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Kodak Motion Picture Film Pdf Download

Kodak Motion Picture Film Pdf Download >>> https://fancli.com/2t6t5N

Use the KODAK Motion Picture Film logos for films captured or projected on KODAK Film. Guidelines are included within each zip file. By downloading KODAK Motion Picture logo artwork, you agree that you will use these logos in compliance with the guidelines included with files.

To minimize the risks of shipping by air, Kodak recommends that motion picture film should be purchased locally through the nearest Kodak sales office. After exposure, the film should be processed at a local motion-picture laboratory. After processing, the film may be safely transported by air.

Motion-picture film and other photographic products manufactured by Eastman Kodak Company are distributed by means that avoid any risk of damage by x-rays, high-energy electron beams or any other harmful radiations.

KODAK EKTACHROME 100D Color Reversal Film / 7294 is a 100-speed (ISO), color reversal motion picture camera film intended for photography under daylight illumination (5500K). It provides a moderately enhanced color saturation performance while maintaining a neutral gray scale and accurate flesh reproduction. 7294 Film has exceptional sharpness, and its grain performance is excellent. This film also offers very strong reciprocity, uniformity, and keeping stability. 7294 Film produces outstanding results in outdoor and studio applications where moderate color saturation is desired. It is excellent for advertising, nature cinematography, documentaries, music videos, and is especially good for telecine transfers and television filming. It can also be projected.

This is intended as an on-line resource for up-and-coming filmmakers who would like to learn more about the theory and practice of shooting film. You can select topics from the index for viewing or download.

www.davidelkins.com Downloads This page contains a selection of camera manuals, brochures and technical information for many of the currently used film and digital cameras. While much of today's production is being done with digital cameras,I have chosen to leave many film cameras on this page because film is still being used for production and I want you to have access to film camera information if you should need it. I have also included information on current Eastman Kodak film stocks.Most of the files provided here are in the Adobe Acrobat PDF format. They can be viewed on any Windows or Maccomputer by using the Acrobat Reader software. For best viewing results, use Acrobat Reader version 8.0 or higher. Many of these files will not open in an earlier version of the software. If you do not already have Acrobat Reader software, you may download it for free from the Adobe web site at or by clicking on the icon below. Follow the directions on your screen and you are ready to view these files.

Motion picture films and especially the silver particles or color dyes that constitute the image are highly sensitive to inappropriate environmental conditions; good storage is arguably the best preservation measure one can take:

ECN-2 and C-41 processes were originally formulated back in the mid-1970s to produce negatives for different purposes. Large scale ECN-2 processing was designed to produce consistent, thin negatives for quick printing on high contrast ECP-2 film with short exposure duration, to save time and money. Denser C-41 negatives could take up to 8x as long to print or scan, and time is money when printing 24 frames per second. ECN-2 negatives have an optical density range of around 1.6, while C-41 film is about 2.2, inherent of the process rather than the emulsion itself. This equals up to a 30%+ increase in tonal and contrast range. The target contrast gamma of the Cs41 process is between .6 to .65, but Cs2 processed film is only .45 to .55. Even if you adjust the processing time to get a denser ECN-2 negative there will still not be enough of an increase in contrast or color separation to match the curves of a C-41 negative, since it also lifts the base density of the film. Films processed in Cs2 exhibit much lower color contrast, with muddy whites and blacks when printed on RA-4 color paper. Conversely, any film processed in Cs41 would have too much contrast and density range to be compatible with motion picture printing. When it comes to making a photograph, cross-printing is more of an issue than cross-processing.

