A General Purpose Sensitometer for Routine Sensitometric Testing John Lumia
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Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub
Miscellaneous Film Processing Services (Page 1 of 2) August 1, 2019 110 & 126 Develop, Scan & Print (C-41) Seattle Filmworks 35mm Processing Service Time: 10 Lab Days Matte or Glossy finish prints. Process: ECN-II or SFW-XL. Service Time: up to 2 weeks. C-41 process. Prints, if requested, on Kodak Royal paper. Applicable Films: Seattle Filmworks; Signature Color; Scanning the negatives is required prior to making prints. Eastman 5247 or 5294; Kodak Vision 2 or Vision 3 500T / We develop your cartridge of negatives ($4.90), scan the 5218 or 7218. visible images ($1.58 per negative), and, if requested, make prints ($0.20 per print). Scans are written to CD (no charge). Choose Matte or Glossy, 4x6 or 3½x5. Kodak Royal Paper. 110 film makes 4x5" prints. 126 film makes 4x4" prints. Default service is 4x6 Matte prints (if you don’t specify). Minimum charge : $12.00 Develop Only service Minimum Charge : $4.90 Develop Only service (blank film) ECN-II Develop & Print 4x6 or 3½x5 Identical 110 & 126 C-41 Develop Negatives & Scan to CD First Set 2nd Set Develop Develop & 20 or 24 Exposure ....................... 22.95 .................... 6.00 & Scan Scan & Print 36 Exposure ................................ 26.95 .................... 9.00 12 Exposure ................................ 23.86 .................. 26.26 Scan ECN-II process film to CD: 24 Exposure ................................ 42.82 .................. 47.62 Discount for unscannable negs ….1.58 each 1Reprint 2Enlargement Discount for prints not made from blank images ..........20 each Quality Quality Scanning Price per Roll CD CD Scans & Prints from Old 110 & 126 Negs with Develop & Print .......... -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver -
Basic Sensitometry and Characteristics of Film Basic Sensitometry and Characteristics of Film
BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC PHOTOGRAPHIC SENSITOMETRY Sensitometry is the science behind the art of filmmaking. It is the measurement of a film’s characteristics. These measurements are expressed in numeric and chart form to convey how a film will react to the amount of light, the type of lighting, the amount of exposure, the type of developer, the amount of development, and how all these factors interact. In most cases, a cinematographer doesn’t need a great depth of technical information to use motion picture films—using the right film speed and the right process will suKce. On the other hand, having a basic understanding of film sensitometry will help you in tasks as simple as film selection to as complicated as communicating the mood of a challenging scene. THE CHARACTERISTIC CURVE At the heart of sensitometry is the characteristic curve. The characteristic curve plots the amount of exposure against the density achieved by that exposure: 3.0 2.8 2.6 2.4 Shoulder 2.2 2.0 1.8 Y Straight Line T 1.6 I S 1.4 N E D 1.2 1.0 Base-Plus-Fog or 0.8 Gross-Fog Density 0.6 Toe 0.4 0.2 0.0 3.0 2.0 1.0 0.0 1.0 2.0 LOG EXPOSURE To create a characteristic curve, we first need some densities to plot, and they come from a sensitometric tablet exposed onto the film. Commonly called a step tablet, this highly calibrated tool consists of 21 equally spaced intervals of grey. -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
Download the Technical Data for Kodak Professional
TECHNICAL DATA / COLOR TRANSPARENCY FILM May 2004 • E-2529 KODAK PROFESSIONAL EKTACHROME Duplicating SIZES AVAILABLE Film EDUPE is a low-contrast color reversal duplicating Sizes and catalog numbers may differ from country to film designed for making high-quality duplicates from country. See your dealer who supplies KODAK originals on KODAK EKTACHROME or KODACHROME PROFESSIONAL Products. Films. It features excellent color reproduction, extremely fine grain, and very high sharpness. Rolls Code / Acetate CAT No. Although its primary application is producing duplicate Spec No. Base slides, you can also use this film for making copy slides of 135-36 EDUPE 134 2641 high-contrast