Color Negative Film Research Articles

Eastman Color High-Speed Negative Film 7292

A new 16mm high-speed color negative film incorporating the new T-Grain emulsion technology is described. This film provides excellent resolution, granularity, and color reproduction that result in much improved prints and telecine transfers.

Image Quality and Photographic Speed of Color Negative Film

Image Quality and Photographic Speed of Color Negative Film

Recent Progress in Color Negative Film Technology

Recent Progress in Color Negative Film Technology

カラーネガフィルムの画質と写真スピード I: SN比にもとづく写真スピード

カラーネガフィルムの画質と写真スピード I: SN比にもとづく写真スピード

Choosing Eastman Color Negative Film 5247 or Eastman Color High-Speed Negative Film 5294

Since the introduction of high-speed color negative films, the cinematographer is frequently faced with selecting between shooting medium-speed (EI-125) Eastman color negative film 5247 or high-speed (EI-400) Eastman color high-speed negative film 5294. As an aid in making this decision, several objective parameters are examined as a function of exposure. In addition, general guidelines are presented for choosing the most appropriate film for different exposing conditions.

The Noise-Power Spectrum of Colour Negative Film with Incorporated Couplers

On decrit un modele simple pour prevoir le spectre d'energie de bruit de films en couleurs avec des copulants incorpores. L'equation finale pour le spectre depend de la morphologie des nuages de colorant

Two New Fujicolor Motion-Picture Negative Films

This article describes improved versions of Fuji's 16- and 35-mm color negative motion-picture films designated Type A (125) and Type AX (320). These new films feature increased speed, extended dye stability, modified gradation, improved color rendition and sharpness, greater tolerance of mixed light sources, and reduced graininess. They are also compatible with both ferricyanide and persulfate bleach and amenable to forced development. Sensitometric and other curves are included to indicate changes that have been effected.

Today's Photographic Imaging Technology for Tomorrow's HDTV System

Film and television have been partners for more than 35 years. During this time great improvements have been made in both media, with the public receiving most of the benefits. With high-definition television (HDTV) now possible, film as an originating medium is more important than ever. Eastman color negative film 5247, the 35-mm motion-picture format, will support HDTV systems up to 1400 lines at 50 MHz and may support up to a 2000-line HDTV system; it will provide an input signal with a signal-to-noise ratio >50 dB (unweighted). High-speed digital image processing makes film an even more valuable origination source because of its wide exposure latitude and the manufacturers' ability to manipulate film speed, exposure, latitude, sharpness, and granularity to provide an optimum recording medium for all forms of television and motion-picture production.

Quantitative double-label radiography of two-dimensional protein gels using color negative film and computer analysis.

We have devised a method of data collection and computer analysis which allows utilization of the resolving power of two-dimensional gel electrophoresis of proteins, in conjunction with the versatility of using two different radionuclides simultaneously. Cultures of Escherichia coli growing with exponential growth rate constants (mu) of 0.32 and 1.43 were labeled with [3H]leucine and [14C]leucine, respectively; these samples were mixed, and cell protein was separated on a two-dimensional gel. Spacial and quantitative data for both radionuclides were recorded on color negative film by radiographic exposure. Data for 14C alone were then collected photographically from the red-light-sensitive layer of the film using a red filter, while data for 3H and spillover of 14C were collected photographically from the blue-light-sensitive layer using a blue filter. These two data sets were analyzed by CINT, a computer program for analysis of two-dimensional gels, and quantitative data for 3H were calculated after determination of spillover of 14C in a manner analogous to quantification of 3H and 14C by liquid scintillation counting. Quantitative data from over 1000 protein spots representing from 0.002% to 10% of the total 3H or 14C, respectively, are available in a matter of hours. We have used this method to analyze the effect of growth rate and medium composition on the relative levels of individual proteins in a pathogenic strain of E. coli which contains group 111 O-antigen. As expected, the relative levels of aminoacyl-tRNA synthetases, protein chain elongation factors, ribosomal proteins, and the alpha-subunit of RNA polymerase are all increased with increased growth rate; the magnitude of these changes agreed with previous data derived using other strains of E. coli. Alterations in the levels of other proteins identified on the two-dimensional gels could be interpreted in terms of changes in medium composition. When compared to manual data collection by excising radiolabeled proteins and quantifying 3H and 14C in a liquid scintillation counter following combustion to H2O and CO2, respectively, this new method of data collection and computer analysis increases the resolution of data collection and decreases the time involved from days to hours.

The Interface of Color Negative Film and Telecine

This article discusses the interface between color negative film and telecine systems, reviewing basic facts about the negative-positive process, and the spectral responses of telecines and color print film. Figures and equations are provided in a discussion of appropriate interface corrections in color reproduction using different films with different telecines. The article gives details of a telecine alignment that provides a reproducible, easy-handling method yielding excellent color reproduction quality.

Eastman Color High-Speed Negative Film 5293

Eastman color high-speed negative film 5293/7293 has an exposure index of 250 and wide exposure latitude. This new film is designed to complement Eastman color negative film 5247, thus extending the creative freedom of the cinematographer in special applications where additional lighting is difficult, uneconomical, or undesirable. The sensitometric characteristics, image structure, color rendition, and performance of the new film are discussed.

