Kodachrome emulsion formula

[htmlguru4242]

As to color developers, can't say that I have any idea about the Kodachrome ones, but Rockland Colloid sells a dye-coupler / color developer product intended to tone paper. It's called polytoner, I believe. I'd imagine that with experimentation, it could be applied to this fairly easily.

 

[Kirk Keyes]

My first thinking is that there has to be a 3 part separation, and the cheap way, if the filters are the right colors, is to just buy an old dichronic head when one goes by on fleabay and steal the filters out of it.

Just get some Wratten tri-color separation filters:
http://www.motion.kodak.com/US/en/m...Post_Production/Kodak_Filters/wratten2tbl.htm

I think you want #29 Red, #47 Blue, and #61 Green. Your favorite camera store should be able to get you these filters, either in gels or in glass.

 

[pjwaffle]

Hi, thanks for all the replies! Kodachrome seems scary, is there a B&W commercial emulsion formula available?

Thanks,
Joe Moo

 

[Photo Engineer]

Yes Joe;

This formula has several generic formulas listed. Just search.

PE

 

[nickandre]

Say I were to process kodachrome with e6 chemistry but add in couplers. I would do test re-exposure strips to check when more time showed little difference in the re-exposure, first cyan/red re-exposure and then the yellow/blue one and white light instead of chemical fogging. What problems would I run into? Also, can a normal base like ammonia be used to remove a remjet backing or does it require a stronger one?

 

[Photo Engineer]

Yes, the E6 process might work if you use 3 color developers and 2 reversal exposures. You cannot use ammonia, you must use sodium carbonate.

Process:

carbonate-rem jet removal
wash
1st developer
wash
red reexposure through base
cyan developer
wash
blue reexposure through emulsion side
yellow developer
wash
fogging bath
magenta developer
wash
bleach
wash
fix
wash
stabilzer

The color developers would be an E6 developer split into 3 parts. IDK if it would work.

PE

 

[AgX]

As a side note:

It is interesting that the project did not start with selective-light-fogging from the start but run for about three years with the delicate selective-bleach process.

Seemingly there was that issue of cross-talk whilst exposing to coloured light. As PE already indicated the green sensitive layer is not light-fogged as one would expect, but foggged chemically.

Another hint is that Ilford’s none-substantive (couplerless) chromogenic colour film of 1947 (the ’57 version too?) has got interlayers that are pre-fogged and build up density in the first developing stage. These are to protect the green-sensitive layer from the two fogging exposures aimed at the other two layers. Thus even white light could be used.
Though, it might be that it rather was a patent issue…

 

[AgX]

I just reread papers containing informations from Ilford. Ilford stated that they had not the means to go the Agfa way and thus had to try to evade Kodak patents.
They did so beyond the '57 version of the Colour Film up to the '60 Ilfachrome. They went the actual Kodachrome way in the '62 Ilfochrome as Kodak patents had expired by then.