John Pytlak RIP

So what does Quartzchrome recommend for processing? :rolleyes: Somewhere there must be published recommendations that you should follow for best results? Learn from the mistakes you just made -- READ THE MANUFACTURER'S INSTRUCTIONS.

Al Gore's "Inconvenient Truth" closing titles list many things that each of us can do NOW to help reverse global warming. With today's technology, there's lots that can be done.

What kind of shooting do you usually do? Your personal kit should include the lights you normally need. Shooting tabletops is different than shooting weddings, which is different than shooting large factory spaces. In other words, if your current kit is missing a light you often use, consider adding it.

When using a changing bag, do keep the inside clean and free of lint and debris. Use a vacuum cleaner or adhesive lint roller to remove any loose hairs, lest one of them ends up as a hair in the gate. When carrying film onto an airplane, you need a changing bag to allow airline security to open and hand inspect the film, so it doesn't get x-rayed.

Al Gore SIGNED the Kyoto Treaty in November 1998, representing the United States, but the US Senate did not ratify it: http://www.cnn.com/TECH/science/9811/12/climate.signing/

State of the art lenses in their day, made by Rochester's Bausch and Lomb company: http://www.bauschandlomb.com/en_US/default.aspx Lots of optics used in cinematography have a Rochester connection (e.g., Todd-AO, Cinerama, CinemaScope).

I thought Disney bought Pixar earlier this year: http://corporate.disney.go.com/news/corpor...0124_pixar.html http://news.com.com/Disney+buys+Pixar/2100..._3-6030607.html http://www.businessweek.com/technology/con...0124_959402.htm

As others have noted, Super-16 film can provide a good alternative for lower budget productions: http://www.kodak.com/go/16mm http://www.imdb.com/SearchTechnical?PCS:Super%2016

Duart Labs in NYC now offers Super-8 services using a Y-Front telecine for scanning: http://www.duart.com/about_whats.html Check the other transfer houses too. http://www.kodak.com/US/en/motion/s8mm/labs.jhtml http://www.kodak.com/US/en/motion/s8mm/lovell.jhtml http://www.kodak.com/US/en/motion/newslett...003/sleep.shtml

Here is the technical data: http://www.kodak.com/US/en/motion/products....10.4&lc=en 5222 shares some B&W technology with Kodak B&W still films, but it is not the same.

You need to check with your client to find out which format they prefer. Super-16 is a popular origination format, even for HD: http://www.kodak.com/go/16mm

Measure the image on the processed original film. Standard SMPTE 157 specifies an image area of 6.22 x 4.22 millimeters on the film. "Super Duper 8" is not a standard format, but will be wider, extending into what was the soundtrack area.

If you want dark, "rich" shadows with detail, a bit of overexposure should certainly help. Again, the 80A will properly correct your 3200K tungsten lighting for a 500D film. Filter or change the fluorescents and practicals to get the blend of coloration for the mixed lighting "look" you want. Unfortunately, 500D will be on the high side of the graininess range, especially if this is a 16mm production, when a mid speed tungsten balance film would have been a much better choice. Hopefully, you have a good case now for using a tungsten balance film.

Well, at least the project I led at Kodak to develop Particle Transfer Roller (PTR) film cleaning technology has helped reduce the depletion of the protective stratospheric ozone layer: :) http://digitalcontentproducer.com/pr/video...k_receives_epa/ PTR film cleaning is now used by almost all motion picture labs, transfer houses, IMAX theatres, and many regular theatres, greatly reducing the use of solvents for film cleaning. Al Gore even mentioned the success of efforts like this in reducing depletion of the ozone layer. B)

The 80B won't fully correct 3200K tungsten light to suit a daylight balance film. An 80A or equivalent would be a better choice, but it has a two-stop filter factor, so you are down to an EI 125 rating. A bit of overexposure should help give slightly more flexibility in post and reduce the graininess, so you should test an EI of 100 or 80 with the 80A filter. As you can see, by the time you do all this, a moderate speed tungsten balance film like 7212 or 7217 would have been a much better choice, especially if you want less graininess.

Kodak makes infrared sensitive films, mostly for the aerial reconnaissance and scientific/medical markets: http://www.kodak.com/eknec/PageQuerier.jht...pq-locale=en_US http://www.kodak.com/eknec/PageQuerier.jht...hbx=sdrproducts These films are not normally finished to motion-picture formats, and are not readily available for motion-picture use.

