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KODAK EKTACHROME 100D Color Reversal Film 7285

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Now Available

KODAK EKTACHROME 100D Color Reversal Film / 7285 (16mm)

 

http://www.kodak.com/US/plugins/acrobat/en...PCN031304_Q.pdf

 

Now Available

KODAK EKTACHROME 100D Color Reversal Film / 7285

Kodak now offers, KODAK EKTACHROME 100D Color Reversal Film / 7285 in 16 mm format (E-6 process).

In addition to being a true 100-speed color reversal motion picture film designed for daylight, whether you?re

shooting ads, music videos, documentaries, television, or features, it delivers intensely saturated color, plus a

neutral gray scale and accurate skin tones. All with sharpness you won?t find in any other 100-speed reversal film.

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So which 16mm labs are processing it E6? How many ECN-2 labs will agree to cross-process it?

 

Are there color stability issues with archiving an E6 film that has been cross-processed using ECN-2 or was that just a problem with the old VNF films being cross-processed?

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So far, Yale Labs has processed 16mm E-6 motion picture film. I would expect some of the other labs offering E-6 will come on board soon if their machines are convertable between 16mm and 35mm (i.e., tendency drive rather than sprocket drive):

 

http://www.kodak.com/US/en/motion/products...4.6.4.6.4&lc=en

 

http://www.kodak.com/US/en/motion/products....4.8&lc=en#faq7

 

Labs offering ECN-2 processing usually offer cross-processing of reversal films, but may limit quantities so as not to risk changing the process sensitometry with different seasoning "byproducts" that come out of the film during processing. As with VNF films, the E-6 films generally need a stabilizer, and will show some fading when cross processed in a process like ECN-2 that does not have a stabilizer like formalin:

 

http://www.kodak.com/global/en/service/tib/tib5200.shtml

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Excellent news that this is now available in 16mm :D

 

I am very tempted to order some of this on Monday to give it a test.

 

I want to make a short very soon and was intending to go negative, but I like the sound of the very saturated colours.

 

This may sound like a stupid question, but if I originated on this reversal stock, is it is possible to make a print direct from the camera original? or do I need to go internegative and then print?

 

I ask this because I would really like to present the short on film rather than on tape and then digitally projected, and what I am getting at is whether or not I am going to save money as well as enjoy the saturated colours? :)

 

Thanks for any help,

 

Matt

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Well, I was going to say that you can make a 16mm color reversal print off of a color reversal original by using Ektachrome 7399, but I see that Kodak plans on obsoleting it soon.

 

I guess you could just print Ektachrome 100D onto Ektachrome 100D, thereby doubling your contrast, assuming you can get it in A-wind for printing. John?

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Unfortunately, the films for the VNF-1 and RVNP processes will be discontinued:

 

http://www.kodak.com/US/plugins/acrobat/en...PCN040804_Q.pdf

 

Using 7285 as a print film would be feasible, but the contrast would need to be reduced, perhaps by flashing. It will be supplied B-wind, and so would need to be rewound for printing.

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Thanks for the response to my questions.

 

I am just trying to think of the most economic way of presenting a short film on film, rather than a digital projection a I feel this can really spoil a lot of hard work - I know that there are are some reasonable digital projectors around, but you don't know what you are going to get lumbered with at festivals!

 

I suppose the in the end the most economical way is going to be to shoot negative, telecine, EDL and cut my own negative. I am only talking about a film of around 10 minutes.

 

Does anyone have any thoughts?

 

Cheers

Matt

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If you really want to shoot 16mm reversal original and make contact prints, the best way would be to make an internegative, then make release prints from that. Especially if you intend to have an analog optical soundtrack:

 

http://www.acvl.org/manual.htm

 

If you shoot 16mm negative, consider having a professional negative cutter conform it to your workprint or EDL, rather than trying to do it yourself, to avoid pitfalls like dirt from poor handling, and miscuts.

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Thanks for that John. So basically, the procedure would be:

 

shoot the colour reversal, make an internegative, use the camera original as a work print, and then cut the interneg when I have decided on my final cut and then make an answer print, adding my analogue sound at that point which I have already mixed with reference to my work print.

 

This seems to make sense to me :) Have I got the right idea?

 

Many thanks

Matt

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I would make either a reversal workprint (if 7399 is still available) or a "dirty dupe" for the workprint that you edit, conform/cut the camera original, then make the timed internegative and release prints.

 

If you make a mistake or change your mind in editing film, you want to make it with a workprint, not the original. Workflow is outlined in the ACVL manual that I provided the link for.

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Can I obtain this stock on 100' spools and if not has any one wound their own on daylight reels?

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Is it possible to give small snips of this film to "dip-dunk" places for processing or does it have remjet backing to be washed off that my dip-dunk place would not be too happy about?

 

Is it true E-6 or special E-6?

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A quick search on youtube with "100 D kodak" turned up a few more. Some of them were cross processed I think, so keep that in mind. You may be looking at a cheap video transfer further worsened by youtube compression, but maybe you can learn a little about the look. Try a search on Vimeo.com with various keywords. It will be slightly better looking than youtube.

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