|
|
This topic comprises 2 pages: 1 2
|
|
Author
|
Topic: A.I. prints tripping proxemity sensors on failsafes.
|
|
|
John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
|
posted 06-30-2001 12:51 PM
Brad: You are correct. For "Sleepy Hollow", Cinematographer Emmanuel Lubezki said "we decided the movie should be slightly saturated and monochromatic. We went as far as seeing the color of the blood because with the process we chose -- it's called a CCE process (Color Contrast Enhancement) which is done by Deluxe Labs -- the color of red gets very desaturated and looks almost gray. So we had to figure out a color that would read red after the whole process. Tim (Burton) was very involved in all the tests."
Sleepy Hollow Cinematography The special process used by Technicolor is known as "ENR": "Storaro pioneered use of the ENR proprietary process developed by Ernesto Novelli at Technicolor Labs in Rome. By leaving more silver in print film, the ENR process renders richer black tones. He applied this technique to footage of the actors, matching its look to archival imagery from the Russian Revolution. Since then, variations of ENR (such as bleach-bypass and silver-retention) have become commonplace at labs."
Storaro Article
Canadian Society of Cinematographers Article on ENR
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
| IP: Logged
|
|
Michael Elam
Film Handler
Posts: 84
From: Clarksville, IN, USA
Registered: Mar 2001
|
posted 07-02-2001 08:04 PM
Another reason not to run Manually.....in a complex with even more than one screen, let's say 20, with one operator, He/she will not be around when that one machine needs to be shut down, the film will run out and the next thing you know we are buying new lenses, I see this every time when I am in a theatre even when their is no reason for it.
Somewhere, somehow, for some reason people are making decisions on their own to quit using cues, I always wonder what the Manager is doing, not paying attention to the booth that is for sure.
| IP: Logged
|
|
|
|
Christopher Seo
Jedi Master Film Handler
Posts: 530
From: Los Angeles, CA
Registered: Jun 99
|
posted 08-22-2001 03:13 PM
Well, both "Apocalypse Now Redux" and "Hard Day's Night" are on B&W stock, though the stock used for dye-transfer is apparently a special B&W stock.Jeffry, did your print of "Apocalypse" come with an attached trailer? If so, was that trailer printed in dye-transfer along with R-1, or was it "regular" film spliced on? Did it have any trouble with the FM-35? Hmm... does the show shut down if the FM-35 still has Motion but loses Presence?
| IP: Logged
|
|
Aaron Sisemore
Flaming Ribs beat Reeses Peanut Butter Cups any day!
Posts: 3061
From: Rockwall TX USA
Registered: Sep 1999
|
posted 08-22-2001 04:55 PM
>>Well, both "Apocalypse Now Redux" and "Hard Day's Night" are on B&W stock, though the stock used for dye-transfer is apparently a special B&W stock.<<AFAIK, IB receiver stock and standard B/W print stock are basically the same, only real difference is that the B/w print stock has the silver across the entire width of the film and the receiver stock has the silver only in the soundtrack area. and yes, BOTH of those stocks are going to cause trouble with unmodified FM-35's. Contact Component Engineering about upgrading those units, and send the old ones back for a $45 rebate per unit! Aaron
| IP: Logged
|
|
John Pytlak
Film God
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
|
posted 08-23-2001 08:37 AM
Aaron said: "AFAIK, IB receiver stock and standard B/W print stock are basically the same, only real difference is that the B/w
print stock has the silver across the entire width of the film and the receiver stock has the silver only in the
soundtrack area."Both B&W print film and the stock used as the "receiver" or "blank" for dye transfer prints are silver-image films with the silver halide coated across the entire width of the film. Of course, with B&W prints, both picture and soundtrack are silver images, but with current dye transfer, the soundtracks are a silver image developed in a B&W developer, and the picture is dye transfer:
http://www.kodak.com/US/en/motion/products/lab/so302.shtml
http://www.widescreenmuseum.com/oldcolor/technicolor1.htm ------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
| IP: Logged
|
|
|
|
|
|
|
|
|
|
|
|
All times are Central (GMT -6:00)
|
This topic comprises 2 pages: 1 2
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
Printer-friendly view of this topic