodak 7218 or 7229 outdoors with a color conversion filter in comparison to the Reala 8692.

Thanks

John

You may find the unique spectral characteristics of the Fuji Reala change the color reproduction of certain floral, foliage, and flesh colors. Dusk/dark is best handled by appropriate filtration, as it is not usually a true mixed lighting situation.

Hello.

 

I'll be leaving on Saturday for a four day trip to Paris and will be taking six rolls of Kodak Vision 200T in my carry-on. Will the X-Rays damage the film in any way? If so, what should I do?

 

All my Best,

Matthew.

Yes, X-ray inspection always has the potential to fog the film, which can show up as a loss of contrast and color, and uneven blotches or streaks depending on the type and extent of exposure. Faster/older films are more prone to fogging.

NEVER put unprocessed film in CHECKED baggage, as the x-ray scanners used are very powerful, and concentrate their beams. For carry-on baggage, the x-ray intensity is usually less intense and more diffuse, but there is still a risk of fog buildup, especially if the security operator decides to take several different "views" of the suspicious package, or you go through multilple inspections. Lead bags offer little protection, as the operator will just take more views or turn up the power to see through the lead bag.

Given time and politeness, most security people will be willing to do a hand inspection, but you will need to provide a changing bag and a few test carts so they will know what they are feeling for in the changing bag. The USA TSA regulations specifically allow passengers to request hand inspection for any MOTION PICTURE film, regardless of speed.

http://www.tsa.gov/travelers/airtravel/ass...orial_1035.shtm

Specialty Film

 

At the passenger security checkpoint, you should remove the following types of film from your carry-on baggage and ask for a hand inspection:

 

* Film with an ASA/ISO 800 or higher

* Highly sensitive X-ray, medical or scientific films

* Film of any speed which is subjected to X-ray surveillance more than 5 times (the effect of X-ray screening is cumulative)

* Film that is or will be underexposed

* Film that you intend to 'push process'

* Sheet, large format and motion picture film

Hi John

 

Would developing all the reels together help in this aspect? Or are there still small variations between the time the first and the last reel run through the bath?

Sure, printing and processing the reels in the same ''batch" will reduce variability.

did anyone else notice the color cast changes that seemed to follow reel changes on a two projector projection system (or every 1/4Hr or so on a platter) ?

 

regardless, I really like B&W on color stock ...

 

The still isn't particularly representative of the look I recall from the evening - a bit too gritty...

 

anyhoo - lovely !

A black-and-white image printed onto color print stock is very critical for color balance. The slightest difference in printer balance or processing will give a slight color change between reels. Much more noticeable than with a color image.

"Low intensity" sodium vapor lamps have a nearly pure 589 nanometer spectral output. "High Intensity" lamps have a slightly broader spectrum. Mercury vapor lamps have mostly the mercury spectral lines with some broadening of output. HMI is a metal arc source that is relatively broad in output and nominally a daylight balance.

Sodium and mercury vapor lamps have lots of visible light output (very efficient for street lights and security lighting) , but have very poor color rendition.

I've been looking around for places that sell short-ends/recans (16mm) and it seems that the secondhand stock market is pretty much limited to the US. I'm in the UK.

 

But the pound is so strong at the moment.

 

I thought about having a few feet imported (in the cheapest way possible). Would this be a wise decision? ...or would I be wasting my money on a couple of cans of x-ray fogged film?

Overseas shipping usually entails some risk of radiation fogging. Plus the cost of shipping may outweigh any savings.

A few years ago they had a normal picture posted. It was a scan from the neg, and it looked ok, then for some unknown reason the webmasters replaced it with this grainy picture.

But the original frame looked great (it was the same frame)

Perhaps our webmaster used excessive compression?

I recall that there were some duplication problems with the printed promotional material for that film, giving that grain-like appearance. I suspect someone just rephotographed a print with a specular optical system, rather than properly copying the negative directly.

one trick is that the emuslion of undeveloped film can be exposed by "presure" which could turn a minor scratch into a permanent mark, often in colour.

