Kodak spent many years developing the new stable dyes that were introduced in 1979 with EASTMAN Color LF Print film (7378) and EASTMAN Color LFSP Print Film (7379) at a slightly higher price (the dyes were much more expensive to manufacture). The older 5381 and 5383 print films continued to be sold until 1982, when they were replaced with EASTMAN Color Print Film 5384, which used the more stable dyes without a premium price. When properly processed and stored, prints made on Kodak film since 1982 show much less fading than previously available incorporated-coupler print films.

The "SP" designation refers to films designed for the "short process", that is, the higher temperature ECP-2B process, which co-existed with the original lower temperature ECP process at that time.

See the "Chronology of Films" posted at:
http://www.kodak.com/US/en/motion/about/chrono4.shtml

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When I said "Eastmancolor", I was referring to the older stock that has the color fade problem. I'm sure that as soon as the fading was noticed, Kodak went to work on solving that problem.

It seems from reading the description of "short process", it was intended for films meant for quick release, such as TV programs. I guess that explains why SP is seen quite often on 16mm TV prints. Any thoughts on why SP prints tend to turn brown instead of red?

It's all salesmanship. I'm sure the poly-pushers explained to the exhibitors (and others) that polyester film would indeed be less likely to break. That's where they stopped talking about that feature. They didn't go on to say "Oh by the way, since it does not break, it can and will damage your equipment, causing you many costly repairs. And let's not forget the static cling that will take several years to finally come up with a reasonable solution. Still want to convert to polyester? Hello? Where did ya all go?"

The newer more stable dye couplers invented by Kodak were not available for use in print film until the late 1970's.

The ECP-2B process was introduced in the early 1970's. Its higher developer temperature allowed shorter processing times. The lower temperature ECP process co-existed for over a decade, and was phased out completely after 1982.

Kodak certainly was NOT a "poly-pusher". In the report presented at ShoWest on March 8, 1994, I said:

"Comments reveal some problems with static buildup, payout control on some platters (may be related to static), slipping of rolls on platters, and loose winding of the film. These static and friction-related concerns need attention. There were also some adverse comments about the quality of the ultrasonic splices used by the laboratory, indicating some work may be needed."

"Many projectionists have serious concerns about the strength of polyester, and the potential for equipment damage...Many projectionists see the need for tension-sensing failsafes to cut the film and quickly shut down the equipment in case of brain-wrap or film jam. There is a real need for this type of equipment before widescale use of polyester film is accepted."

"Projectionists were displeased with the dust buildup, static, scratching, ultrasonic splice quality, looseness of the roll, slipping on the platter, and the risk of equipment damage".

"Film-cleaning technology needs to find greater use in theatres."

Kodak recognized and publicly reported the concerns with polyester release prints, and has spent hundreds of millions of dollars since 1994 to address these issues, leading to today's VISION Color Print Film. And further improvements are underway.

I have SPECO platters. Six months ago as I was doing a routine check on the projectors as they ran, I saw a brain wrap in progress and attempted to shut it down before it got worse.

Instead when the tension got so tight it broke one of the rods that the rollers are on before I could shut it down. The damn metal rod broke to save the film.

That isn't the real problem. It came off with such force that the rod flew into my face, puncturing my lip and breaking three of my teeth. Plastic surgury was required, and although you cant even tell anymore, trust me I can still feel it.

Try explaining to a crowd of 200 that thier show is off because the projector broke and attacked you (all while holding your face together with a drenched bloody rag).

This polyester film is deadly I tell you. Someone is going to get killed and I am sure it will be me.

Ouch!!! Kodak has always recommended tension-sensing failsafes for all equipment handling polyester film. They should be installed on the feed side of the projector, where the most tension is likely to build in case of a film jam. Most of the platter manufacturers, Kelmar, Avask, and others supply them. In most cases, if tension builds, a moving roller trips a microswitch, and cuts off power to the projector. A good design allows some slack, so the projector can coast to a stop. At one time, Kelmar made a failsafe called the "Film Chopper", which literally cut the film cleanly with a spring-loaded shielded scissor blade when the device sensed excess tension. When the jam was cleared, the film could be respliced with minimal loss of continuity.

The needed tension-sensing failsafe is NOT provided by the usual film break / automation cue detector located at the projector payout.

