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Author Topic: Color shifts in LOTR (Two Towers) Jack Ondracek Film God Posts: 2348 From: Port Orchard, WA, USA Registered: Oct 2002 posted 01-01-2003 06:38 PM                        quote: from John... What is the magenta edge print identification of the film batch? I'll have to get a magnifying glass to read that! Will try to get one tomorrow. It's not your film, though... it's Fuji.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 01-02-2003 07:52 AM                        Jack wrote: "It's not your film, though... it's Fuji." Yes, most of the prints are on Fuji print film. But the film was shot using Kodak camera negative films. : http://www.theasc.com/magazine/dec02/two/index.html ___________________________________________________________ TECHNICAL SPECS Super 35mm 2.35:1 Arriflex, Moviecam and Mitchell cameras Zeiss and Angenieux lenses Kodak EXR 50D 5245, Vision 200T 5293, Vision 500T 5279, SO 214 Digital Intermediate Scanning/Recording by Weta Digital Digital Film Grading by The PostHouse AG Printed on Fuji 3513D  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 01-02-2003 12:23 PM                       quote: Probably one of the 3 printer lights failing or miss reading the punch tape for the timing cues I would think high-volumes of release prints would be made with a timed dupe negative at one-light setting, so there would be no changes to read. quote: Sounds like safelight fogging Maybe they should be called cautious lights, then?  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 01-02-2003 01:00 PM                        Yes, release prints are usually made from a duplicate negative that requires no (or almost no) scene-to-scene printer light changes. Usually, the original negative is timed on an electronic color analyzer, then an "answer print" is made for final approval of the scene-to-scene color timing. That color timing is used to make the timed master positive, from which the duplicate negatives used for release printing are made. Here's some information about how it's done: http://www.kodak.com/US/en/motion/support/h61/ http://www.kodak.com/US/en/motion/support/h1/printing.shtml http://www.acvl.org/manual.htm Kodak avoids the use of the term "safelights", since ANY visible light will eventually fog unprocessed film over a period of time. "Darkroom Lighting" or "Process Lighting" are the preferred term: http://www.kodak.com/US/en/motion/support/illumination/page01.blind If print film is fogged by excessive exposure to an amber or sodium-vapor "safelight", the fog is usually blue or cyan in color. If the film was accidently exposed to "white light" (tungsten, fluorescent, daylight), the fogging affects the yellow layer first, and will be yellow or brown in color. A green light will produce magenta fogging. A red light will produce cyan fogging.  |  IP: Logged

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