For me, KODACHROME and EKTACHROME are much more beautiful than PORTRA. Of course, if you want to make handmade darkroom prints, then PORTRA and EKTAR will be the choice. But I think little compares to the beauty of the color transparency films when the pictures are destined for printing with lithography or digital laser exposure.
at the time of 5247, almost all dramatic TV shows were shot on 35mm film. that generated a LOT of "short ends" --> rolls of film between 100 to 300 ft. (anything under 100ft tended to just get tossed, as what can you do with a 1 minute shot time when you still have to do a slate and anounce the shot for the sound track.)
Many small labs gathered those ends cheep and bulk loaded and sold them as still rolls. the film could only be processed by a movie lab and so they would process and do a contact print on whatever was the equivelent of x383
(which unfortunately included some print stocks where the dyes were optiomized to look good when new, rather than lasting)
Seattle actually started to use unmarked c-41 film (proably from Ferrania) and counted on any still labs being scared off.
at the time of 5247, almost all dramatic TV shows were shot on 35mm film. that generated a LOT of "short ends" --> rolls of film between 100 to 300 ft. (anything under 100ft tended to just get tossed, as what can you do with a 1 minute shot time when you still have to do a slate and anounce the shot for the sound track.)
Many small labs gathered those ends cheep and bulk loaded and sold them as still rolls. the film could only be processed by a movie lab and so they would process and do a contact print on whatever was the equivelent of x383
(which unfortunately included some print stocks where the dyes were optiomized to look good when new, rather than lasting)
Seattle actually started to use unmarked c-41 film (proably from Ferrania) and counted on any still labs being scared off.
I only used few rolls, but the ones they packed with a number starting with 6 are probably plain C-41. unless frozen of course they are getting a touch stale.
Yes, Portra's anti-halation measures will never be quite as effective as true remjet. So it's difficult to compare a still film with a cine film in this regard in particular.
I only used few rolls, but the ones they packed with a number starting with 6 are probably plain C-41. unless frozen of course they are getting a touch stale.
But I think little compares to the beauty of the color transparency films when the pictures are destined for printing with lithography or digital laser exposure.
I don't think you are aware how much interpretation has to happen to fit colour transparencies into 4-colour (or any process repro-ing a transparency). Compared to an equivalent neg stock used well, they have a litany of irksome shortcomings that have to be overcome - but in an era before ICC profiles, transparencies gave a more useful reference point for the person turning them into whatever reproduced form. The art is in making it look like it could be correct, not necessarily absolutely accurate to the origination medium.
I found out through this video that Kodak had referred to "a yet-to-be-released Kodak motion picture stock, which is similar to a beloved professional still photography film"