I agree with David that a 500D stock was a poor choice for what you are trying to achieve, given the lighting you have to work with. Can the film be returned, or used for another project? I frankly think the "look" of a mixture of lighting colors you want, using tungsten as your main light sources, calls for a tungsten balance film: http://www.kodak.com/US/en/motion/products....6.10&lc=en http://www.kodak.com/US/en/motion/products...4.4.4&lc=en

Kodak developed emulsion forhardening technology in the early 1970's, leading to the higher temperature (faster) ECN-2, ECP-2, C-41, E-6, and K-14 processes. Older films without forhardening will be damaged by processing temperatures much hotter than about 25 Celsius, with softening, reticulation, or even emulsion delamination. I don't know what version of "Moviechrome" Grant is referring to, and what process it was designed for. It should say somewhere on the packaging. If the film is over 30 years old, it probably is not worth even trying to process it, unless the images are invaluable (e.g., a never processed film of the JFK assasination).

With color negative films (e.g., 7217, 7218), a stop or so of overexposure will generally help reduce graininess by a significant amount, since more scene information is now captured by the finer-grained mid- and slow- components of the film emulsion. So Super-8 7217 exposed at EI200T will look good, but grain will get even finer at EI100T. Likewise, using Super-8 7217 in daylight with a Wratten 85 filter and an EI64D exposure rating should look very good.

If anything, lack of proper grounding makes lightning damage/danger worse. I live on a hill in a neighborhood prone to lightning strikes. When we had lightning rods installed, they also bonded all large metal structures inside the building (e.g., the garage door frame, indoor antennas, hot water heater, heating ducts) to ground. Lightning "looks" for the shortest path to ground. Well grounded equipment provides the shortest path through the grounding connection. With ungrounded equipment, the lightning may still hit the equipment, but then finds the shortest path through anyone/anything near it or connected to it.

There are really two questions: 1. What is "The Future of Filmmaking"? 2. What is the best way of making "Films for Future Audiences" today? "Increasingly digital" is one answer. "Film still rules" is the other. ;) Film has a proven track record of supporting future presentation and display formats. When Sony uses clips from "The Music Man" (35mm film, 1962) and "The Sound of Music" (65mm film, 1965) to show the capabilities of their latest 4K SXRD digital projector, that tells you something about film being "futureproof".

A "rule of thumb" in still photography was that a "normal" lens had a focal length that matched the diagonal of the film format: http://en.wikipedia.org/wiki/Camera_lens http://www.shortcourses.com/choosing/lenses/10.htm http://www.panoramafactory.com/equiv35/equiv35.html

If you shoot lots of 7222, you might want to have a camera technician be sure the camera has been optimized for the film. Gate tensions and clearances might need to be tweaked.

You should start out by reading the technical data published for each film (BOTH films are tungsten balance). Demos are available, and you can research productions that used each film. Kodak VISION2 500T Color Negative Film 5218/7218 is Kodak's best selling color negative film, and has been used in thousands of productions. Its "look" is compatible with the other VISION2 films (7217, 7212, 7205, 7201), so you can choose the film to suit your lighting and they intercut very well. The Kodak website has technical data for all its films: http://www.kodak.com/US/en/motion/products...4.4.4&lc=en There is also an online comparison tool: http://www.kodak.com/US/en/motion/products...omparison.jhtml If you are shooting 16mm, lots of good information: http://www.kodak.com/go/16mm And a free online Filmmakers Handbook: http://www.kodak.com/US/en/motion/educatio...4.9.8&lc=en And interactive tools to help choose a film, learn basic lighting, etc.: http://www.kodak.com/US/en/motion/support/...1.4.3&lc=en

Lots of flecks of emulsion coming off may show that your temperature was MUCH too high. In effect, the high temperature melted the gelatin emulsion. You also likely fogged the film as you viewed the image forming in the first developer. So when you went into the color developer, you got uneven dye formation from the inappropriate and uneven fogging of the film. If you intend to process color film at home, the first thing you need to do is follow the instructions carefully, and maintain good control of temperature and time. The whole idea of a Lomo tank is to keep the film in constant contact with fresh processing solution, and "stuffing" the film into a tank just won't do that. You might start by processing some EKTACHROME slide film in the E-6 process, just to get a hang of how the process works when run correctly. You should also practice loading the Lomo tank until you are confident you can do it without jamming or kinking the film.