 

If the film does get scratched before processing, and it is not damaged enough to create a "presure mark" the scratch may "level out" in the processor. (enusion side only) Hence the "technique" of re-washing the film to reduce the effect of scratches.

 

The REMJET may also save undeveloped film, a very minor scratch on the back that does not go through the rem jet will wash away when the remjet is removed!

Yes, "remjet" often does serve to protect the back side of the film from minor scratches. Rewashing can be very effective in "healing" superficial emulsion-side scratches, as well as in removing embedded emulsion side dirt particles. The Kodak Processing Manual has specifications for a special rewash process "RW-1":

http://www.kodak.com/US/en/motion/support/.../h2409_03.shtml

For many years, the term rewashing referred to the common practice of running processed film through a complete process for a second time. This operation removes dirt and/or heals slight emulsion scratches and digs. Rewashing a film once in the original process produces minimal changes in the dye stability and sensitometry. However, several rewashings may cause a change in density over the exposure scale of the film. By omitting the developer and bleach when the film is rewashed, changes in density can be minimized.

 

Rewash RW-1 is designed to avoid these sensitometric and dye stability changes, and at the same time, to produce similar emulsion swells to that obtained by going through the original developer.

Rewash RW-1 Sequence

 

Step Function

1. Prebath PB-6 Swells the emulsion, causing the scratches to be filled in and embedded dirt particles to be released.

2. Wash Removes unwanted chemicals, which, if left in, affect dye stability.

3. Final Rinse FR-1 Contains a wetting agent to help prevent water spots while the film is being dried.

4. Dry Dries film for subsequent handling.

 

The rewash machine consists of a loading elevator, tanks for the prebath, wash, and final rinse solutions, and a dryer. Submerged rollers and rack-drive assemblies will minimize spattering of solutions and aerial oxidation of sulfite in the prebath. Type 316 stainless steel is suitable for tanks, racks, and recirculation equipment. Use 10-micron filters of polypropylene, fiberglass, or bleached cotton in the recirculation system. Use no squeegees, except after the final rinse, where a high efficiency final squeegee is needed.

Mechanical Specifications for Rewash RW-1

 

Process Steps KODAK Formula Temperature1 Time Replenisher (Wash Rate) per 100 ft. (30.5 m) of

35 mm Film2 Recirculation ®;

Filtration (F)

Tank and Replenisher °C °F min:sec

Prebath PB-6 21 ± 1 70 ± 2 2:00 600 mL R & F

@20 to 40 L/min

Wash -- 21 to 38 70 to100 3:00 300 mL3 None

Final Rinse FR-1 21 to 38 70 to 100 :10 400 mL R & F

@20 to 40 L/min

 

1 Fahrenheit temperatures are primary. Celsius temperatures are rounded consistent with process-control requirements.

 

2 For 16 mm film, use one-half the 35 mm film replenishment and wash rates.

 

3 Use a two-stage countercurrent wash.

I'm not too sure I understand what you mean by "pressure".

A burr or rough spot in the gate or on a roller may press on the surface of the film, not enough to actually cause a scratch, but enough to put pressure on the silver halide grains and expose them. Pressure marks are usually in the top (blue sensitive) layer of camera stocks. Faster films tend to be more sensitive to pressure marks, since the silver halide grains are larger and more sensitive.

Last week a reporter from my hometown newspaper called. He was following up on news that the Grandview Drive-In in Angola NY (where I worked as projectionist 1967-1970) was being torn down to build a WalMart Superstore. He ended up writing a human interest story about my career at Kodak:

http://www.thesunnews.net/sunscene.php3?idkey=6590

Former Angola resident reflects on an award-winning 40 year career in film

By MATTHEW CHANDLER

 

For John Pytlak, it all began with a small purchase some 50 years ago.

 

"I bought a kit to process pictures when I was like nine years old. It just sort of came natural to me."

 

And so with one choice five decades ago, Pytlak began a journey that would take him from his beginnings at Lake Shore High School ? where he was the class valedictorian in 1966 ? all around the world as he built a career as one of the leaders in the film industry.

