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Fuji's 4th Layer Technology


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And I assume Eterna stocks are even more pasted and softer than vision2 line?

 

 

hey you should just buy one roll of Reala and see for yourself! Its really worth it! Next week I'll post up some uncompressed grabs from my shoot plus a little .mov!

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Fuji has release the 250D in Reala now. I've never used Fuji, but I just ordered the F-64D, Reala 250D and Reala 500D for testing.

 

My favorite stock for normal outdoor right now is Kodak's Vision2 50D. I'm happy with the saturation and the range, it doesn't seem overly "pastel" to me, but so much depends on the transfer its tough for me to critically anaylize. Curious to see how the Fuji stacks up though.

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The Eterna line-up is more pastel than the older Super-F-Series, just as the Vision-2 line-up is more pastel than the older Vision series. Neither of them make a saturated color negative stock anymore, unless you count the fact that some of the Vision stocks are still available, like 5279. Fuji's F-64D stock is still availabe, as is F-125T, and both are more contrasty and saturated than the new Eterna stocks, but they will eventually be replaced by their Eterna counterpart.

 

How much of the saturation and contrast is determined by processing practices, as opposed to film stock?

 

Obviously, given comparable processing, different stocks will have different characteristics.

 

But is it feasible to alter the processing of a stock to achieve significantly more saturation and/or contrast?

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All you can do with saturation in processing is lose it. I don't know about ECN2, but in E6 and C41 an overused developer can reduce saturation is some films, as well as give you a color cast. Also a lousy bleach can reduce saturation too. (sometimes done on purpuse)

As as for contrast, naturally, overdeveloped film will have more contrast.

 

So, really, if you get more saturation in one lab then you got in your previous lab , that means your previous lab was not doing a good job. But you can't get more saturation than you'd get if you had a fresh soupe specially for that roll (which is the ideal condition).

 

Printing is another story of course, but I was talking about the negative itself.

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Motion picture color negative processing (ECN-2) is pretty standardized, plus the stocks have been designed to take some degree of mis-developing (which is why they don't respond to push-processing as well as they used to, in terms of causing an increase in contrast.)

 

So results are pretty standard in terms of contrast / saturation, although I used to notice that some lab's workprints were "snappier" than others, like FotoKem's stuff always seemed more contrasty to me than Technicolor's -- perhaps they are using a higher temperature for the bath and processing it faster, I don't know. But this was years ago and I haven't really noticed anything lately. And I don't know if this was a difference in negative processing or print processing. Or print stock -- FotoKem used to always use Agfa for printing unless you asked for Kodak. I know that Agfa print stock has more contrast than Vision 2383.

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Do they still make print stock (AGFA)?

 

I've never really seen an Agfa print that I know of (maybe I did but wasn't aware), how does it look like? How are the colors? I never liked papers, hope their cinema print stock is better than their paper emulsions.

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