John Pytlak RIP

Most labs use electrolytic silver recovery, where the silver plates out onto a cathode. Here is a link to Kodak's environmental information, including silver recovery: http://www.kodak.com/eknec/PageQuerier.jht...pq-locale=en_US http://www.kodak.com/eknec/PageQuerier.jht...pq-locale=en_US Silver is a valuable resource that should NOT just go down the drain, even from a small lab operation.

The color temperature of xenon and carbon arc are similar (near 5400K), and most differences are due to the dichroic heat filters used in the lamphouse. Today, xenon lamphouses tend to be a bit higher in color temperature (near 6000K average) and a bit on the green side of the black body locus. In practice, the slight differences do NOT usually require a change in the print balance. Many still favor the color quality of carbon arc, as it tends to have a spectrum that is a bit smoother and less "spikey" than xenon, but the vast majority of modern theatres use xenon lamps.

Deja vu. Don't double post.

Kodak has good tutorials on its website: http://www.kodak.com/US/en/motion/support/h1/structure.shtml http://www.kodak.com/US/en/motion/support/h1/

If you contact any of the Kodak sales offices in India, they will help you locate a good local lab: INDIA Kodak India Private Limited 2nd Floor, Kalpataru Synery Off Western Express Highway, opp. Grand Hyatt Vakola Sanacruz (East), Mumbai - 400 055 Phone: 91-22 - 66416762 / 91-22-66416768 Fax: 91-22-66416769 Bangalore Ananth A. Padmanabha Kodak India Private Limited, Survey No 63 / 9 , Doddarthogur Village, behind Birla 3M factory Electronic City, Hosur Road, Bangalore, Tel No:91-98860 08642 Email : anantha.padmanabha@kodak.com http://wwwin.kodak.com/IN/en/motion/about/region.jhtml Prasad has a lab in Bangalore: Prasad Film Laboratories 77, Industrial Suburb II Stage Bangalore Tumkur Road Bangalore 560022 91 80 337 9916 / 91 80 337 9926 phone update lab info http://wwwin.kodak.com/cgi-bin/US/en/motio.../labLocator.cgi

Just got out after a week in the hospital for a partial intestinal blockage. Now on a full liquid diet -- no solid foods. Hopefully, the chemo will help open up the intestine again soon.

Have your clip test done by your lab, in a controlled process. For critical work, you may want to process some footage of a scene to look at graininess and non-uniformity too. An EI500 film will usually be compromised by a year at room temperature.

The Versamat machines are not the best choice for processing B&W camera films -- the do not have good agitation, and so lower contrast camera films have poor uniformity in them. Mostly were used for high contrast microfilms, mattes, titles, and sound negatives.

Had a brief setback last week, and spend four more days in the hospital. The 10-inch long incision from my November 14 surgery had gotten infected underneath (subcutaneous hematoma), and required drainage and a few days of IV antibiotics to stop the infection (102F fever). I'm back home again, but have two deep open wounds that need twice-daily treatment.

The KODAK VISION2 Color Negative Films have tremendous overexposure latitude, and should hold detail in the highlights even with a stop or two of overexposure.

A reversal film like KODACHROME film has MUCH less latitude than color negative film. So shooting without the proper color correction filter will be much harder to correct during printing or telecine.

When loading spools in subdued light, it is very common for the ends of the film to be fogged, imaging the perforations. If you want to avoid any chance of fogging, load and unload in a changing bag or darkroom. A makeshift changing bag can be made by zipping up a leather jacket, and taping the seams with opaque tape. Reach in through the arms to load the camera inside the zipped jacket.

I had a brief setback, and spent three days in the hospital last week. Had some severe cramping which could have been an intestinal obstruction, but it was just an after-effect of the surgery I had on November 14. I'm back home again, and just started my chemotherapy, which hopefully will be effective in slowing down the cancer. The list of chemotherapy side-effects is scary, but hopefully they will be mild for me. :)

Again, thanks for all the prayers and good wishes. :) I'm recoving well from the surgery, and see my oncologist tomorrow (November 29) to discuss chemotherapy options to hopefully slow down the growth and spread of the tumors. Keep those prayers and good thoughts coming, as they really help keep my spirits up, and may help the chemo be more effective.

