Fuji cancelled all their cine colour films some years ago.
They only make one cine B&W film, intended for archiving colour-seperations.
Kodak made an ECP that was for theater projection...
Now, both Kodak and Fuji make 2 versions. One is for projection and one is archival.
No, the "AgfaPhoto" Version is made by Fuji.
And there still is the last stock of true Agfa reversal film.
There were two internegative films (in sheets), one for negatives from Kodachromes, and the other for negatives from all other types of slides/transparencies, as well as for use in copying flat art work. Both types required accurate colour balancing using off-easel densitometry, as well as accurate and stable C-41 processing. For slides from negatives, the film of choice was Vericolor Slide Film 5072, or the sheet film version. For slides from prints, the usual procedure in the labs I worked in was to copy them on Ektachrome EPN or sometimes Ektachrome Duplicating film, 35mm or sheets.
Fuji cancelled all their cine colour films some years ago.
They only make one cine B&W film, intended for archiving colour-seperations.
Presumably any remaining stock of the true Agfa (Leverkusen, Agfa-Gevaert?) reversal film will be well out of date by now ?
It was coated in Mortsel. But Agfa stopped production some time ago. What is sold now is remaining stock out of their warehouse.
I didnt know that Kodak had an archival version.Kodak made an ECP that was for theater projection and which was intended for short term use only. It had a low level of dye stability technology for dark keeping and only some for light stability due to the need for projection.
Now, both Kodak and Fuji make 2 versions. One is for projection and one is archival.
PE
I didnt know that Kodak had an archival version.
All i do know is starting from 1980, Kodak "fixed" their eastmancolour film stock fading problem and all the films are marked as LPP from that date on, they dropped the LPP marking a few years ago now, but essentially is what kodak vision is based on and is all what i assume is "archival" .
Storage of Processed Prints
KODAK VISION Color Print Film / 2383/3383 has excellent image stability characteristics, very similar to 2386, 3386 Film. While prints are not usually intended as permanent records, Kodak recognizes the importance of good image stability. (Pre-print materials are the primary films intended for long-term storage, since new prints or video transfers can be made from them.) Even though most theatrical release prints spend a relatively short time in release before being deliberately destroyed, some prints find use in other markets, or are re-released years later. Museums and film archives usually do not have access to pre-print materials, so prints constitute the bulk of their collections.
Predictive dark-keeping image stability testing using the Arrhenius method (accelerated fading at high temperatures, extrapolated to predict the rate of fading at lower temperatures) shows that even after several decades of storage at room temperature and 50% relative humidity, properly processed prints made on 2383/3383 Film will show less than 10 percent image dye density loss. Of course, actual image and support stability depend upon the processing conditions, storage conditions, and other factors beyond the control of Kodak. Since color dyes may change over time, color films will not be replaced for, or otherwise warranted against, any change in color.
Store processed prints according to the recommendations in standard ANSI IT9.11-1992. SMPTE Recommended Practice RP 131-1994 also contains recommendations for proper film storage. For short-term "active" storage and projection (e.g., commercial film exchanges and theatres), room temperature of 20 to 25°C (68 to 77°F) at 50 to 60 percent relative humidity is recommended. Avoid prolonged unconditioned storage at high temperatures or excessive humidity. For medium-term storage, store at 10°C (50°F) or lower, at a relative humidity of 20 to 30 percent. For extended-term storage (for preservation of material having permanent value), store at 2°C (36°F) or lower, at a relative humidity of 20 to 30 percent. Enclosed long-term storage (i.e., sealed cans) will benefit by the use of Molecular Sieves in the storage container. Molecular Sieves are available from FPC (A Kodak Company), 6677 Santa Monica Boulevard, Hollywood, CA, 90038, Telephone (213) 468-5774.
Additional information on the proper storage and handling of processed film is contained in KODAK Publication No.H-23, The Book of Film Care .
The one remaining Kodak movie print film is 2383/3383. Quoting from the data sheet: ( http://motion.kodak.com/US/en/motio...bition/Color_Print_Film_2383_3383/default.htm )
well there were 100 Road show 70mm prints of "The Hateful eight" Since that is 5 perf it takes 5/4 as much film length as a 35mm print, and of course twice the film width (ignoring perforation loss and the like)"..and projection stock - that Kodak still produces"
How much projection stock can they possibly still make?
It was my understanding that they still made some of the archival color print film, but I may have mistaken that for the B&W film.
Hard to believe that we are almost through the first quarter of 2016 and still nothing from Ferrania. Perhaps by end of Q 2?
But before you commit, a small sample is coated and tested, or analyses are made to check on perfoormanc.
So, say a month from the day R&D or the Pilot group says "go" you can have the final coating. Now it goes to slitting, perfing and packaging!!!!
PE
Well, don't hold your breath, and that is not a comment on them, it is a comment on the complexity of the issues they face.
PE
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