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New Motion Picture film: Eastman Kodak VERITA 200D Color Negative Film 5206/7206
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Well, what do I know. But there certainly has been rumors that there is a new Kodak cine stock based on an existing still film stock from insiders in cinematography circles over the past two years. Look at the second post here: https://cinematography.com/index.php?/forums/topic/102017-new-mystery-filmstock-from-kodak/
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.
Many IMAX theatres are digital projection with dual 4K projectors, not film at all.
Indeed, IMAX is mostly a marketing term. The next IMAX 70mm film projection will be Odyssey in the summer: I booked my tickets a year in advance!
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:
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.
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.
The vast majority is negative film.
Reversal film professionally was only really used for things like news gathering with 16mm.
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.
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Alan Edward Klein
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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.
Alan Edward Klein
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Don;t they reverse it again to make reversal film (or digital) for the theaters?
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.
MattKing
Moderator
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.
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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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
I enjoy these old war stories.
When you consider many movies were shot 10:1 or higher - that is 10 minutes film shot for 1 min on screen, the amount of film used for one production released on multiple theatrical screens is truly quite astounding.
More for the soundtrack which was also on 35mm magnetic coated film for editing, but then went off onto 2 inch tape for 24 track mixing, then back to 35mm mag for M+E (Music and Effects) separations required for foreign language dubs.
The same film base is used for sound and pix as that keeps a one to one sprocket hole relationship between them - which sync all the way back to the sync lead from the film camera to the Nagra sound recorder on location.
I feel old. lol.
I was a film major in the early 90s. We shot everything on 16mm. The film and processing were 90% of the costs of our films. It was a crippling amount of money for students and we never went past editing and screening work prints with mag film audio. It was especially disheartening when a student camera operator or lab screwed up.
Our school did B&W reversal for a nominal fee so many people did that. I was Mr fancy and shot with Double x. There was a lab in Detroit I think that specialized in B&W at the time so I used them. Knew someone that had their whole project screwed by WRS in Pittsburgh. Sending your film off was scary.
Our school did B&W reversal for a nominal fee so many people did that. I was Mr fancy and shot with Double x. There was a lab in Detroit I think that specialized in B&W at the time so I used them. Knew someone that had their whole project screwed by WRS in Pittsburgh. Sending your film off was scary.
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