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greg quinn

Double-x 7222 B&W film - problems from lack of rem-jet backing?

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I've seen some comments to the effect that because 7222 (or other B&W films) has no rem-jet backing (why, Kodak, why?) it has halo problems in some cameras like the SR3 because of reflections from the reflective gate backing plate. How to avoid? Best camera for using 7222?

Thanks

Greg

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B&W processing doesn't allow a rem-jet backing.

The best you can do it to have a matte black film pressure plate in the camera. Bolex is fine; Aaton and Arri have shiny chrome and may reflect overexposed light back into the emulsion from behind. You can check this by removing the lens, with no film in the camera and looking at the pressure plate while the camera is running.

You will see circular flare around highlights, for example a car headlights at night. This is light penetrating the emulsion and being reflected back off the base back into the emulsion. On certain cameras with shiny chrome on the pressure plate, you will see a pattern on the negative that matches the shiny bars on the pressure plate.

If you keep the exposure to the low end you will avoid this problem except for the circular halo on point highlights.

If your printing lights are from 18 to 22 or so, it is unlikely to pose a problem. The gray base acts as a anti-halo layer.

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B&W processing doesn't allow a rem-jet backing.

The best you can do it to have a matte black film pressure plate in the camera. Bolex is fine; Aaton and Arri have shiny chrome and may reflect overexposed light back into the emulsion from behind. You can check this by removing the lens, with no film in the camera and looking at the pressure plate while the camera is running.

You will see circular flare around highlights, for example a car headlights at night. This is light penetrating the emulsion and being reflected back off the base back into the emulsion. On certain cameras with shiny chrome on the pressure plate, you will see a pattern on the negative that matches the shiny bars on the pressure plate.

If you keep the exposure to the low end you will avoid this problem except for the circular halo on point highlights.

If your printing lights are from 18 to 22 or so, it is unlikely to pose a problem. The gray base acts as a anti-halo layer.

 

I'm no expert, just picking this up - my understanding is that double-X 7222 has a pretty narrow exposure latitude anyway. I don't recall seeing halo'ing in CLERKS, that was shot on an SR1 I believe with Double-X. I'd planned to shoot on an SR3 or perhaps something newer.

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I've seen some comments to the effect that because 7222 (or other B&W films) has no rem-jet backing (why, Kodak, why?) it has halo problems in some cameras like the SR3 because of reflections from the reflective gate backing plate.

 

No, why, stupid camera maker, why? In this case I am protecting EKC. A pressure plate has to be dark.

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You will always have circular halo about strong overexposed highlights like car headlights in a night shot. This is entirely internal reflection in the baselayer of the film stock, unrelated to the camera.

The other type of halo is the reflection off the chrome bars on the film pressure plate back into the emulsion, exposing from the back, these will only be visible on an even background with overexposure.

The first type could be considered 'artistic' but certainly not the second type.

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