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New Motion Picture film: Eastman Kodak VERITA 200D Color Negative Film 5206/7206

I was dubious about productions doing 65mm dailies but here’s a walkthrough of getting some dailies ready for a director. That’s a lot of film!

 
But that doesn't make any sense like I said before. He alleges it's a still film, and it's ECN-2. Which ECN-2 process still films has Kodak made, ever?
It's anyone's guess what he heard/read back then and how he understood/interpreted it.

Also, this is what he posted on the currently released film a few days ago:
A few posts up he says:
I'm pretty sure it's reformulated Portra 400.
Click to expand...
So which is it...and whatever it is, it's apparently not what he was talking about 2 years ago.

Looks to me he's like guessing, feeding the rumor mill. People pick it up, repeat it, at first with a tentative "IDK but this guy here..." and before we know it, it's gospel.
 
tykos said:
well, let's be honest: if you take a portra and change the emulsion, dyes, couplers, formulation, edge markings, canister, logo you basically have a portra that becomes an ecn2 film. Or even a bicycle, with a few more tweaks.
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And, if we are really honest, maybe if you take Portra, change nothing then process it in ECN-2 and you (just what it says on the tin) get pictures with a cross? I mean, that wouldn't be THAT different to taking V3 5203, changing nothing and processing it in C-41 (you get nice enough pictures with a cross).

I mean, I would at least try processing Portra 400 in ECN-2 before having a strong opinion on what this new Verita is or isn't.
 
I thought "motion picture film" was reversal film, not negative film.
 

i never tried crossprocessing portra, but that was a joke.

i can see why, in the current legal dispute about film names, Eastman would rename portra but then why create a new name and not simply use their brand new shiny Ektacolor (that we all know is our beloved Portra)?
 
It's an interesting experiment alright. I doubt it will yield Verita's curves, though. Looking at the, they're a little too wonky to be explained by a simple x-process. But who knows? I don't have any fresh Portra 400 to try it on.
 
tykos said:
well, let's be honest: if you take a portra and change the emulsion, dyes, couplers, formulation, edge markings, canister, logo you basically have a portra that becomes an ecn2 film. Or even a bicycle, with a few more tweaks.
Click to expand...

The bicycle, a Bianchi, Campagnolo equipped! Sweet! Sign me up. (Steel frame, it's more analogue than carbon )
 
gbroadbridge said:
It's worth pointing out that not all IMAX is created equal.

Many IMAX theatres are digital projection with dual 4K projectors, not film at all.
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That's correct. Most theatres show 4k digital. There are special theaters that show the huge IMAX film productions. You have to read carefully which ones those are. There are also 3D IMAX, but I don't know whether those are digital, film, or what.
 
benjiboy said:
I thought "motion picture film" was reversal film, not negative film.
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Don;t they reverse it again to make reversal film (or digital) for the theaters?
 
Alan Edward Klein said:
Don;t they reverse it again to make reversal film (or digital) for the theaters?
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Indeed; Motion Picture film production uses a similar workflow to color negative still film.

You can do as the vast majority of color negative still film shooters do and shoot it, develop it, scan it, invert the image and then edit your footage digitally. You can also do as some color negative still film shooters still do, and print it on Motion Picture print film, which performs a similar function to RA-4 paper. That print can then be scanned and distributed digitally for theaters. Then there's hybrid processes, where the negative is scanned, edited, and written back out to film that can be printed. This "Digital Intermediate" process has become very popular in recent years, with some films like Dune part II writing digital footage back out to film for the so-called "film look", for whatever that's worth.
 
benjiboy said:
I thought "motion picture film" was reversal film, not negative film.
Click to expand...

When people shot home movies, those movies almost always were. And much of it was Kodachrome.
When they switched to video, Kodachrome's days were numbered, because without the movie volumes, it became uneconomic to maintain the infrastructure.
Some small scale motion picture product is shot on the re-introduced Ektachrome, but that is a very narrow niche.
 
Alan Edward Klein said:
Don;t they reverse it again to make reversal film (or digital) for the theaters?
Click to expand...

In a traditional (pre digital) feature film flow it goes like this:

Original Neg processed from Camera

A Workprint (a low quality non graded print) is made from the Original neg - this is cut up and synced with the audio track and presented to cast/crew at the dailies screening - also used to for the editing process.

This is basically a neg made from a neg (i.e. a positive print)

A this point the Audio and Pictures are separate - the audio is on 35mm full width mag coated film - this has been made from the 1/4in tape recorded on location. The workprint is also 35mm but cheap stock.

After editing is complete, the workprint goes off to the lab, which creates negatives of effects such as dissolves from A+B roll workprint edits

Those together with the original camera neg are sent off to very special and careful people who cut original camera negative to match the workprint and create the final negative. That final negative is worth almost the budget of the whole movie.

A final print is created from that neg which includes laboratory colour grading and the audio (which has followed it's own path up until now)

This final print is called the Answer Print - and it is effectively the highest quality print that will ever be made of a movie, as it has been struck (using a negative process) directly in contact with the original negative.

It's usually shown at the first production screening of a picture.

If the movie has no intended theatrical release but instead is going to the small screen, the answer print will go through a telecine process to a 1 inch videotape master.

If it's a big movie destined for thousands of screens, the risk to the original negative is too high, so intermediate negatives are made from the original negative.

The first is called an interpositive (again a neg of a neg)
The interpositive is used to create internegatives (another neg of a neg) which are used to strike final release prints.

Interpos/Interneg/Answer Prints are extremely expensive do the the care and effort needed.

There is also what is known as a colour reversal internegative, which is a copy of the original negative using a reversal stock which can be used for some low budget cases when the cost of interpos/interneg is unworkable

As is probably obvious, I did a lot of work in motion picture production in the 80's and 90's
 
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