Ludwig Hagelstein

of course. Just continued the chain of thought. Have you ever contemplated doing BBP with camera original material?

I`d argue that modern scanners make BBP with camera original material more viable though in a shoot, develop, scan, hybrid workflow - and creatively relevant - than in the past, when either scanners weren't that good or you had to print through too much highlight density with too little shadow density at the same time, resulting in too strong effects.

In case anyone is interested: Here is a pretty much definitive guide on several silver retention techniques. Please note, before you add "but you said partial camera original neg silver retention is impossible": I was referring to actually skipping or shortening the bleach time. ENR, which is resilvering the neg, is possible and controllable. This basically means that after bleaching, which does nothing else than rehalogenize the metallic silver, you can redevelop a tiny amount of that rehalogenized silver before fixing, resulting in a more controllable amount of metallic silver in the negative. cheers https://theasc.com/magazine/nov98/soupdujour/pg3.htm

Partial Bleach Bypass is mostly a myth. If you just dip the film into the bleach for a few seconds, yes, then you will have a set amount of silver retention. The time needs to be extremely short though. Less than 15 seconds. This may introduce uniformity issues though. Not only according to me, but also according to Kodak, 95% of the bleaching action happens in the first 30 seconds of the bleach. With camera original negative, a partial bleach bypass is next to impossible. Current UL ECN-2 kit bleach is super active and holds up very well. If you'd want to run a partial BBP, you'd most likely have to use a modified bleach, or a more diluted ferri bleach at lower temperature. If a lab runs on ECN-Kit chems, no one will even give a thought to it. It is not impossible, but near impossible given the ramifications of day to day lab operation. Very hard to do on scale, and with a self set aim. Additionally, bleach bypass as a whole is very proportional to the actual image on the film. If you have a dimly lit night scene you won't notice the bbp at all, while at a bright day scene it will be all the more noticeable.

The images are stunning. Do you have more? Total Eye Candy.

SILBERSALZ in Stuttgart will process the old Fuji material.

But that's a case of color conversion filter + ND, so more than one variable that might mess up a specific color. Then, if the HD-LD spread isn't optimal during processing, things might even get trickier, if its a very very specific color, as these jerseys can be. In my opinion, there's no real reason to shoot 5219 in daylight if you don't need the speed for some reason. I know, preference is powerful, but 5207 has the exact same sensitometric behaviour as 5219, just sensitised for daylight. The toe of the curve is almost congruent to the 5219 toe. But that's just my two cents, curious to hear other opinions.

SILBERSALZ in Stuttgart have 7207 in stock. Just give them a call or mail.

Old film film is unpredictable though, especially really old film. Vision3 is not a big issue though, but expired Vision3 films benefit from prolonged development times since there the incorporated DIR couplers can do their work, prevent overbuildup of highlight density while the longer development gives more time to develop the mids and shadows while ECN-2 CD is restrained enough to not overly build up fog in the toe.

Even if you x-pro it it's not great. Same for modern E-100. You have a day or so to scan, and after two weeks magenta toe fade will have noticeably set in if you don't stabilize the film with formaldehyde.

Indeed I mixed up something here - you are right. They crossed it. Still looks nice - and it`s a regular item in the new pricelist released yesterday. Can't wait to get my hands on it.

Okay this is getting slightly confusing then. I will check again. Might not rule out that I misremember the conversation I had leading me to state it was processed E6.

No, they didn't cross process it. They ran an E6 process for it.

All the silver in ECN and ECP film can be recovered, depending on the efficiency of your silver recovery system, of course...

Essentially ECP is CN stock as well. Yes, you will get a negative. Give it a stop of push. The only real difference between ECN-2 and ECP 2E is the developer activity (simplified) which is a lot higher (using CD2) than that of ECN-2 to yield high DMax in ECP film.

Pushing one stop will actually just give you about 1/3 d stop more sensitivity. If you underexpose one stop, you thus loose 2/3ds of a stop of effective speed.

The format is very important, because they run on different machines and have different capacities.

Hi Margaret, First of all, I'd ask Ruhan or Antonio at Kodak London directly. They know their own process best and can help you make the best decision for your project. The better you communicate with your lab, the better they will be able to help you and advise you. These guys are crucially important in any analog project, even if they only come after the catering in the credits. In general though: Pushing increases contrast, graininess, and decreases sharpness a bit. You get a more visceral look. If your project is intended for big screen viewing, I would be careful as cinema audiences aren't used to grain any more and on the big screen you will have lots of it. If you plan for a small screen release pushing may be perfect to communicate a more film-ish look. Pushing only minimally increase actual photographic speed. For every stop you push, you get about one third of a stop in speed. If you underexpose one stop and push one stop to compensate it, you will effectively lose 2/3 of a stop in film speed. If you want to have a look at really pushed 5222 in motion picture use, view the bw intro sequence of the first Craig Bond, Casino Royale. That has several scenic layers which use different levels of push to tell the story. Cheers, Ludwig

This is very helpful - Thank you!

I know this is a very old Thread, but I am looking for Mark Woods` remarks and can't find anything. Any tips where to look?

German based company SILBERSALZ has created a cinematography award for young filmmakers who want to shoot on 35mm film: The prize includes: 10 x 122M 35MM KODAK VISION3 10 x FILM CARTRIDGES SILBERSALZ35 ECN2 DEVELOPMENT INCL. SPECIAL PROCESSES 4K HDR RAW SCANNING 35MM CAMERA SET FOR 3 SHOOTING DAYS BY VANTAGE LIGHT AND GRIP GEAR FOR 3 SHOOTING DAYS BY MAIER BROS. read more here: https://silbersalz35.com/award

German based company SILBERSALZ has created a cinematography award for young filmmakers who want to shoot on 35mm film: The prize includes: 10 x 122M 35MM KODAK VISION3 10 x FILM CARTRIDGES SILBERSALZ35 ECN2 DEVELOPMENT INCL. SPECIAL PROCESSES 4K HDR RAW SCANNING 35MM CAMERA SET FOR 3 SHOOTING DAYS BY VANTAGE LIGHT AND GRIP GEAR FOR 3 SHOOTING DAYS BY MAIER BROS. read more here: https://silbersalz35.com/award

Hi Matjek, in the unlikely chance the 435 set is still available, I'd be hugely interested.