it is interesting, considering that film production is seemingly teetering on a knife edge, and the major players insist that their viability rests on ever more price increases, that CatLabs is selling their new film at what could be described as “yesteryear” prices.. I’m really perplexed about film photographers who have bemoaned the demise of film for years and then crucify attempts to support film photography. I can’t explain that either. Can you?
I think you're fanning a fire that shouldn't be lit.
But who cares, anyway? It's just a company providing film to a dying market.
it is interesting, considering that film production is seemingly teetering on a knife edge, and the major players insist that their viability rests on ever more price increases, that CatLabs is selling their new film at what could be described as “yesteryear” prices.
Are they selling it at a loss? Or is this some sort of break even price? Will they also have to resort to price increases in the future, or have they exposed Kodak‘s and Ilford‘s price gouging scheme?
Don’t get me wrong - I like the price a lot - but it does make me wonder how they can sell at this level, when Kodak insists that double is barely feasible.
Perhaps a poll is in order: who’s buying and who’s not and who’s waiting for
CatLABS has said they have 1000s of customers who have purchased, shot, and processed their film. Maybe they are on another forum or Facebook or wherever.
But if "Kodak D 77" is a typo, which developer then is meant?
I'm talking about the marketing of the film. If you market it to this group of people the same way you market it to those who live on YouTube, you are going to turn off at least one of the constituencies.
D76. Continue along the row and you see it's for 1:1, where the line above (also D76) is for stock.
One of the goals of bringing this film to market is the competitive price point. The only way this works is if we are able to offer a great film at a competitive price while still maintaining a wholly sustainable financial proposition for us as business. This price point stipulation was part of the reason it has taken this long to get this film out and ultimately, we could not be happier that we are able to pull this off.it is interesting, considering that film production is seemingly teetering on a knife edge, and the major players insist that their viability rests on ever more price increases, that CatLabs is selling their new film at what could be described as “yesteryear” prices.
Are they selling it at a loss? Or is this some sort of break even price? Will they also have to resort to price increases in the future, or have they exposed Kodak‘s and Ilford‘s price gouging scheme?
Don’t get me wrong - I like the price a lot - but it does make me wonder how they can sell at this level, when Kodak insists that double is barely feasible.
The typos on the box could easily be attributed to an intern, though I don't think "HC110 Ilford" is technically a typo.
They have long been fired
I take it this will be a relative price rather than an absolute one i.e. your film price will rise with increasing costs but other economies such as you have mentioned will hopefully result in the Catlabs 320 price being even less relatively speaking to those of other b&w filmsIf anything, future productions of this film will possibly have an even lower price, thanks for further economizing and increased efficiency in supply chain optimization.
I think a fair number of people here are also active on the other social media outlets, including myself on Facebook, Instagram, and Discord. So you're counting a lot of people twice or three times. It's not a binary thing; people on Photrio know how to use the internet too.
One of the goals of bringing this film to market is the competitive price point. The only way this works is if we are able to offer a great film at a competitive price while still maintaining a wholly sustainable financial proposition for us as business. This price point stipulation was part of the reason it has taken this long to get this film out and ultimately, we could not be happier that we are able to pull this off.
If anything, future productions of this film will possibly have an even lower price, thanks for further economizing and increased efficiency in supply chain optimization.
Of course, all of this means nothing if no one buys film because they are too busy reading spectral sensitivity charts., thankfully most people are getting the message and are in fact: shooting more film!
I take it this will be a relative price rather than an absolute one i.e. your film price will rise with increasing costs but other economies such as you have mentioned will hopefully result in the Catlabs 320 price being even less relatively speaking to those of other b&w films
Will the increased efficiency in supply chain optimisation affect only your U.S. price or will it make a difference to other markets' prices
Thanks
pentaxuser
I strongly suspect that very few, if any, of posters in this thread who repeatedly complain here about Omer's product documentation (or any other aspect of the film) are active on "social media" sites where today's real film marketing takes place.
I take it this will be a relative price rather than an absolute one i.e. your film price will rise with increasing costs but other economies such as you have mentioned will hopefully result in the Catlabs 320 price being even less relatively speaking to those of other b&w films
Will the increased efficiency in supply chain optimisation affect only your U.S. price or will it make a difference to other markets' prices
Thanks
pentaxuser
I made no distinction between curmudgeons and non-curmudgeons, or young versus old and your other projections, I just said that people who read content at Photrio can and do read content on social media as well. And anyone that has checked the Catlabs Instagram feed can see that they were asked for data sheets there too, so it's not just a Photrio thing. Some photographers like to review technical info, even when they are "getting the message" on Instagram.I strongly suspect that very few, if any, of posters in this thread who repeatedly complain here about Omer's product documentation (or any other aspect of the film) are active on "social media" sites where today's real film marketing takes place. If those curmudgeons visit such places, it's probably to complain about the young people who populate them, as well as to make public note of all the technical errors/omissions being committed there. Meanhwhile, Omer carries on, likely laughing at this thread all the way to selling out his current film production to those who "are getting the message" i.e. not complainers on PHOTRIO:
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