John Pytlak RIP
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Posts posted by John Pytlak RIP
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Kodak has some excellent on-line publications about printing and the LAD system I developed:
http://www.kodak.com/US/en/motion/support/h1/h1_pdfs.shtml
http://www.kodak.com/US/en/motion/support/...5.8.6&lc=en
http://www.kodak.com/US/plugins/acrobat/en...ort/h61/h61.pdf
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Doesn't the 7218 have a good 4 stops of latitude before it falls apart anyway?
You should be fine my friend. As long as their faces were meant to be over exposed it should hold up ok.
Good luck.
Jamie McIntyre.
Although 7218 with three stops of overexposure will capture the image information, the processed negative may be so dense that it will be more difficult to print or transfer at the "normal" lab setup. Also, some telecines will have increased noise level with very dense negatives.
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I thought so too, it's actually not ME-4 (as it does not require prehardening), it uses a soviet technology that is similar to e6 but at lower temperature, I think i'll shoot 15m or so and ask a lab to try. Does anyone know if you ask a lab to cross process reversal stock, do they skip the rem-jet removal? Many thanks!
If there is any question at all that a film has proper forehardening technology to survive a modern high temperature process, NEVER just send it to a lab for processing. The physical integrity of gelatin emulsion can also be adversely affected by age. And even if a film "survives" going though the machine without the emulsion falling off, you could have issues of reticulation.
ALWAYS let your lab know exactly what they are processing.
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If you want to shoot color negative film, push processing is also an easy way to increase contrast and maintain lots of color saturation. Fine-grained slower films won't get much grainier if push processed.
Yes, for 35mm release prints, consider Kodak VISION Premier Color Print film 2393 to get higher contrast and more saturation.
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Here's what I wrote about 65mm production and 70mm prints almost ten years ago:
http://www.kodak.com/US/plugins/acrobat/en...ytlak/70mm1.pdf
http://www.kodak.com/US/plugins/acrobat/en...ytlak/70mm2.pdf
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I agree, the film is probably fine. But after years of storage, I would still advise running a short test before shooting anything critical. My biggest concern would be physical issues like ferrotyping or ice crystals, if there were excess moisture in the cans during freeze/thaw cycling.
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ISO (International Standards Organization) has set standards for chemicals to be considered photographic grade quality. Photographic grade is different then regular grading, certain small impurities can make a big different such as metals like iron in the developer. I am not familiar with NZ standards but for important work, make sure that whatever chemical you buy meets the ISO standard.
Yes, "Photographic Grade" is the most appropriate guide.
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Temperature has probably the greatest effect on how fast raw stock deteriorates with age. The cooler, the better. In most cases, refrigeration (less than 10 degrees Celsius) is more than adequate to give years of shelf life, so freezing is usually not necessary. Freezing and thawing has its own set of risks, such as the formation of ice crystals inside the roll, so I usually recommend only refrigeration.
Ambient radiation (e.g., gamma rays, cosmic rays) causes fogging, regardless of storage temperature. Things like local sources of radiation, elevation, and latitude can effect the level of radiation, so don't store your film on a mountaintop or near a uranium mine or radiactive waste dump. ;)
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Thanks to everyone who participated! And thank you so much, John Pytlak, for being who you are.
We got over 200 responses. They filled three 30"x40" posters, mounted on boards. Those boards were shipped yesterday to John, and were delivered this morning at 10:16am, Eastern.
You can view a PDF file of what we sent.
Thanks, everyone.
My family and I am overwhelmed with the hundreds of good wishes and memories that John Hawkinson was able to gather from my friends on the Internet. Today, a large DHL package arrived on our doorstep. It contained three large mounted posters with kind words and photos from friends on Cinematography.com and other Internet groups that I participate on.
This unexpected surprise brought great happiness and comfort to me and my family, knowing that we are not alone in our current struggle, and that the times that I have been able to help someone on the Internet are long appreciated. Even beyond the contributions to the wonderful posters, the personal notes, cards, and even gifts from my friends here on Cinematography.com and other groups have been very thoughtful.
Thanks to you all. Again, keep us in your thoughts and prayers.
John Pytlak
Eastman Kodak Company
175 Hillrise Drive
Penfield, New York USA 14526-1648
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When spooling your own, pay particular attention to cleanliness, careful winding to avoid scratching, and static. Wind slowly and smoothly, and electrically ground your rewinds.
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Hi,
I have a can of 7250 (7605 2994 1R) ektachrome video news left after I successfully use another from the same batch for cross processing, so, I just want a bit of info on it, I found on wikipedia that the stock was introduced in 77, but they produced till when? Many thanks!
The information is on the Kodak website:
http://www.kodak.com/US/plugins/acrobat/en...PCN101404_Q.pdf
September 27, 2004Dear Customer:
For a variety of reasons, Eastman Kodak Company will discontinue manufacturing all Eastman
Ektachrome Color Reversal Motion Picture Films (Process VNF) by year-end 2004.
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Unfortunately, my May 16 CAT scan showed at least three areas of blockage caused by the tumors growing along my small intestine. Lately, it is very difficult to get enough water into my system to stay hydrated. IV hydration is a short term-option, but hospice end-of-life care is strongly being suggested.
