John Pytlak RIP

A pull-1 process will generally decease the contrast, saturation, and speed --- generally, you need to compensate for the speed loss by an additional stop of exposure. Graininess is generally reduced, unless you bring the contrast back to a "normal" level in post, in which case the graininess is brought up to "normal" levels again too. Since labs usually "pull" process by speeding up the processing machine, you need to be sure that the "tail end" and wash times are not compromised, which can happen, especially with a pull-2 process.

The price does vary somewhat with the sales length.

The few labs that consistently do second-rate work will fall by the wayside. All labs have "bad days" when an occasional job is done poorly or an accident happens. Often traceable to a person who wasn't trained properly, or is having a "bad day" themselves. The good labs follow up on all problems, and take corrective action. In David's case, putting tape on the back side of the film was evidently done to assure there was not a break in the machine due to something the lab technician detected during pre-process inspection. But the tape keeps the rem-jet from being properly removed during processing, and I suspect some of the tape adhesive remained on the back-side when the film was reprocessed, leaving bits of rem-jet/tape debris on the processed film. In hindsight, permission should have been requested before using tape on the back side of the film, and the options discussed beforehand.

The X=0.5 inch speed notch without a filter notch makes the camera treat the film like an EI-100 daylight balance film, that is, the internal orange filter will NOT be automatically inserted. So using an external 85 filter in daylight will either attenuate the light by 2/3 stop and have the camera automatically compensate for the filter insertion (through the lens meter), or not compensate (external meter) for the external filter.

Check with the transfer facilities you might use: http://www.kodak.com/US/en/motion/support/....4.19&lc=en

The 200T cartridges currently do NOT have a filter notch, so the use of an external 85 filter is assumed. Since there is no filter notch, the X=0.5 inch speed notch would set any automatic exposure for EI-100 (one stop overexposed with tungsten light).

Generally, transferring only 100 feet (less than 3 minutes) of 16mm film will be expensive, since most transfer houses charge on an hourly basis, which might also include set-up charges.

65mm 15-perf (IMAX format was introduced in the late 1960's), 65mm 5-perf (Todd-AO introduced in the mid 1950's), and 35mm cameras with anamorphic lenses (CinemaScope introduced in 1953) are certainly still "around". :) Kodak sells lots of 65mm and 70mm film, primarily for the special venue market (like IMAX theatres). Many still prefer the "look" of anamorphic 35mm to Super-35 for shooting the wide 2.39:1 aspect ratio.

You need to get your film processed SOMEWHERE before transferring it. Home processing of E-6 (7285), B&W reversal (7265, 7266), and B&W negative (7231, 7222) are feasible. Generally, I would advise against trying to "transfer" negative films on a projection type telecine. Why would shooting a projected image with a DV camera eliminate the deficiencies of the DV camera? Why would you "never" get your film processed and transferred professionally? Some labs and transfer facilities cater to student and independent filmmakers with attractively priced services. Some labs are partnering with Kodak to offer a "Film Kit" of VISION2 film, processing and transfer: http://www.kodak.com/US/en/motion/educatio.../filmKits.jhtml

The Kodak VISION2 films have very good exposure latitude, especially for overexposure. A stop or so of overexposure will generally give finer grain, as more information is placed on the finer-grained mid and slow emulsions, rather than the faster (larger) grained emulsions. Don't overdo the overexposure, as a very dense negative may be more difficult to transfer, and more prone to electronic noise if the telecine/scanner doesn't have enough light and needs to operate at higher gain for a dense negative. For Daylight or HMI, use an 85 filter. Tungsten light (3200K) requires no filter. Cartridge notching is specified by standard SMPTE 166.

If you are not going to use the film soon, refrigerate it in its original sealed packaging. Most household refrigerators will keep the film below the 55F recommended for medium term storage of unexposed film. Usually don't need to freeze film, and there are some risks if there is excessive moisture in the film, which could cause ice crystals when the film is alternately frozen and thawed, as might occur in a "frost free" freezer. Film that is frozen for very long term storage should be sealed in its original packaging, and stored in a freezer that does not "cycle" temperature for defrosting. Leave the film in its original factory sealed packaging (taped can, sealed foil bag) until you use it. Be sure to warm up the film before opening the package, to avoid condensation. Here is information about proper film storage: http://www.kodak.com/US/en/motion/support/...rage_cond.jhtml

And repairing that Hubble camera cost quite a bit too!

A separate T-Stop calibration becomes more important with lenses that have significant light losses (e.g., complex zoom lenses with many elements, older lenses that had more internal light loss due to flare). A modern prime lens with multicoated elements is unlikely to have much more than a 1/3 stop difference between the f/stop and T-Stop calibration, which is well within the latitude of the film.

The current aspect ratios for each film and video format are specified by SMPTE standards. Of special interest are SMPTE 59 which specifies 35mm camera apertures, SMPTE 195 which specifies 35mm projectable areas, SMPTE 201M which specifies the Super-16 camera aperture and extracted image areas, and SMPTE 96, which specifies the scanned image areas for television. You can purchase SMPTE standards here: http://www.smpte.org/smpte_store/standards/ Lens flares and aberrations for each format often depend upon the lens design, with anamorphic camera and printing lenses often having non-symmetrical flares or aberrations due to their cylindrical optical elements.