In addition to standard analogue production routes, I have also explored the production of slide duplicates using digital intermediates which were created using light valve technology (LVT) film recorders onto sheet film, cathode ray tube (CRT) film recorders printing onto in-camera slide stock and motion picture reversal stock, laser film recorders printing onto microfilm and inter-negative 35 mm motion picture stock to produce slide duplicates as film prints. The results are summarised in the chart below:

Despite earlier discontinuation notices in July 2012, the remaining slide stocks that are still available are FUJICHROME VELVIA 50 / 100 / 100F (35 mm, 120, 4 x 5, 8 x 10), FUJICHROME PROVIA 100F (35 mm, 120, 4 x 5, 8 x 10) and FUJICHROME PROVIA 400X (35 mm, 120). Especially without FUJICHROME VELVIA 100F the future use of film recorders for slide duplication will be jeopardised. In the tests that Tate conducted with Activity slide laboratory, we also explored using a motion picture reversal stock in a CRT recorder in order to see if Kodak E100D stock, which at the time of writing is still being made, could be used as an alternative to the discontinued slide stock Kodak E100G. In evaluating the results, the similarities between the slide stock Kodak E100G and its motion picture equivalent Kodak E100D was striking. The results of these tests showed that the emulsion of both stocks is very similar and that Kodak E100D could be used instead of slide stock. However, motion picture stocks have Bell & Howell (BH) perforation holes which are a different shape to photographic stocks which have Kodak Standard (KS) perforations. In order to transport films with BH perforations, a camera movement is needed that supports this type of hole.

The final alternative production route tested is directly based on that of motion picture print films. Here the tonal values of the digital file need to be reversed to produce an inter-negative from which slides can be made. This method is not new and has been used as a low-cost means to produce duplicates since the 1960s. However, in 1993 Henry Wilhelm stated that this method of duplication was considered low quality owing to the low resolution of print stock, which matters less in moving image (because each frame is only projected for one twenty-fifth of a second), and also to the colour instability of certain print stocks1. Given that film production methods and the quality of stock has improved since the tests referenced by Wilhelm, this method of producing slide duplicates has recently been re-examined by Maurice Schechter of DuArt Media lab (discussed at TechFocus II: Caring for Film and Slide Art, April 20122 ) and also at the National Gallery of Canada where Ainsley Walton has investigated this as an archiving strategy for slide-based artworks as part of the DOCAM project.

"1. A black and white silver halide motion picture sound recording film comprising a support bearing at least one silver halide emulsion layer comprising monodispersed silver halide grains having an average grain size of less than 0.35 microns and a coefficient of variation of grain size of less than 55%, and wherein said film is spectrally sensitized with a first sensitizing dye providing a peak sensitivity at less than or equal to 600 nm and a second sensitizing dye providing a peak sensitivity above 600 nm."

"9. A method for recording multiple optical soundtracks in a black and white silver halide motion picture sound recording film according to any one of claims 1-8, comprising recording a first digital soundtrack by exposing said film with a first source of radiation having a peak wavelength of less than or equal to 600 nm, recording a second digital soundtrack by exposing said film with a second source of radiation having a peak wavelength of greater than 600 nm, and processing said exposed film to form first and second digital soundtrack silver images."

The first auxiliary request differed from the main request by the replacement of the term "motion picture sound recording film" with "motion picture sound negative recording film" (emphasis added) in Claims 1 and 9.

"1. A method for recording multiple optical soundtracks in a black and white silver halide motion picture sound recording film comprising a support bearing at least one silver halide emulsion layer comprising monodispersed silver halide grains having an average grain size of less than 0.35 microns and a coefficient of variation of grain size of less than 55%, wherein said film is spectrally sensitized with a first sensitizing dye providing a peak sensitivity at less than or equal to 600 nm and a second sensitizing dye providing a peak sensitivity above 600 nm, comprising recording a first digital soundtrack by exposing said film with a first source of radiation having a peak wavelength of less than or equal to 600 nm, recording a second digital soundtrack by exposing said film with a second source of radiation having a peak wavelength of greater than 600 nm, and processing said exposed film to form first and second digital soundtrack silver images."

The wording of the third auxiliary request was identical to the one of the corresponding claims of the second auxiliary request, but the term "motion picture sound recording film" was replaced by "motion picture sound negative recording film" (emphasis added) in Claim 1.

The wording of Claims 1 and 9 was identical to that of the corresponding claims according to the fourth auxiliary request, but the term "motion picture sound recording film" was replaced by "motion picture sound negative recording film" (emphasis added) in Claims 1 and 9. 2b1af7f3a8