We gave it our best shot with the Chemo to slow the growth of the tumors. Further surgery (e.g., ostomy) has been ruled out do to the multiple tumors and blockages. So depending on how things go over the next few weeks, this may be my last posting.
I've really enjoyed all the support and good wishes from my friends here on Cinematography.com. It has cheered me during my long illness. I've enjoyed helping Kodak's customers, and discussing the growth and changes in this facinating industry.
Please continue to keep me and my family in your thoughts and prayers.
John
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Why not buy a Birthday Cake and eat it, even if it's no-one's birthday. Always cheers me up. :P
P.S: Found this.
I wish I could eat some cake, but it is not on the "full liquid diet" list.
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Kodak has an online directory of labs worldwide:
http://www.kodak.com/US/en/motion/support/....4.17&lc=en
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Yep i would stick it in freezer.
If the film can was never untaped, freezing will slow the rate of change even more than refrigeration. But if the can had been opened (e.g., short ends), freezing has more risk of having ice crystals form if the film were not properly equilibrated (too humid) before being recanned.
Frankly, for only a few months storage, I would recommend refrigeration.
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I've just survived another two-week round of chemotherapy to slow the tumor growth along my small intestine that are sometimes causing blockage. Chemo is definitely not fun, with extreme fatigue and nausea. But as they say, "no pain, no gain". Should have at least a two week break before the next round, and based on past experience, I should be feeling alot better during the break.
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Good to know -- I was thinking it was just before 9.8mm and 16mm was introduced (in other words, I was guessing!)
There are types of "acetate" film that predate cellulose triacetate, the current base used for motion picture camera films.
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It was suggested to me that if I rephotograph my exposed, processed Super-8 color negative film onto interpositive stock (using an optical printer), I could have a print made of the film. Is this is accurate?
Today, the most cost effective way to "blow up" Super-8 negative would be to do a HD digital transfer, and then a 35mm "film out" onto intermediate film to make the 35mm printing negative. Some labs may still offer Super-8 optical blow ups, but not many.
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I do understand. Except, I can't quite wrap my brain around this.
So I understand that if you underexpose your negative is going be more clear, shadow areas will go totally clear. Are you saying that a totally clear spot in the negative acts much differntly than if there was a little of color to it? If you underexpose your blacks too much pushing in the development won't yeild a whole lot because there is no "information" there to begin with?
Also can you explain gain based fog, or rather what causes it, pretty sure I have seen it me own photos.
Ok, I just can't figure out some of this. If the layers are sensitve to RGB, why is a negative created. As I think about your post further you state that "on processing" the layers form CMY. So its not negative until the correct chemicals enter the equation? I'm just having trouble grasping this. Why would it be impossible to create yellow?
Thanks a lot for all the responses, I am not getting more confused I am learning a lot, but its one of those things where one question leads to many more.
Kodak has some good tutorials:
http://www.kodak.com/US/en/motion/support/...erationsP.shtml
http://www.kodak.com/US/en/motion/support/....4.15&lc=en
http://www.kodak.com/US/plugins/acrobat/en.../h247/h2407.pdf
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This past week has been greatly cheered by the Easter visit of my daughter and her husband, and our first grandchild Benjamin John, born on January 12. Katie and Ben just flew back to Boston this evening.
Yes, the winter weather can be unpredictable due to "Lake Effect Snow", where cold air flowing over a relatively warm lake picks up moisture, and dumps it when it cools over landfall. Rochester is at about 100-inches of total snow this year, some still this week. East of Lake Ontario, it was well over 15 feet in some locations.
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So E100VS continues to be manufactured by MP Entertainment Imaging even when it is discontinued (and replaced) in the still photography division? I think the designation is E100GX for the replacement, though I don't shoot slides enough to be certain. I'm surprised there is enough demand to make that feasible from a business standpoint.
Oh, and hope you're feeling better. I've seen that your latest round of chemo hasn't gone so great. Hang in there! I honestly don't know what this forum'd do without you Mr. Pytlak.
~Karl
AFAIK, the E100VS continues as a professional still film:
http://www.kodak.com/global/en/professiona....20.5&lc=en
http://www.kodak.com/global/plugins/acroba...00vs/ppi591.pdf
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Unfortunately, the side-effects from April 3rd's IV chemo have been hard on my body. Very fatigued and lots of cramps.
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If you already own the camera, always best to shoot tests in the format you intend to use, as then you can really judge sharpness and grain. A few feet of each test scene won't use much film.
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I know some DP's don't bother to correct tungsten balanced film with 85 filtration but rather, they just let a colorist correct out the blue in telecine.
Has anyone ever noticed any color crossover when not correcting with 85 filtration and allowing the correction to take place in telecine?
Usually best to use the correction filter, especially if you are off in overall exposure, which could produce a contrast mismatch.
Agfa's 35mm motion film (Agfa Print CP 30), is it good?
in Film Stocks & Processing
Posted
Right now, ALL Kodak professional motion-picture films are manufactured in the United States, and all are sensitized on Rochester's most state-of-the-art machines. Some still film products may be sourced out of China. Kodak continues to invest millions of R&D dollars per year in new and improved motion picture (Entertainment Imaging) FILM products.