"Cinema quality" may very well refer to predictability and consistency.
I took "cinema quality" to mean rendition of tones and contrast. Since seeing "Otto e Mezzo", I've tried to get the tonal qualities of the motion picture film in the P30 still film.
That's probably why Ferrania p30 is a high contrast film
More likely that it would be a lower contrast film (in a motion picture developer).That's probably why Ferrania p30 is a high contrast film
When you look at a motion picture you are looking a a positive print. So the 'look' is created by the positive stock and not the negative film.In other words the gamma of the negative must be matched to the H&D curve of the positive medium whether it be film or paper. AA in The Print discusses what is involved in the process.
I usually use my F2 but it was sent to Sover Wong for CLA and enhancements, so I've been using the F6. I've not experienced anything related to the motor drive in 5 rolls, but I wouldn't in a pro-level camera. Some of the older point and shoot cameras can be abusive on the rewind so maybe there were some negative effects using those.Some very fine shots on the F'n film, Scott. Nice work. I'd sure love to give it a whirl. Feel like this is the longest, most extended "tease" ever. FWIW, it's working... and yet... it's definitely time to put up or shut up.... i.e. make with the film. "Soon" after months is like well.... waiting for the paint to dry.
One thing I'm not hearing much about is the extent to which the caution against motor film drives has been tested. Anyone with experience?
Has been at least since 1761, according to Webster.Agree with the nebulosity (is that a word?)
Seeing this adjective fills me with an irrational desire to buy this product, or find some other product that fits this description. Yet I am not even sure what it means...is this essentially just a marketing term, or are there specific characterics you look for? Are there any black and white films on the market which are not sold to the motion picture industry, yet exhibit "cinema-quality"? Apologies if this was addressed earlier in the thread, but it is very long.
You'd think that if it was an impressive number, they would want to let their backers know how well they are doing. Their secrecy, however, leads me to believe that their success was quite modest, and they want to keep that information from their backers for fear of loss of support.
One thing I'm not hearing much about is the extent to which the caution against motor film drives has been tested. Anyone with experience?
Cinema "look" or "quality" is a rather vague term. Various cinematographers and directors developed their own "look" in terms of qualities like grain, contrast and tonality. I take "cinema quality" to be more of a marketing gimmick than anything else, the implication being because it was the choice of some big names in the movie industry, it must be good.
That's probably why Ferrania p30 is a high contrast film
Interesting—thank you! Unfortunately, this does nothing to quash the image in my head that all my photos will look like Chinatown or Citizen Kane.It's not a marketing term. "Cinema-quality" means that we can take essentially the same film we make for stills, slit it to cinema formats and run it through a movie camera at speed. Many of the requirements for cinema-grade film (at least in our factory) are higher than those for still films - but we really cannot think about making the "same" film twice. If we coat a miniJumbo of film, we want to know that we can slit it for stills OR cinema. Of course, not all speeds of film are suitable for cinema, and that may affect the production in minor ways. But if our entire workflow is set up to produce cinema-grade films, it does make it easier to take film that would normally be waste and produce 16mm or Super 8 products.
Interesting—thank you! Unfortunately, this does nothing to quash the image in my head that all my photos will look like Chinatown or Citizen Kane.![]()
There is no such thing as a high or low contrast film. The contrast is controlled by exposure and development. The characteristic curve can be tailored to have different slopes and different width.P30 is not inherently a high contrast film. However, many developers and techniques produce a high contrast result. Dip-and-dunk machine processing, especially, tends to produce a higher contrast image than in small-tank processors.
I have been working closely with Scott Micciche to hammer out some repeatable small-tank techniques using just a few select developers that yield what we at FILM Ferrania agree to be an "ideal" P30 image.
That said, many people actually like the high contrast images produced in other developers, so we're going to speak to this as well.
We will address this in our next version of the Best Practices document.
I do not see any reason why the P30 could not be developed in any of the developers you mention. It is just a matter of finding the right combination of exposure and development, i.e. ISO and development time/temperature/procedure.Problem is, for a film to be succesful, that the film can be developed with satisfaction in all developers available. That is, I doubt Ferrania P3' will be succesful if it doens't yield good results in Kodak X-Tol, Hc110, DD-X or Ilford equivalents.
Ok, Ilford XP2 Super and CMS20 (and probably some other Adox films) are working according to a different principle. Thank you for pointing this out!As a customer, If I'm forced to buy another developer on the list just because Ferrania P30 can be satisfacto
With this in mind try to develop CMS20 with Kodak d76 and then tell me if you succeed in doing a good job.
Problem is, for a film to be succesful, that the film can be developed with satisfaction in all developers available. That is, I doubt Ferrania P3' will be succesful if it doens't yield good results in Kodak X-Tol, Hc110, DD-X or Ilford equivalents.
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