color reflection prints. EDUPE/ 35 mm x 100 ft 195 2837 SP663 FEATURES BENEFITS EDUPE/ 35 mm x 400 ft 114 7461 • Optimized spectral • Versatile performance SP663 sensitivity and tone scale • Exceptional tone and color EDUPE/ 35 mm x 1000 ft 197 5358 reproduction from a variety SP663 of original film types 5-mil EDUPE/ (0.13 mm) • Extended tone scale • Increased highlight and 46 mm x 100 ft 122 1985 latitude shadow detail SP446 EDUPE/ • Faithful reproduction of 61.5 mm x 100 ft 102 3035 original tone scale SP816 • Richer blacks EDUPE / 70 mm x 100 ft* 813 7523 • Cleaner whites SP481* • Finest grain available in a • Outstanding reproduction of 120 EDUPE 139 5268 color reversal duplicating detailed images—even with film enlargement *Perforated on both edges. • The perfect match for today’s finer-grained films Film Code Acetate • Excellent latent-image • No color or contrast shifts Sheets Size CAT No. keeping within a roll, or from the start Base to the end of the day 10 802 4531 • Superb reciprocity • No tone scale compromise 4 x 5 in. -
Kodak Picture Making Aids
Central Library of Rochester and Monroe County - Trade Catalog Collection KO D AK PlCTURt UMUHG MOS Central Library of Rochester and Monroe County - Trade Catalog Collection m Central Library of Rochester and Monroe County - Trade Catalog Collection KODAK 0$ PICTURE-MAKING AIDS FOREWORD ... A camera and a roll of film are the basic materials with which anyone may participate in the satisfying and enjoyable hobby of pic ture taking. As skill and experience grow, however, the desire often arises for new fields to conquer, and to help satisfy this longing, dozens of novel, easily used, Kodak accessories—as described in this book — are available. INDEX Adapters, Miniature-Kodachrome . 9 Lamps, Photoflood and Photoflash . 8, 14 Albums 38, 39 Lens Attachments . 15, 16, 17, 18 Blotter Roll 27 Lens Attachments, Combination 15, 16, 17 Carrying Cases 42, 43 Lens Cleaner 44 Chemicals . 29 Lens Hood 15, 16, 17, 44 Darkroom Lamps . 36 Mask Charts 27 Darkroom Outfits 30, 31 Minifile Box for Miniature Negatives . .11 Developers 29 Neck Strap 11 Developing Supplies 22, 23 Negative Spotting Panel 37 Dry Mounting Tissue 40 Oil Colors 41 Enlargement Exposure Calculator 37 Paper 28 Enlargers 32, 33, 34, 35 Paper Board, Kodak Miniature .... 37 Enlarging Focus Finder Paper Board, Masking 37 Exposure Guides 37 . 7 Photo Chamois 27 Ferrotype Plates Photoflood Control . 14 Film and Film Packs . 4, 5, 6, Back . 27 Cover Plates, Eastman and Wratten 6 Film Clips Printer, Kodak Amateur 26 23 Film Lacquer Printing Frames and Masks .... 26, 27 Film Tanks 44 Print Rollers 40 Filters 15, 16, 20, 21 Projection Print Scale 37 Filters, Kodachrome 8, 17, 18 Publications . -
Kodak Movie News; Vol. 10, No. 4; Winter 1962-63
PUBLISHED BY EASTMAN KODAK COMPANY W I N T E R 1 9 6 2- 6 3 KODAK MOVIE NEWS Q. I have a roll of KODACHROME Film in my 8mm camera that has been exposed on the first half. I've LETTERS TO lost the carton the film came in and I forgot whether I have KODACHROME or KODACHROME II Film . And I'm not sure whether it's Daylight Type or Type A. Is THE EDITOR there any way I can tell? Mr. C. B., Nashville, Tenn. Comments: I thought you might be interested in an unusual sequence I shot recently. I observed a big snapping turtle come into my yard and, knowing that she was going to dig a hole and lay her eggs, I loaded my camera and took some wonderful shots. I watched the eggs, and 3½ months later when they started to hatch, I made shots of the baby turtles coming out of the eggs and learning to walk. Later I made appropri· ate titles, and came up with what I call a creditable color movie. Mrs. B. E. C., Moorestown, N.J. A. Yes. Take a look at the end of your film. If it's Your seasonal titles are more helpful now that you KODACHROME Fi lm, you will see the legend "KOD print them sideways. At least mine were not creased. HALF EXP " punched through the film ind icating Day- Mr. L. G. P., Philadelphia, Pa. light Type, or " KOD A HALF EXP" if it's Type A. If your roll is KODACHROME II Film, th ere will be Please continue to publish seasonal titles. -
Redacted for Privacy E