 

Tragically, John Pytlak was diagnosed in September 2006 with cancer of the small intestine. The inoperable disease was a death sentence for a man who rightfully had decades of living yet to do.

 

But in a manner that doesn't surprise those who know him, Pytlak has refused to let his lot in life stop him.

 

Even as his cancer enters the final stage, he has continued to work from his home, stay in contact with his industry friends and colleagues, and is reluctant to focus on the cancer that will soon cut his life short.

 

Instead, with passion and enthusiasm in his voice, Pytlak, who now lives in Penfield, would prefer to talk about how fortunate he has been and the many wonderful opportunities life has given him.

 

"I may not have had a long life...but I've had a productive life."

A life that began right here in Western New York.

Local beginnings

 

After graduating at the top of his class at Lake Shore, where among other things, he was the photography editor for the yearbook all four years, Pytlak enrolled at the State University of New York at Buffalo where he majored in electrical engineering.

"From the time I can remember, I wanted to be an electrical engineer."

 

Like most college kids, Pytlak needed a job. As fate would have it, the student that he carpooled to UB with had a father who was the manager at the Grandview Drive-In in Angola.

 

"I worked as a projectionist at the Grandview from 1967-1970, and it was a wonderful experience," he said.

 

Though Pytlak was a young college kid on a summer job, it was one he took very seriously, and one that set the stage for his future career.

 

"I was fooling around, and I made a transmitter to use AM radio."

At the time, the theater utilized the speakers fed into the car window as the means for listening to the movie. But Pytlak's creation allowed the Grandview to become one of the first drive-in's in New York with radio capability.

 

"It allowed us to expand quite a bit," Pytlak explained.

The Grandview had 400 spaces for cars, but due to the high cost, only 200 speakers. Pytlak's radio system changed that, and the Grandview flourished, leading, in part, to the furor being raised today over its proposed demolition.

 

Pytlak also worked as a projectionist at the New Angola Theatre during his college career. Both jobs fed his bug for film, and he applied for a position at Eastman Kodak in Rochester.

 

When he first applied, Pytlak said it was , "a slow hiring time," but eventually, Kodak came calling, and in June of 1970, the UB graduate and aspiring electrical engineer joined the film giant. It proved to be a wise decision for the 22-year-old.

 

Pytlak spent his first 20 years at Kodak working in product development. As a 'behind the scenes guy,' he was constantly working to develop new, innovative ways to improve film, and ultimately the theater experience.

 

His work saw Pytlak travel the world, taking his expertise to Tokyo, Beijing, England, Germany, France, Finland, and beyond.

 

"I got to meet a lot of very interesting people along the way, and I've gotten to travel the world, and mostly, I just enjoyed what I did."

 

Pytlak said one of his most satisfying experiences was traveling to Beijing, China, and seeing one of his inventions being used overseas.

 

"That was kind of a thrill...I realized, I've really had a worldwide impact here. "

 

While most of his travels saw him working in the labs, he did have occasion to meet his share of celebrities and taste the Hollywood life.

 

"I got the chance to hobnob with a lot of the industry insiders, especially at the conventions," he said.

 

He also shared a story of his first visit to a live filming on set.

"I spent a day on the set of Little House on the Prairie, and got to see them film an episode, which was an experience."

 

As a leader of many development teams at Kodak, John Pytlak had the opportunity to work on a variety of different projects aimed aimed at improving various aspects of film, and for his work, he has been widely recognized throughout the industry.

Front and center on his mantle, are two awards that Pytlak said mean the most to him and best demonstrate what his career has been about.

 

"In 2001, I received a Technical Achievement Award for my work developing a system that helps laboratories improve color in their pictures."

 

Pytlak's development of the Laboratory Aim Density System was a highlight of his career, and put him on a stage in California with his two daughters watching from the audience as actress Renee Zellweger presented Pytlak with his award from the Academy of Motion Picture Arts and Sciences.

 

Pytlak called the moment, "very thrilling," and said it was gratifying to be recognized for his work at Kodak.

 

"I've had good people to work with my entire career, and I was fortunate to be the leader on some major projects."

