I agree, however Kodak did say it was being reformulated, which to me says it's more than dusting off the Ektachrome recipe and dumping the chemicals in the coating machine.
I agree, however Kodak did say it was being reformulated, which to me says it's more than dusting off the Ektachrome recipe and dumping the chemicals in the coating machine.
E100g is a 2003 product? That'd be the last sizeable update/reformulation.There were a significant number of re-formulations of Ektachrome in the 15 or so years before it was discontinued.
But if you change anything, even one-percent ... does that constitute a re-formulation? (wearing my cynical marketing-man hat)
I'd like some of the scan-optimisation magic of Ektar and Portra.
as far as stability, I have been led to believe that Kodachrome was known for "dark Keeping" stability, while Ektachrome was good for withstanding being shown continuously.
So if you were to have a display with a projector showing slides for a month or more, you would have probably wanted those slides to be Ektachrome, but if you wanted to store the pictures away for 50 years you would have wanted to use Kodachrome.
Kodak made a motion picture print film at one time that faded to pink after a few years. BUT the folks that designed it were more concerned with it standing up to being shown in theatres many times a day for several months. knowing that most prints would be deliberately destroyed once the theatre run was over. it would have not been an issue except they also sold it as 16mm print film and those educational films were kept in media libraries until they looked very pink.
I just hope it doesn't damage the already low quantity of Velvia50 being made and purchased. Especially considering I only shoot it in 8x10 and 4x5. And Kodak doesn't seem to be making it in anything but movie format (where the money is).
So my main concern isn't if E100G (reformulated) scans better. It's that it could drop sales of the other E-6 films still in production i.e. Rollie E-6 (forget the name / Velvia50 / Velvia100 / Provia100f (and about to be produced like FILMFerrania's E-6). But for me I'm particular Velvia50. I know it's not even in competition with E100G because of it's more "true to life" saturation, it could pull enough of the 35mm purchases down enough to kill a line or two (or whole production).
I guess we shall see...
I have to say I'm completely delighted but also rather surprised, I had assumed that 35mm E6 would be the first to disappear forever. Mind you, reading 'The Revenge of Analog' by David sax makes you believe that anything is possible (though my dream of Kodachrome 25 is never likely to be realised). Makes me glad I rescued the three Leitz Pradovit slide projectors I found in a skip a few years back...
To say "the people who made this product before are not here any more" is not the same as saying "there are no people who can make this product any more"There must be, how else could they make it? I can't see Kodak making an announcement like this and then saying " Sorry, it's all cancelled as we don't know how to make it any more"
Personally Id rather an Ektachrome 25 or Ektar 25
...After Ektrachrome, I wished they would look into reviving Plus-x (35mm and 120), but from what I gather, they axed it because it wasn't selling well enough, so who knows....
To be honest, I haven't shot any Plus-X, not even a single roll. But then, I had a look at it's datasheet and compared it to that of TMY2. These two films have the same granularity, but TMY2 has a bit more resolution. 125PX had more pronounced shoulder, whereas TMY2 is quite straight at the highlights. So, do we really need 125PX? Maybe we have an even better film that is 2 stops faster. On the other hand, if you consider TMax 100, we have a film that is both finer grained and sharper. Does it make any sense for Kodak to reintroduce 125PX and undermine the sales of some of their existing products?
To be honest, I haven't shot any Plus-X, not even a single roll. But then, I had a look at it's datasheet and compared it to that of TMY2. These two films have the same granularity, but TMY2 has a bit more resolution. 125PX had more pronounced shoulder, whereas TMY2 is quite straight at the highlights. So, do we really need 125PX? Maybe we have an even better film that is 2 stops faster. On the other hand, if you consider TMax 100, we have a film that is both finer grained and sharper. Does it make any sense for Kodak to reintroduce 125PX and undermine the sales of some of their existing products?
Judging from the interview on filmsnotdead it sounds like starting any new production of film necessitates a 're-formulation'.
Film's not Dead: So, In terms of the formulation is it exactly the same, or has it been upgraded?
Kodak Alaris T. J. Mooney: Well that is still TBD (to be discussed) which is part of the reason why the availability is set for later this year, in the fourth quarter. Bringing back a film is not as simple as you might think. There's a very significant R&D (Research & Development) that is necessary to re-formulate the product based on component availability and any equipment changes that have been made or any changes to environmental health and safety regulations. So the intent here is to bring back a daylight 100 speed Ektachrome film. Saturation levels and performance characteristics are still TBD at this point but in terms of the old Ektachrome it will certainly be along those same lines and we'll know more as we go along.
http://www.filmsnotdead.com/
TJ is a "straight shooter" and is an expert. His comments are accurate. If you want to see why it is so complex look at Dead Link Removed film.com Remember, even the slightest change can make the film unsatisfactory. There is an old film making saying "Pray for the emulsion".Judging from the interview on filmsnotdead it sounds like starting any new production of film necessitates a 're-formulation'.
Film's not Dead: So, In terms of the formulation is it exactly the same, or has it been upgraded?
Kodak Alaris T. J. Mooney: Well that is still TBD (to be discussed) which is part of the reason why the availability is set for later this year, in the fourth quarter. Bringing back a film is not as simple as you might think. There's a very significant R&D (Research & Development) that is necessary to re-formulate the product based on component availability and any equipment changes that have been made or any changes to environmental health and safety regulations. So the intent here is to bring back a daylight 100 speed Ektachrome film. Saturation levels and performance characteristics are still TBD at this point but in terms of the old Ektachrome it will certainly be along those same lines and we'll know more as we go along.
http://www.filmsnotdead.com/
Kodak made a motion picture print film at one time that faded to pink after a few years. BUT the folks that designed it were more concerned with it standing up to being shown in theatres many times a day for several months. knowing that most prints would be deliberately destroyed once the theatre run was over. it would have not been an issue except they also sold it as 16mm print film and those educational films were kept in media libraries until they looked very pink.
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