I've seen a few cases where if the film emulsion is a bit sticky (like on the really humid days we've had lately), the film can "jump" slightly in the camera gate during exposure. As you know, some cameras need to have gate tensions and clearances optimized for B&W films, which do not have the rem-jet backing used on color negative films. I assume you've checked to be sure you are not getting the double image due to filter reflections or other optical issues?

Use 18fps for "home movies", where you are planning to project the films on a home projector running at 18fps. The slower frame rate was chosen for home movie use to save on film costs. 24fps is the standard frame rate used for professional production, expecially if you intend to transfer to video or "blow up" the image to a larger film format.

I recall that some Russian 35mm cameras used film perforated KS-1866, rather than BH-1866. Do most Russian cameras in use today now use the "standard" Bell-and-Howell (BH) registration pin?:

You need to be specific about the model of camera you are interested in. Professional 16mm, 35mm, and 65mm cameras are outlined in the American Cinematographer Manual. Each camera manufacturer has technical information on their website. For example, here is Aaton: http://www.aaton.com Kodak has some 16mm camera information on its website: http://www.kodak.com/US/en/motion/16mm/cam...1.4.9&lc=en

Processing any film in a B&W negative developer should yield an image, as you found. You will NOT get a color image, even from a color film, unless a color developer is used. Your image may be "thin" because of underexposure, or underdevelopment.

The Kodak website has lots of information useful to cinematography: http://www.kodak.com/US/en/motion/support/h1/ Motion Picture Film Technology http://www.kodak.com/US/en/motion/educatio...ook/index.jhtml Filmmakers Handbook http://www.kodak.com/US/en/motion/educatio...1.4.9&lc=en http://www.kodak.com/go/student http://www.kodak.com/US/en/motion/newsletters/index.jhtml Publications http://www.kodak.com/go/16mm http://www.kodak.com/US/en/motion/support/index.jhtml Technical Support

I try to "View New Posts", but when time is limited, I concentrate on "Film and Processing" and perhaps a few of the other specifically film subforums. Since I participate on about a dozen other user groups, and have product development responsibilities at Kodak as well, I sometimes just can't keep up with up to a hundred new postings a day. It is very important that you choose a topic title that is descriptive: e.g., "Choosing between 5218 and 5229" as opposed to "Help needed" or "Film choice?" And has often been said, do a search on a topic to see if it has been discussed or answered before, or already has a thread going.

I attended a special 35mm Rochester screening of "Cinematographers Style" for Kodak people on June 27 (Kodak was one of the corporate sponsors of the film). Excellent film with editing that blends the many interviews into a "train of thought" sequence of insights into the creative process. Also some very interesting cinematography in what are basically head shot interviews. Highly recommended. Other reviews: ?In a word FANTASTIC! All who are interested in the genesis of creativity in all forms will find those passions resonating in this film. A great work.? -Daryn Okada, ASC President, American Society of Cinematographer Informative and extremely entertaining. Riveting and fun. Superior cinematography: the lighting on the faces helped to bring out individual characters and personalities, and having the lighting change to illuminate (literally) the points the cinematographers were making was a brilliant idea. -Robert Gitt Chief Preservation Officer, UCLA Film & Television Archive I am totally blown away by "Cinematographer Style". It is an inspiration. Please don't change one frame. When a cinematographer mentions a particular movie, the clip is rolling in my mind. This is a narrative film. It tells the story of cinematography and art and the movies in the most elegant way I've ever seen. You have created a work of art. Thumbs up.....way, way up. -Russ Alsobrook, ASC. This film will do for Cinematography what Blow- Up did for still photography. -Jim Ruxin, Film editor and Professor One hundred and ten world-class cinematographers' thoughts on their widely discussed but little understood art-plus-craft are packed into 86 minutes in "Cinematographer Style." The open and gracious manner of the subjects confirms what some already know: That no group in the film biz matches lensers as a collection of classy, level-headed folks. - Robert Koehler, Variety "CINEMATOGRAPHER STYLE" FOCUSES ON ART OF VISUAL STORYTELLING 110 Leading Cinematographers discuss the Art of How and Why Films Look the Way they Do You Are Cordially Invited to Attend the New York Premiere of CINEMATOGRAPHER STYLE French Institute Florence Gould Hall 55 East 59th Street (between Park & Madison) New York, NY 10022 Thursday, August 3, 2006 6:30 p.m. - 8:15 p.m. - Screening 8:15 p.m. - 9:15 p.m. - Reception RSVP to 1-800-863-5787. Limited seating. This invitation is non-transferrable. Sponsored by ARRI, Kodak and Technicolor. Upcoming Los Angeles screening: Laemmle Monica Theatre in Santa Monica, from August 11 ? 17, afternoons Please visit www.cinematographerstyle.com or check LA Times schedule for further details. Presented by ARRI, Kodak and Technicolor in association with The American Society of Cinematographers

You can order directly from Kodak: http://www.kodak.com/US/en/motion/s8mm/pro....14.4&lc=en Or find a dealer or lab that carries Kodak Super-8 film, for example: http://www.bhphotovideo.com/bnh/controller...p;Q=&ci=341

In theory, a pin-registered camera is best, especially when the film will be used in a pin-registered optical printer. That's called the "principle of cancellation", where the same perforation is always used for positioning. In practice, many cameras without registration pins come close to matching them for steadiness. For a particular camera, run a two-pass double exposure test with a registration target to verify the camera's ability to precisely position the film in the gate.

Some people fight clean. Some people "hit below the belt". That's what good referees (voters) are supposed to catch.