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#11
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Variable Density Greyscale Film for audio
Scott Dorsey asks:
2234 is SLOW. Grain structure is good, and the gamma is very low but easily controlled. What's the approximate ASA or photorecording sensitivity on that stuff? It's got to be insane. Less than 5366 even. At 60 gamma, 5234/2234 has an ASA of between 5 and 10 tungsten, depending on the exact mixture and temperature of the chemistry. |
#12
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Variable Density Greyscale Film for audio
Scott Dorsey wrote: Which ones, out of curiosity? Not sure who still does b/w VD, but Triage and John E. Allen are the last that I can think of that do excellent density tracks on color stock. J. Theakston |
#13
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Variable Density Greyscale Film for audio
In article , EarlyFilm wrote:
Scott Dorsey asks: 2234 is SLOW. Grain structure is good, and the gamma is very low but easily controlled. What's the approximate ASA or photorecording sensitivity on that stuff? It's got to be insane. Less than 5366 even. At 60 gamma, 5234/2234 has an ASA of between 5 and 10 tungsten, depending on the exact mixture and temperature of the chemistry. And I should expect to gain about half a stop if I run it through the reversal machine, I hope. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#14
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Variable Density Greyscale Film for audio
Scott Dorsey asks: 2234 is SLOW. Grain structure is good, and the gamma is very low but easily controlled. What's the approximate ASA or photorecording sensitivity on that stuff? It's got to be insane. Less than 5366 even. Early film replied: At 60 gamma, 5234/2234 has an ASA of between 5 and 10 tungsten, depending on the exact mixture and temperature of the chemistry. Scott states: And I should expect to gain about half a stop if I run it through the reversal machine, I hope. Scott, If you plan on printing it, a reversal "negative" will sound like crap. If you project the original, it might sound OK but all direct recording that I've heard sounds greatly inferior to properly exposed negative-to-positive track. Where, may I ask, will you get it processed reversal since the EPA has come down on the chemicals formerly used? It has been 25 years since I reversed any 7234 and I don't remember the speed shift, just that it was a pain in the arse to get consistent results -- and that was for picture use. When you are making a burn matt and a holdback matt at the same time, if you screw either one up, you must do both over again to achieve perfect alignment. I only used 7234 D/N stock when the job forced me to use a panchromatic stock for the matts. (The specialty stocks used for 35mm matts were not made in 16mm. For matts, I preferred to use either sound recording stock or 7366 finegrain stock, both of which are ortho.) Earl. |
#15
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Variable Density Greyscale Film for audio
In article , EarlyFilm wrote:
Scott, If you plan on printing it, a reversal "negative" will sound like crap. If you project the original, it might sound OK but all direct recording that I've heard sounds greatly inferior to properly exposed negative-to-positive track. That makes sense, although it allows me to save a step. Where, may I ask, will you get it processed reversal since the EPA has come down on the chemicals formerly used? I get it done at A-1 in Manhattan. Kodak basically dropped the old reversal chemistry and replaced the bleach with one that is less environmentally nasty but more corrosive. They then replaced Tri-X and Plus-X reversal last year with finer-grain versions that are tuned for use with the new chemistry. The stuff looks good. I have been running variable area tracks on 7378 through the reversal chemistry and getting pretty decent results. Cross-modulation tests come out with similar numbers as the negative, and of course you can make prints from reversal originals without an intermediate. It has been 25 years since I reversed any 7234 and I don't remember the speed shift, just that it was a pain in the arse to get consistent results -- and that was for picture use. When you are making a burn matt and a holdback matt at the same time, if you screw either one up, you must do both over again to achieve perfect alignment. I only used 7234 D/N stock when the job forced me to use a panchromatic stock for the matts. (The specialty stocks used for 35mm matts were not made in 16mm. For matts, I preferred to use either sound recording stock or 7366 finegrain stock, both of which are ortho.) The modern 7378 sound recording stock is WAY higher contrast and finer grain than the pre-EXR stock from a decade ago. It's made that sort of work a good bit easier. A short film that I shot mostly on 7366 which was processed in reversal by A-1 can be seen this week at http://www.countgore.com/NewBlood.htm. Note that the transfer was done by pointing a video camera at the flatbed and you're listening to the optical track, so don't expect the best possible quality.... --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#16
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Variable Density Greyscale Film for audio
Scott Dorsey wrote:
I have been running variable area tracks on 7378 through the reversal chemistry and getting pretty decent results. VA tracks don't mush up as fast as VD in direct positive. A short film that I shot mostly on 7366 which was processed in reversal by A-1 can be seen this week at http://www.countgore.com/NewBlood.htm. Note that the transfer was done by pointing a video camera at the flatbed and you're listening to the optical track, so don't expect the best possible quality.... Scott, You shot a flame on extremely slow ortho finegrain master positive stock which you had reversal processed????? I'm impressed, but how and why? Flames are hard enough to shoot and make look good with the faster stocks intended for camera. Estar base 3366 might be OK for projection, but the acetate base 7366 stock tends to warp and/or cup under the heat of the projection lamp. A few years ago, the base in 7302 and 7366 were slightly different in chemistry and only the print stock resisted heat warp. I assume, but am not sure, if this is still the case. Earl. |
#17
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Variable Density Greyscale Film for audio
In article , EarlyFilm wrote:
Scott Dorsey wrote: A short film that I shot mostly on 7366 which was processed in reversal by A-1 can be seen this week at http://www.countgore.com/NewBlood.htm. Note that the transfer was done by pointing a video camera at the flatbed and you're listening to the optical track, so don't expect the best possible quality.... You shot a flame on extremely slow ortho finegrain master positive stock which you had reversal processed????? I'm impressed, but how and why? Because I had a couple cans of it lying around that were going to be pitched and I thought I'd put it in the camera and see what happens. I shot a test , then I shot some more stuff, and next thing I knew I had most of a short movie. Some of the indoor stuff was done on 7207 Tri-X RP film, which was an RAR film for rapid processing. Also sitting in the lab junk closet for years. You can see it has occasional splotches on it from condensation due to the cans not being very well-sealed. Flames are hard enough to shoot and make look good with the faster stocks intended for camera. The color section with the flames was shot on 7239 that was about fifteen years out of date. That section actually has a dye soundtrack (printed from a 7378 master sound positive that was run through the reversal machine), and the sound level is about 12 dB lower than the B&W sections that were printed on standard B&W reversal print stock. I cranked it up in the transfer which is why the noise level is so much higher. Estar base 3366 might be OK for projection, but the acetate base 7366 stock tends to warp and/or cup under the heat of the projection lamp. A few years ago, the base in 7302 and 7366 were slightly different in chemistry and only the print stock resisted heat warp. I assume, but am not sure, if this is still the case. It would be interesting to see. The standard B&W reversal print stock has been discontinued as part of the new chemistry, and I have been playing around trying the various other stocks for printing reversal originals in the past six months. 7366 is okay but the gamma is a little high... but to be honest I did not try particularly heavy runs through projectors to see how rugged it would be. 7302 is way, way too high gamma. Even if I preflash and pull back a stop, 7302 in the reversal machine gives me a gamma greater than .70. It's a shame since we have a fridge full of 7302 around here that's getting older every day. What is REALLY weird is that I recently got a TV print that had been made on 7340. And... it actually had a decent D-max and some detail in the shadows! It wasn't wonderful, but it was entirely acceptable and I am really curious how they managed that. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#18
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Variable Density Greyscale Film for audio
Scott Dorsey wrote: peterh5322 wrote: On 2006-09-20 20:27:41 -0700, "Radium" said: I would not be surprised if there are some folks with the WECO and RCA sound cameras that still had a VD mode to them. Quite honestly, if you just stick a diffuser behind the slit, you get VD. That's funny--I thought one got VD from toilet seats...I'll have to tell my mom, she obviously had it wrong! |
#19
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Variable Density Greyscale Film for audio
Scott Dorsey wrote: In article , EarlyFilm wrote: Scott Dorsey asks: 2234 is SLOW. Grain structure is good, and the gamma is very low but easily controlled. What's the approximate ASA or photorecording sensitivity on that stuff? It's got to be insane. Less than 5366 even. At 60 gamma, 5234/2234 has an ASA of between 5 and 10 tungsten, depending on the exact mixture and temperature of the chemistry. And I should expect to gain about half a stop if I run it through the reversal machine, I hope. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." Forget the reversal or the positive. I prefer to use the original negative film. |
#20
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Variable Density Greyscale Film for audio
Morgan Montague wrote: mono and VD. That bears repeating. Yep. Those 2 are "fidelity" problems. Not for me. I think mono and VD are better in quality. I don't like stereo or VA. But then, "quality" is highly subjective. One's worst enemy can be another's best friend. |
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