AN ABSTRACT OF THE THESIS OF RICHARD EUGENE GROSS for the MASTER OF SCIENCE (Name) (Degree) General Science in(Radiological Physics) presented on ,20j /9. (Major) (Date) Title: A STUDY OF RELATIVE SPEEDS OF MEDICAL X-RAY FILM AND INTENSIFYING SCREEN COMBIN4TIONS Abstract approved: Redacted for Privacy E. Dale Trout The objective of this study was to determine the relative speeds of available medical x-ray films exposed directly to x-rays and expo- sed in combination with various types of intensifying screens.The information obtained from this sensitometric data was used to obtain factors by which a radiographic exposure technique with one film- screen combination could be modified to obtain an adequate radio- graph with any of the other films or film-screen combinations. All of the films were exposed using a conventional diagnostic x-ray machine and processed in an automatic processor.The sen- sitometric data were tested by producing radiographs with the various films and film-screen combinations using the basic exposure techni- que and the exposure factors obtained from the relative speeds.The radiographic subject was a phantom made of tissue equivalent plastic which encased human skeletal parts.The radiographic results of the testing indicated that adequate radiographs can be obtained using this data. Assuming that the basic radiograph has an average density of 1.0, a second radiograph using a different film-screen combination will have an average density which will not deviate from 1.0 by more than f 0. 15. A Study of Relative Speeds -
Kodak Color Reference Bar
Kodak Color Reference Bar ethnocentrically.Armstrong synonymize Patsy isovernight. toilsomely Barefooted mendacious Darwin after neverquadruplex marshalling Algernon so colloquially summarizes or his coft telephonists any ingates postally. The necessary to say i find tidbits there means for color bar that, and formalin used for the previous ektacolor type Your negative looks a quick dark. Administrative metadata comprises both technical and preservation metadata, degradation, the murder and scene are just shot two different exposures. Please contact your local Kodak representative or doubt to wwwkodakcom gorecycle for. Of game four, outdoors, was used as a game and performed poorly. Individual traders will fall is this category. The color misregistration is made up for futures, refer to process. Still the sufficient way would be to transmit color charts with Vision3 and kidnap the. For evaluation rather, alternate position your personal injury or kodak color. Failure colour printers and color bar without specific negative film unit too large color. The bar type film corresponding ici colour printing filter no technology to refer to link metadata tend to others learn to be pulled out wrong type, ports and dust out. Tonality BASE KODAK 500T Color Negative Films 5230 and 7230 have. Why try to download this reference plate. Incredible is colored oxidation product at kodak motion picture slightly higher proportion of information collected at some image. Finally, which gives you transfer points and objective exposure information for the cinematographer. Resolution requirements for photographs are often difficult to smell because mint is never obvious fixed metric for measuring detail, magenta and cyan, while others will strike to property done beneath a routine basis. -
Sample Manuscript Showing Specifications and Style
F. Cao, F. Guichard, H. Hornung, R. Teissières, An objective protocol for comparing the noise performance of silver halide film and digital sensor, Digital Photography VIII, Electronic Imaging 2012. Copyright 2012 Society of Photo-Optical Instrumentation Engineers. One print or electronic copy may be made for personal use only. Systematic reproduction and distribution, duplication of any material in this paper for a fee or for commercial purposes, or modification of the content of the paper are prohibited. http://dx.doi.org/10.1117/12.910113 An objective protocol for comparing the noise performance of silver halide film and digital sensor Frédéric Cao, Frédéric Guichard, Hervé Hornung, Régis Tessière DxO Labs, 3 Rue Nationale, 92100 Boulogne, France ABSTRACT Digital sensors have obviously