A Videotape Editing System for Film Post-Production

For more than 25 years, attempts have been made to make use of videotape in editing of motion-picture film. One of the major obstacles has been the differences in frame rates between videotape and motion pictures. A new system has been developed that carries out the necessary frame-rate conversions with only a few minor changes to established laboratory procedures. Color positive or negative film material can be transferred to a videocassette work print. The software is designed to edit to 2-in or 1-in videotape for a television release, or to conform the film directly after the off-line editing is completed.

Dependence of Information Capacity of Color Negative Film on Temperature of Chromogenic Development

Dependence of Information Capacity of Color Negative Film on Temperature of Chromogenic Development

The Evolution of Motion Pictures in Color

Color in motion pictures is a relatively new achievement. The principles of color photography had already been established when motion picture technology started to be developed. The study of the many unsuccessful attempts, of the researchers' persistence and commitment to their goal — the motion picture in full color — and their final achievement of that goal may serve as a guidepost to new generations of studious workers, not only in this special field, but in other urgent endeavors our society is confronted with. Starting with an outline of the prehistory of color motion pictures, such landmarks as the first Technicolor and Kodachrome processes are cited. The chronology includes the first three-color processes for the motion picture professional and the amateur, and the appearance of the first motion picture color negative film. Many attempted solutions to the color motion picture technology problem and many successful systems are mentioned, arriving finally at the present status of color motion picture photography. The present ease of use is the result of much hard work by many people exploring in many directions over a stretch of many years.

Two New Types of Fujicolor Films: A Negative with Improved Characteristic and a Hot-Process Positive

Fujicolor Negative Films, 35mm Type 8517 and 16mm Type 8527, are described. They are tungsten-type, fine grain, high definition color negative films for motion-picture production. Their exposure index is 100 for tungsten light. They have improved finer grain and definition combined with a more ample tone reproduction scale and a wider exposure latitude. They are designed for softer and more natural color reproduction characteristics and are suitable for forced processing as well as high-temperature rapid processing in the unmodified Eastman Kodak ECN-2 process, in addition to the Fujicolor process specifications. The Fujicolor HP Positive Films, 35mm Type 8813 and 16mm Type 8823, have been specifically designed for high-temperature rapid processing. They are intended for release printing from color negative or duplicate film. They have been designed for reduced reactivity to chemistry changes in the color developer and stop bath, thus achieving high process stability. They can be developed also in the Eastman Kodak ECP-2 process, in addition to the Fujicolor process.

Radioautography of multiple isotopes using color negative films

An autoradiographic method using color negative films is described which permits differentiationof common radioisotopic decays ( 3H, 14C, 35S, 32P, and 125I) according to the volor of the radiographic image produced. The method allows simultaneous quantitation of 3H and any one of the other isotopes. By this means the need for multiple films or exposures, registration of images, and selective attenuation of the decay particles is eliminated.

A Bleach System for Color Positive and Negative Film that Reduces Waste Treatment Requirements

Federal, state and municipal regulations on the disposal of industrial waste water have stimulated much photographic industry activity where chemical and mechanical methods must be devised to comply with the regulations. Several systems are in use for treating the major problems of photographic waste water. The bleach solution is one of the most troublesome materials to treat because of the presence of heavy metals or cyanides. The concentration of these substances must be reduced to a level of 0.1 ppm. Work is described that has been done to develop and test a bleach formula that contains no chromium, iron or cyanides. A copper halide bleach was found to be attractive because under current regulations permissible levels for copper are 15 times greater than for cyanide or hexavalent chromium. Either cupric bromide or cupric chloride could be used, and the latter was selected for testing because it has a cost advantage. A 21-g/I concentration was found to give bleaching times equivalent to SR27. The replenishing rate is 654 liters per million feet of 35mm Eastman color positive film (5381).

Why Film for Television Broadcast Programs?

The question is examined of why, in the face of increasing competition from electronic systems, film not only survives, but finds increasing use as a serious program-making medium in television broadcasting. The effects of recent technical developments are considered — developments such as color negative film, crystal-controlled motors, lightweight cameras and large-aperture high-performance lenses. The electronic viewfinders which should become available during the next few years are examined, and the operational and quality consequences with particular reference to 16mm film are discussed.

Some Aspects of Rapid Access Processing of Colour Negative Film

Abstractshort review of the rapid access processing of colour negative film indicates the current position in this field. A sensitometric study of a recently proposed process reveals certain deficiencies and enables a compromise procedure to be recommended.

16mm for TV — It All Depends

With the best available 16mm film stocks and extreme care in cinematography and production, it is possible to produce a reasonably good quality syndicated series for TV, but the quality is still not up to network standards. Sixteen millimeter film is perfectly satisfactory for newsfilm (where duping is not necessary) and for documentaries (where the degraded quality lends authenticity). Valid comparisons are hard to make between 16mm and 35mm costs because laboratory services for one medium may not be available for the other. A completely electronic (videotape) approach to program production is gaining adherents, but — with the recent development of a very fine grain, fast, color negative film — 16mm may yet compete with the network-quality routes to television programing. The eight possible routes to television programing (including the electronic approach and the Japanese and British approaches) are diagramed in the approximate order of descending quality; but, of course, a good deal depends on the proficiency and equipment available.