John Pytlak RIP

I don't yet have the MTF curves in my hands. I just have the Acutance numbers, which are sharpness numbers calculated from the area under the MTF curve, weighted by the eye's visual response at various magnifications. I suspect that an "apples and apples" comparison will show the 5212 to have higher resolution as well. Although grain can affect resolution, even the finest grained film can have slightly less resolution if there is more light scatter. 5245 uses the older EXR technology.

Check with the labs directly, or ask Rich Carlson, chief engineer in Kodak's NYC office. Telephone: 212 631-3462 Lab directory: http://www.kodak.com/US/en/motion/industry....4.11&lc=en

Thanks for the heads-up. I've asked the product engineers to look into the discrepancy. For now, they assure me that Kodak VISION2 Color Negative Film 5212 IS the sharpest film as measured by Acutance calculated from the MTF. Even sharper than 5245 (but not quite as low in graininess). One suspect for the discrepancy is that the "MTF Camera" used to expose the MTF targets for testing was changed in the early 1990's after the posted 5248 data was derived, and the old camera may have been miscalibrated. But recent tests exposed on the current camera definitely show the improvement in 5212 over 5248. Better yet, run your own comparative tests, and you'll see the difference.

To find articles about productions using any particular Kodak film stock, just go to the Kodak EI website: http://www.kodak.com/go/motion Use the "Search Cinematography" tool in the lower left with keyword like "320T", 5277, 7277, etc. Simple. B)

David is correct. Use a higher contrast print stock like Kodak VISION Premier 2393: http://www.kodak.com/US/en/motion/products...8.4.5&lc=en Or a proprietary lab "silver retention" process (which will also reduce color saturation).

Bleach bypass: http://www.kodak.com/country/US/en/motion/...sing/skip.shtml http://www.kodak.com/country/US/en/motion/...3/bunkerP.shtml http://www.kodak.com/country/US/en/motion/...rdition2P.shtml http://www.kodak.com/country/US/en/motion/...l2002/ktP.shtml http://www.kodak.com/country/US/en/motion/...diglianiP.shtml http://www.kodak.com/country/US/en/motion/...returnerP.shtml B)

Here are the A-Minima loads: http://www.kodak.com/US/en/motion/products....4.12&lc=en I agree, use slower films when you have the light. B)

All four Kodak VISION2 Color Negative Films are here: B) http://www.kodak.com/US/en/motion/products...4.4.4&lc=en

Not all great ideas become commercial products. :D Use it as a 500T film, and it should transfer well on telecine. Not intended for printing. Glad the results were so good, but that was expected. B)

Here's the information on storage of raw stock: http://www.kodak.com/US/en/motion/support/.../storage1.shtml Reduced temperature is certainly recommended if storing film more than a few days.

When it comes to image quality, "Size Does Matter". So any format that increases the image area on the film should produce a sharper image, with less graininess. The implementation of a new 16mm format is up to the camera manufacturers, the labs, and the users, not Kodak. Any new format must take into account the well-established SMPTE standards for film dimensions, printed image area, projected image area, scanned area, edgeprinting, etc. As others have mentioned, Super-16 has become the preferred format today, with very well established infrastructure within the industry: http://www.kodak.com/US/en/motion/16mm/index.jhtml Kodak Entertainment Imaging (Motion Picture) had one of the best years ever last year, with record volumes of film being sold. Most of the stuff you see in the press relates to the changing business in consumer photography, with fast growing FILM markets in China, India and Latin America, and the need to provide new consumer digital imaging technology in more developed countries. As far as "downsizing", here is a recent letter from Kodak EI President Eric Rodli to our customers: ____________________________________________________________________ January 22, 2004 Dear Kodak motion picture customer: This week you may have heard some updates on Kodak's new business strategy, as well as plans to lower our cost structure. The structural changes announced are not a reaction to temporary earnings or business pressures. In the consumer world, the digital reality is now, and Kodak has no choice but to adapt to the digital model, which is characterized by faster growth, tighter profit margins, aggressive pricing and swift product turnover. Please do not interpret this as Kodak 'abandoning' film. Refocusing our R&D investments applies primarily to our consumer and medical imaging businesses, where the demand for digital imaging products and services is growing rapidly. Reducing costs in these areas also allows for Entertainment Imaging to continue its efforts to deliver the best film products - and best value possible to our motion picture customers. Entertainment is still a film business, and film will remain an important part of the imaging chain into the foreseeable future. The success of our VISION2 product proves motion picture film's continued viability in the marketplace, and justifies future investment in silver halide. Nothing approaches film for its quality, resolution, dynamic range, flexibility and archivability. At the same time, EI is expanding its digital participation, and we are making selective and strategically important investments to do that. One such investment is the acquisition of postproduction company Laser Pacific. This broadens our participation in the TV post arena, and brings exciting new digital/hybrid competencies to Kodak. We believe that, in our industry, digital solutions make the most sense in the post production arena?so that's where you'll see the majority of our digital participation in the short term. And this includes our silver halide investments, which are incorporating a full systems approach for more flexibility in post. We're working hard to supply you with the technology for what we foresee as a film/digital hybrid world. As such, within Entertainment Imaging, Kodak?s commitment to and investment in film continues. In fact, we continue to dedicate over 70% of our motion picture R&D budget to film technology. Additional announcements later in the year will attest to that fact. Know that we remain passionate about film building. We are committed to all our customers in the creative community and to developing a full range of tools and services to help bring your vision to the screen, more faithfully, efficiently, and at the highest levels of quality. Sincerely, Eric Rodli Eric Rodli, President Entertainment Imaging Senior Vice President Eastman Kodak