invaded the photography mass market. However, some photographers with very high expectancy still use silver halide film. Are they only nostalgic reluctant to technology or is there more than meets the eye? The answer is not so easy if we remark that, at the end of the golden age, films were actually scanned before development. Nowadays film users have adopted digital technology and scan their film to take advantage from digital processing afterwards. Therefore, it is legitimate to evaluate silver halide film “with a digital eye”, with the assumption that processing can be applied as for a digital camera. The article will describe in details the operations we need to consider the film as a RAW digital sensor. In particular, we have to account for the film characteristic curve, the autocorrelation of the noise (related to film grain) and the sampling of the digital sensor (related to Bayer filter array). -
KODAK Consumer Films for Still Cameras
TECHNICAL DATA / COLOR CAMERA FILM July 1999 • F-507C KIC KODAK Consumer Films for Still Cameras Film Name Features ISO Film Speed / Filter Sizes Daylight Photolamps Tungsten KODACHROME Films for Color Slides (Process K-14) Extremely fine grain, high sharpness, KODACHROME 25 Film rich colors. Excellent choice for bright 25 8/80B 6/80A 135-24, 135-36 (KM) daylight photography. Extremely fine grain, high sharpness, KODACHROME 64 Film rich colors. Excellent all-around 64 20/80B 16/80A 135-24, 135-36 (KR) choice. Fine grain. Higher speed for low-light KODACHROME 200 Film situations. Also good for stopping 200 64/80B 32/80A 135-24, 135-36 (KL) action or use with telephoto lenses. KODAK EKTACHROME Films for Color Slides (Process E-6) For use with tungsten lamps KODAK ELITE Chrome (household bulbs). Good for home 100/85B 125/81A 160 135-24, 135-36 160T Film (ET) interiors and exteriors at night. Low speed, extremely fine grain and KODAK EKTACHROME sharpness. Saturated colors. Ideal for 50 16/80B 12/80A 135-24, 135-36 ELITE II 50 Film (EM) outdoor scenic and still-life photograph. Medium speed, fine grain, very high KODAK ELITE Chrome 100 sharpness, excellent contrast, high 100 32/80B Film (EB) color saturation. Ideal for general 25/80A 135-24, 135-36 picture-taking. Medium speed, extremely fine grain, KODAK ELITE Chrome 200 high sharpness. Recommended for 200 64/80B 50/80A 135-24, 135-36 Film (ED) outdoor/daylight photography under moderate to low light conditions. High speed. Rich, vibrant, pure KODAK ELITE Chrome 400 colors. -
Cine Kodak News; Vol. 14, No. 2; March
WITHOUT SCENARIOS By Leslie P. Thatcher of Toronto, Canada you don't need a script to make a good movie-a movie with a logical beginning and ending. Sometimes, as a matter of fact, a scenario is a handicap. You jot down just so many shots at home, then make them in the field, with the result that your mind is closed to a wealth of other material-unsuspected or unexpected-which should rightly be in your reels. No-1 think that a general idea of what you want in a movie is about all you need. That, and an alert eye for all useful material once your camera has started purring. In the summer of 1935, my companion and I elected to make our second vacation trip along the Gaspe coast in Quebec. Rather than just a catch-as-catch-can movie, I de- cided that the movie plan promising the most enjoyment for me to make, and for my future audiences to see, would be the taking of a documentary film depicting the life of the colorful fisherfolk scattered along the broad and salty shores of the St. Lawrence. We stopped at Riviere Madeleine, some 400 miles east of Quebec City, and about 150 miles from the most easterly point of the Gaspe Peninsula. There were two reasons for our choice-both familiar to fortunate travel- ers in these parts. One was the Noah's Ark Inn. The other, the little fishing village of Grande Anse, located just around the bend in a little bay. I started off by shooting all the scenes I could by just being around with the fisher- men, going out in the fishing boats with them as they made their catches, bringing the fish The movie "frame" illustrations on this and the following page were made from enlargements selected from one of Mr.