I suppose a test for this would be to fix a blank strip of film and see if the "side line" is printed on the base itself rather than present in the emulsion.
If that's the case, then it should be a decent litmus test for developer activity then. Comparing lab developed negatives to home developed ones, if there was a difference or shift of colors, those lines would shift as well, independent of whatever happened in the camera.In film manufacture never anything is printed along the edges on the film base itself. Even hardly ever something is (non-exposing) printed at all, aside of leader or tail printing (in the meaning of start or exposed).
In the case of such lines any varnish or ink printing would be unnecessary technological step that could be safed and included in the signing stage.
Yes, that's correct. Gross deviation from processing parameters can be seen even with the naked eye when looking at these bands. Somewhat more subtle deviations can be assessed making prints that include the bands. Quite subtle errors can be tracked down with color densitometry. These bands can be quite useful if you shoot a lot of Fuji!Comparing lab developed negatives to home developed ones, if there was a difference or shift of colors, those lines would shift as well, independent of whatever happened in the camera.
Almost every maker of colour film used a "system" like this to identify the brand and type of film to the person at the photofinisher who was making prints on a semi-automatic Printer. the old printers had to have a "channel" for each type of film. to make up for slightly different response between the photocells on the machine and the colour paper.
AGFA had colored squares and Ferrania had plus signs, Konica had Blue lines (to go with the blue film box I guess) and fuji had green or magenta stripes. every new version would have a new colour or position code. Wide or narrow, continuos or dashed etc.
this no doubt helped with private label film where their was no brand anywhere, but the operator seeing green plus signs could punch up the Ferrania Channel.
the Bar code also contains a reference with should be almost always be unique for each version, and the bigger printers would identify the type of film by that reference. the frame number is also encoded, so the printer could put the frame number on the back of the print for easier ordering of reprints.
Almost every maker of colour film used a "system" like this to identify the brand and type of film to the person at the photofinisher who was making prints on a semi-automatic Printer.
But to my understanding (please correct me on this) these varied so strongly that one hardly can assume that all could have been read. Then either the person feeding the splicer had to sort out certain brands or old films and later feed them in with basic filtration data taken from a table and added to the tag of the respective film-strip. Or those films had to be printed based an a standard setting.
Problem is little of these issues from early times are wellknown today, one would have to dig deep into old industry magazines and such.
Each printer had a chart with all the different films makes ( Kodak, Fuji, 3m/Ferrania, Agfa, Konica) and then film speed and then generation. The chart could be a few A4 pages. Having said that Kodak and Fuji had the biggest list of generations.
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