A "push" ECN-2 process will generally increase the contrast and color saturation of the image, along with an increase in graininess. The Kodak VISION2 color negative films have enough latitude to be able to overexpose by a stop or so, and still be able to print/transfer a "push-1" processed image. Slight overexposure increases shadow detail, and increased the density ("blackness") of the blacks.

I got home from the hospital yesterday, after my surgery on November 14. The news was not good, as the surgeon found that the cancer had spread from the appendix region into the small intestine and abdominal wall, such that it could not be removed surgically. After I heal from the exploratory surgery (10-inch long incision), they can begin chemotherapy to hopefully slow down the growth and spread of the tumors. I have an appointment with my oncologist to discuss and perhaps begin chemotherapy on November 29. Cancers of the appendix are very rare and hard to find, as they usually start to grow outside the intestines, so they are not usually found early with routine colonoscopy exams. I had a colonscopy two years ago that was completely "clear". Again, your kind thoughts and prayers have certainly helped emotionally, even if they were unable to change the diagnosis. Please keep them coming!

Definitely do NOT send the film as CHECKED baggage -- it almost certainly will be severely fogged by the powerful scanning type x-ray machines used for checked baggage. Any baggage or package put in the belly of a PASSENGER plane could be x-rayed, no matter how it is labeled or shipped, and this includes the airline "will call" package services. Even the lower power CARRY-ON baggage inspection machines may cause some fogging, especially with higher speed films and multiple passes. As Phil notes, any fog on a motion picture film is more visible "in motion". Most countries (e.g., USA TSA guidelines) will allow a hand inspection if you provide the changing bag, and there is time for the security personnel to properly feel inside each can. Most of the commercial air shipping companies (e.g., DHL, FedEx, UPS) have procedures to label and manifest unprocessed film to avoid X-ray inspection, and use other inspection techniques.

Some might have a different opinion. ;)

Actually, a density of 3.22 lets only 1/1660 of the light though -- which is quite black. I suspect the survey you cite includes camera original, and not only DI. A normal or overexposed camera original will usually produce somewhat higher black densities than a print made from DI from the same original, due to the slight flare inherent in the DI process.

You should not expect the black densities in your print to reach the D-Max the print film is capable of. A black density of 3.22 on 2383 is within the range that might be expected for a normal negative. Although not completely opaque, it only lets less than 1/1000 of the light through the print. If you want a "blacker" black, you can try increasing the exposure of the DI, so that it prints at higher printer lights. Or you can print onto 2393, which has higher upper scale contrast and a much higher D-Max.

Yes. 100-foot spools are available. Here is the on-line catalog listing: B) http://www.kodak.com/US/plugins/acrobat/en...cameraFilms.pdf http://www.kodak.com/US/en/motion/products...1.6.6&lc=en

Processing prices are set by the lab. The E-6 reversal process is a bit more complex to control. Often, smaller volume processes are more labor intensive, and so may cost more to run.

For telecine transfer, the KODACHROME film will have a very different "look", with less latitude and harsher color reproduction. This is sometimes desired to set those scene apart from the ones shot on a modern color negative film. Be careful to control the contrast outdoors, or the KODACHROME film will not hold the shadows well in the transfer.

When using a DI, the final images may not seem to have as much "snap", or have a truly opaque black in the final prints, mostly due to flare in the optical system of the CRT film recorder. Some have found the easy (but slightly more costly) solution is to use Kodak VISION Premier Color Print Film 2393 for the prints. 5201 should have more than sufficient latitude to capture all the image detail that will end up in the final print. If your DI is correctly exposed, the blackest black in the scene will be just visible above the D-Min on the processed negative, and the brightest highlights should still not reach the D-Max that 5201 is capable of. When you consider the flare of the CRT recording system, you certainly will not exceed the straight line portion of a high latitude film like 5201.

Since the Kodak 16mm and 35mm stocks are essentially "cut from the same cloth", their tone scale (contrast) and color reproduction should be similar. Of course the greater magnification required for 16mm will enhance the difference in sharpness and graininess among the various speed stocks. The difference in flare and sharpness among different lenses could affect the testing --- always best to test with the equipment you will actually be using.