This is topic Fuji film stocks? in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.
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Posted by Nic Margherio (Member # 273) on 09-15-2000, 07:53 PM:
Anyone who visits this forum somewhat regularly must know a thing or two about different types of Kodak release stocks thanks to John Pytlak's expertise, but what of Fuji? Several distributors use Fuji stock at least ocasionally and some use it exclusively. What are the different types? How do they compare to Kodak stocks? How do you interpret the edge-markings? Are there any Fuji reps registered?
Posted by Aaron Sisemore (Member # 145) on 09-15-2000, 09:39 PM:
From my experiences, Fuji polyester stocks rarely ever shed and are practically static-free, and older trailers and prints on Fuji stock hold color very well compared to Eastman SP...I also like Agfa stocks, especially the early to mid-80's vintages
Aaron
Posted by Brad Miller (Member # 2) on 09-16-2000, 04:07 AM:
They definitely sport a completely different look. "Detroit Rock City" for example looked absolutely magnificent on Fuji stock. The colors are a little bit more pronounced in general, but that doesn't always achieve a good look. Ideally the film print stock should be left up to the director of photography. Unfortunately, I've found some projectors tend to have stability problems if Fuji prints are not properly lubricated.
Posted by Stefan Scholz (Member # 147) on 09-16-2000, 06:28 AM:
Recently I had the chance to attend a 70 mm screening of a 1971 film, made in East Germany. This film had the biggest density and contrast ratio pof any film I had ever seen. It seemed, it was printed to match the 22kW carbon arc they used at the time beeing. The color was fantastastic, rich in detail and saturation.
The print has not been in "proper storage", at least from 1971 to 1996, but there was no degrading in color, no fading or vinegar syndrome, or defects in mag traxx.
It was one of the best 70 mm adventures in my life.
Print stock was Orwo (rumors say, the neg was Kodak, that's for the colors we saw).
Just to say, not only Kodak makes good stock, a lot depends on the skills of the color timers and other lab workers. I have seen beautiful Agfas from the mid 80's as well as great Fuji prints.
Posted by Scott Norwood (Member # 30) on 09-16-2000, 06:33 AM:
I've definitely found that, at least with still photography, labs that "mostly" deal with Kodak stock can't usually make other brands of film look as good and vice-versa. There's definitely a lab issue here that isn't specificly related to the stock itself; I would assume that the same holds true with motion-picture stocks.
As for color fading, old Agfa stock looks best to me. Eastman turns red (or, in the case of SP stock, brown) and Fuji turns to a weird blue stage. So far, Eastman LPP (post-1982) looks fine, though.
Posted by John Pytlak (Member # 331) on 09-18-2000, 06:13 AM:
Film stocks constantly evolve (and hopefully improve), so it's inaccurate and unfair to make generalizations comparing film stocks of different generations.For a history of Kodak motion picture films, see the "Chronology of Eastman Kodak Motion Picture Films":
http://www.kodak.com/country/US/en/motion/about/chrono4.shtml
Scott is correct that prints on Kodak print film made since 1982 have excellent keeping properties, and show minimal change in color if processed and stored properly. AFAIK, older European stocks used dye systems that are incompatible with modern processes.
The first major incidents of "static cling" were NOT on Kodak film ("American President", November 1995). NATO received reports of static problems on "English Patient", "Michael", "Scream", "The Apostle", etc., which were printed on other film stocks. All film manufacturers publicly acknowledged more static problems with polyester print films. Kodak VISION Color Print Film has a transparent conductive anti-static backing layer to help control static, and Kodak developed an anti-static process additive that many film labs are applying to ALL prints to control static. Because of these Kodak developments, "static cling" incidents are greatly reduced.
Print "shedding" is dependent on a variety of factors, including projector design, gate tension, print lubrication, relative humidity, etc. Unfortunately, most labs no longer follow Kodak's long-standing recommendations on print lubrication:
http://www.kodak.com/US/en/motion/support/processing/h242/h2402_04.shtml#164364
Proper edge-waxing helps prints resist projector abrasion, which can be severe in some cases. Kodak VISION Color Print Film is much more resistant to abrasion, and performs well in most projectors, even without edge-waxing. Other manufacturer's films have had projector abrasion and "shedding" issues as well.
------------------
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 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com