Filters: http://www.kodak.com/US/en/motion/support/h2/index_fi.shtml

Lots of great films that depict that era too: http://www.kodak.com/country/US/en/motion/.../oBrother.shtml http://www.kodak.com/country/US/en/motion/...rdition2P.shtml http://www.kodak.com/country/US/en/motion/...eabiscuit.shtml http://www.kodak.com/country/US/en/motion/...ndtalkers.shtml http://www.kodak.com/country/US/en/motion/...charlotte.shtml http://www.kodak.com/country/US/en/motion/.../artCraft.shtml http://www.kodak.com/country/US/en/motion/...rliesWarP.shtml http://www.kodak.com/country/US/en/motion/...rliesWarP.shtml http://www.kodak.com/country/US/en/motion/...h/garland.shtml

The Kodak and ACVL websites have lots of good information about printing and color timing: http://www.kodak.com/US/en/motion/support/h1/dealing.shtml http://www.kodak.com/US/en/motion/support/h61/ http://www.kodak.com/US/en/motion/support/h2/ http://www.kodak.com/US/en/motion/students...0.1.4.9.6&lc=en http://www.acvl.org/manual.htm

I agree with David that working with your lab to test the "look" of the various print options is best. For a muted color palette, yet rich blacks, you may find a "silver retention" print process gives the look you want. Here are the Kodak VISION Print Films: http://www.kodak.com/US/en/motion/products/lab/2383.shtml http://www.kodak.com/US/en/motion/products/lab/2393.shtml http://www.kodak.com/US/en/motion/products/lab/h12395t.shtml And information about "silver retention" processes: http://www.kodak.com/country/US/en/motion/...sing/skip.shtml

Eliminating the bleach step in a B&W reversal process will leave ALL the silver in the film, in other words, no image --- the film will come out of the process BLACK. :wacko: Here is the process sequence: http://www.kodak.com/US/plugins/acrobat/en...h2415/h2415.pdf http://www.kodak.com/US/plugins/acrobat/en...ssing/H-661.pdf If you are not familiar with safe chemical handling, weighing, and mixing, better and safer to buy the prepackaged chemicals. And read and follow all the safety instructions.

I agree that you should not expect something shot and edited the way you describe to look like a "feature film" when transferred back to a VCR with composite analog video. You are starting out with a fairly low resolution image with limited dynamic range, using a recording system with significant data compression, possibly converting between different types of digital encoding/compression, and then trying to play it using an analog video format that has seen better days. :unsure:

I'm a "technical guy", and rarely get into the "marketing" aspects of film choice. But David Mullen's discussion with Eric Rodli and others in Kodak's Entertainment Marketing area certainly can influence decisions about how Kodak can best meet customer needs. It's not only "what is in the can" that matters, but the service and support Kodak provides to its customers. And yes, I really think Kodak products are the best. :) I've personally helped develop many of them. B)

I answered in your cross-posting. Most telecines can handle both negative and reversal images.

Most colorists should be able to get a very good image from a B&W film, whether reversal (positive) or negative. Generally, the lower contrast image of a negative or interpositive is easier for the telecine to handle than a projection-contrast print or reversal original.

Here is one issue: http://members.cox.net/12on12off/ http://www.theasc.com/cgibin/store/acsstor...atalogno=22400x

As others have said, you can economize by considering Super-16 origination, using recans and short-ends (some risk if they are outdated or improperly stored), finding a lab willing to support lower budget filmmakers (you may need to work with them off-hours, and won't get the "ace" timer or colorist), etc. http://www.kodak.com/US/en/motion/16mm/index.jhtml

The Kodak Student Filmmakers website has lots of information: http://www.kodak.com/US/en/motion/students...ml?id=0.1&lc=en

Here's a link to Kodak EI Worldwide Sales offices, including the one in Israel: http://www.kodak.com/US/en/motion/order/of...s2.shtml#israel http://www.kodak.com/US/en/motion/order/of...1.4.5&lc=en Here are country-specific Kodak websites: http://www.kodak.com/US/en/motion/about/pm....4.11&lc=en B)

Ultra-16 format: http://www.cameraspro.com/super16.html http://www.tfgtransfer.com/home.htm http://tig.colorist.org/pipermail/tig/2003...ber/003824.html