 

Pytlak followed up his Academy Award by being named the 2003 winner of the EPA Stratospheric Ozone Protection Award.

The EPA recognized Pytlak and Kodak for his development of PTR film cleaning technology, which utilizes a system of rollers to clean the film, eliminating the need to use ozone-damaging chemicals to clean the film.

 

"It (the PTR technology) greatly cut back the use of the solvents, which were going into the atmosphere."

 

Pytlak said a study conducted estimated that the process saved over 1 million pounds of ozone depleting solvents from being used.

 

"We (Kodak) gave away the technology, because we felt it was good for the environment. "

 

Pytlak's technology for film cleaning is used worldwide, with every IMAX theater using the TTR Rollers to clean their films.

 

Pytlak's work at Kodak, and the prestigious awards he has received, are par for the course for a man who's bosses speak glowingly of.

 

Frank Pettrone, Pytlak's direct supervisor at Kodak, lauded him as a man with "strength and courage."

 

"John's passion is not only film, but the people who use Kodak products and services," Pettrone said.

 

"John would help the smallest customer to the largest with the same attention to detail and care."

 

Frank Ricotta, another of Pytlak's supervisors at Kodak, called him "an exemplary individual and a wonderful family man; one of the most gentlemanly individuals that I have ever met."

 

With his cancer diagnosis came the reality for John Pytlak that his life was going to be cut short. Faced with the inability to eat solid food (he has not had a bite to eat since January) and the increasing difficulty in swallowing liquid, Pytlak knows the end is near. Yet with the class and dignity his family and friends know so well, John Pytlak is facing the end of his life head-on and not backing down from his final fight.

 

"People ask me...aren't you upset? I've always been an optimistic person, and sure, I would have liked to have lived to be 90, but you can see the wide variety of people I've been able to help through my career."

 

That help continues today. Even in the final stage of his cancer, Pytlak does what he can, working to talk to customers on line, and keep up to speed with the industry that he has been a part of for the last 40 years.

 

Asked what the keys to his positive outlook on life are, especially in the face of such adversity, Pytlak said, "My reputation has always been that I'm an upbeat, cheery guy."

"I've got a great family, two wonderful daughters, and I've basically lived a great life."

 

To that end, one of Pytlak's daughters, Katie, called her father, "an inspiration," and someone who is, "handling the dying process with such grace. "

 

Katie said, growing up, her dad was incredibly supportive and encouraging to both her and her sister Annie, and said, "his passion for life is amazing."

 

"He just tries to embrace life to the fullest, and cherishes every day. I hope that I can be the parent he was for me."

 

To see the incredible, far-reaching impact Pytlak has had on the film industry, you only needs to jump online and "Google" his name, and see and hear from the thousands of people he has touched throughout his career.

 

From small town Angola, Pytlak journeyed around the world and seemed to leave the people he met a little better off for having known him.

 

As the credits prepare to roll on the life of John Pytlak, his boss Frank Pettrone offered up a fitting tribute to a man who dedicated his life to the film industry.

 

Borrowing from the movie Braveheart, Pettrone summed up his feelings toward his friend and colleague by saying:

"Every man dies. Not every man really lives. John really lived...and now he is teaching us how to die...we all admire and love him."

 

Email Matthew Chandler

Perhaps Kodak's office in Denmark could help you directly?:

DENMARK

Kodak A/S

Lautruphoj 1-3

DK-2750 Ballerup, Denmark

Phone: +45 7015 7000

Fax: +45 7015 7100

The x-ray machines used for CHECKED baggage will definitely fog film. Carry-on baggage has less intense x-rays, but they can fog faster films or films upon multiple passes through the machine. Arrange for a hand inspection in a changing bag.

The LAD aim for triacetate 5242 and polyester 2242 are the same. I question the large difference you found between the D-mins of the two products. Perhaps one of the films changed with aging?

What was the Aspect ratio?

 

marc

At the time, it was likely 2.35:1. Today's scope ratio is 2.39:1, as Standard SMPTE 195 (projected image area) was modified slightly since then.