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What about those FM-35 failsafes?
They have a "motion" sensor as well as a "presence" sensor. If logic serves me right, doesn't the lack of film comming OUT OF THE BOTTOM of the projector mean that there's no film going IN THE TOP? Even so, the "motion" sensor in 'failure' means that there's something wrong, doesn't it? (unless it't a type-2 failure)

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Yes the MOTION sensor on the FM35 will shut down the system if the film quits feeding out of the projector, however by the time this happens, the damage above the failsafe has already been done, at least the system will shutdown and you won't risk burning a lens or having the audience look at a burned frame for umpteen minutes until someone complains..., and unless you custom-wire, the only automation that will shut down the system via the FM35 motion sensor 'out-of-the-box' is the Component Engineering TA-10...

To add the MOTION sensor to a CFS automation, all you do is find the wires that go to the normally open contacts of the motion relay and connect them in series with the existing presence relay. Most if not all CFS automations have a seven second delay upon pressing the START button before the failsafe is engaged, so the film not moving will not prevent a start or trigger a false motion failure as the film runs up to speed. Hope this helps!

With static wraps, the stoppage is often immediate, and the carriage doesn't have a chance to drop out, hence the projector keeps trying to force film through. I allowed one of my more inventive projectionists rewire the failsafe into the automation when he came up with the idea, and boom, no more cases of massive damage due to static.

I realize I'm going against the grain here, but I feel that it was poor practises by the exhibitor that lead to polyester. I don't think there was any 'chicken or egg' thing here; Theaters got too damn cheap first (with inexperinced operators and poorly maintained equipment) and wrecked prints that are needed at other theaters. As a result, the distriubtors introduced polyster.

On this forum, and at the newsgroup r.a.m.t., there are many horror stories of trashed prints. Scott noted that (he had heard) all of the (1990) 70mm re-released prints of "Sound of Music" were destroyed. Gordon got a damaged print 70mm of, "LoA." If this is what happens to 70mm prints, imagine the carelessness with 35mm prints. No wonder no one releases 70mm anymore, even after the huge cost reduction DTS offers.

I'm sure that the people here (at this forum) do a good job in their part of the motion picture industry (operator, tech, manager, etc.) But I know we here do not represent the exhibition end as a whole. Most of the theaters I've seen are staffed by young, inexperinced transients with no interest in a theater career. They are not stupid people: Exhibitors have degraded the job positions to the point where it's only for high school kids and they are just working to get through school, extra money, etc.

So, prints get damaged. And who pays? Not the theaters. When was the last time you heard of a theater actually paying for a damaged reel(s)? Sure, you've heard of it happening, but only when the reel is totally destroyed. If you can make it to the end of the run, it's put in the can and out the door, hopefully before anyone mentions it. I don't feel it's fair to blame film exchanges for not inspecting; with a 3000 print release, how could they? Besides, if everyone took care of prints, they could just go from theater to theater.

It's amusing to learn that NATO approved polyster back in 1991. They sent a questionaire around about a year ago that sort of implied that, 'they were going to get to the bottom of this problem.' Guess they forgot they helped start it. I also don't remember any notices from them (in 1991) saying; 'Here comes polyster, and watch out.' Although, I'm sure it was printed somewhere, probably underneath the notice about the annual picnic.

Lastly, (if you've read this far!) any theaters equipment should have safety shutoff devices installed by now. A polyster-caused problem should only result in a shutdown and maybe re-adjusting those 'any angle' rollers. There are plenty of add-on safety devices (for pre-polyster) equipment, and other options (humidifers, Film-Guard, etc.). While I do feel that it was unfair how quickly polyster was forced on the theaters, we've known about it for a long time now. If a theater does not have safety devices installed, or bought cheap, ineffective devices, that theater is poorly run and probably has other problems as well. These will be the same people who won't convert to silverless soundtracks, and will act all surprised when there's no sound.

While there are several reasons why there is a decline in the quality of theaters, I feel the number one reason is the owners themselves. Poor projection and auditourium design, on screen ads, high candy stand prices, coupled with home TV theater systems, DVD, large displays, etc. (did you ever think you could have 5.1 or DTS at home!?) This gives the public both a reason NOT to go to the theater, AND a reason to stay home.