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The Technology of Enhanced Color Saturation Kodak Ektachrome 100D Color Reversal Film/5285

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The Technology of Enhanced Color Saturation Kodak Ektachrome 100D Color Reversal Film/5285 TECHNICAL PAPER The Technology of Enhanced Color Saturation Kodak Ektachrome 100D color reversal film/5285 By David L. Long Downloaded at SMPTE Member on 2012-08-10 from IP The technology behind the enhanced color reproduction of Kodak Here, the three primary compo- Ektachrome 100D color reversal film/5285 will be outlined. Attention will nents of visible light (red, green, and be given to both the chemical and photophysical design considerations blue) reflected from a scene are cap- incorporated into the technology, as well as some of the benefits offered to tured in the red, green, and blue-sen- its users. sitive layers of a silver halide photo- graphic film; this process is known as latent image generation. The latent odak Ektachrome 100D color Photographic Color image consists of small silver parti- Kreversal film/5285 was intro- Reproduction: The Basics cles formed within a silver halide duced to the motion picture market in Before any discussion of the color crystal as a consequence of the reac- December 1999. Its release marked enhancing technology incorporated tion of silver halide with visible the culmination of a number of years into 100D film can begin, some light. Once the film is developed of work on the part of researchers in background into the basics of color through appropriate processing both Kodak’s Color Reversal and rendition theory in photographic sys- chemistry, the red, green, and blue- Entertainment Imaging R&D groups. tems are presented, starting with the layer latent images are converted 67.247.176.132 The design concept was to create a very elementary representation of the chemically into subtractive photo- highly saturated color reversal film at photographic process in Fig. 1. This graphic dyes, cyan, magenta, and an EI100 speed without compromis- figure is designed generically to yellow, respectively. These three ing flesh and neutral reproductions. dyes are chosen because they are the describe either a negative or positive @ SMPTE All Rights Reserved A total of three films incorporating image capture film, though more spectral complements (or opposites) the high color technology have been detailed differences between the two of the three primary additive light introduced by Kodak: Professional will be discussed later. colors. The term subtractive refers to Ektachrome film E100VS for the professional still photography mar- ket, Elite chrome extra color 100 Table 1—General Performance Attributes of the EKTACHROME 100D Film film for the consumer still photogra- phy market, and Ektachrome 100D Speed True EI100 color reversal film for the motion picture market. A summary of gener- Best-Fit Gamma 1.6-1.7 (positive sensitometry) compared to 1.8-1.9 for al performance attributes of the three a print from EXR 50D Film/5245 films can be found in Table 1. Table 2 shows the characteristic curve com- Sharpness Acutance higher than any EI100 speed reversal pro- parisons between camera positive duct and similar to AMT ratings of an EXR 50D print 100D film and camera negative Grain Comparable to other EI100 speed reversal products Eastman EXR 50D film/5245 printed and advantaged over the EXR 50D print by 4.5 grain to a positive on Kodak Vision color units print film/2383 (the only fair sensito- metric comparison of a negative film Reciprocity No filter corrections required for exposures from and a positive film requires the nega- 1/10,000 to 10 seconds tive be printed). Raw Stock Stability Comparable to any Kodak motion picture capture product This is an expanded version of a paper presented at the 142nd SMPTE Technical Conference (no. 142-30), in Pasadena, CA, October 18-21, 2000. David L. Long is Color High saturation of scene colors with accurate treatment with Eastman Kodak Co., Rochester, NY 14650. of neutrals and flesh tones Copyright © 2001 by SMPTE. 228 SMPTE Journal, April 2001 THE TECHNOLOGY OF ENHANCED COLOR SATURATION KODAK EKTACHROME 100D COLOR REVERSAL FILM/5285 square in the scene appears as a red Table 2—Characteristic Curve of EKTACHROME 100D film/5285 versus EXR square now on screen. 50D film/5245 printed on KODAK Vision Color Print Film/2383 In a positive film like 100D, the process is a bit more complicated. With no printing step involved, the red square must be imaged directly on the original piece of capture film as yellow and magenta dye, if it is to appear red when projected. In the reversal process, the red, green, and blue lights are still imaged in red, green, and blue-sensitive film layers; however, now instead of dye being formed in the layer that was specifi- Downloaded at SMPTE Member on 2012-08-10 from IP cally exposed at image capture, dyes are formed in the layers that were not exposed. The secret lies in the processing chemistry. The first step in the rever- sal process takes the latent image sig- nal and turns it into a negative black- and-white image (with relative expo- sure yielding a proportional amount of “black” silver); no dye is produced in this step. With that image formed, a second stage creates latent image in the action of the dyes removing cer- ture film absorbs its complement (red the unexposed portions of the film tain spectral transmission from a light) from the white source leaving and turns this new image into colored white light source in order to modu- only green and blue light incident dyes via the same route already late color.1 upon the receiving film. These two described for color negative material. In a negative-acting film, red light colors of light will produce magenta Consequently, any area of the film 67.247.176.132 captured in the red-sensitive layer of dye and yellow dye, respectively, in that was exposed to light has the the film will produce cyan dye; simi- the receiving film. black silver image but no dye, and larly, green light will induce magenta When this piece of film is project- any area that was not exposed to dye formation in the green-sensitive ed using a standard white light light has dye present (plus the afore- @ SMPTE All Rights Reserved layer, and blue light will induce yel- source, the magenta dye absorbs its mentioned elemental silver by-prod- low dye formation in the blue-sensi- complement, green, and the yellow uct). The final stage of the chemistry tive layer. A bleach step in the chem- dye absorbs its complement, blue, removes all of the silver and silver ical processing must also be included from the projector source. What halide from the film, leaving only to remove developed silver from the remains is only red light hitting the dye in those areas not exposed. film, because a by-product of the screen. As a result, what was a red In summary, the red square images dye-formation reaction is elemental silver at all of the latent image sites; a fix step completes the processing, removing unexposed silver halide from the film and stabilizing it against further exposure. The subtractive complementary dyes in the capture negative are transferred or “printed” to a receiver piece of film, which is also negative acting. For example, imagine taking a picture of a red square. The red square is imaged in the red sensitive layer of the capture film and conse- quently cyan dye is formed in that layer. In printing, a white light is shone through the capture negative and onto a receiver film (the color print film). The cyan dye in the cap- Figure 1. A simple representation of image capture. SMPTE Journal, April 2001 229 THE TECHNOLOGY OF ENHANCED COLOR SATURATION KODAK EKTACHROME 100D COLOR REVERSAL FILM/5285 tion, something that has definite color reproduction consequences in a film system. Once the spectrophotometry is measured, a set of calculations simi- lar to those outlined by Hunt adher- ing to the CIE1 standards will yield three color metrics: L*, a descriptor of a color’s luminance or “lightness” from black to white; a*, a measure of a color’s hue along a red-cyan axis; and b*, a measure of a color’s hue Figure 2. Typical spectral dye density curve for a photographic dye. along a yellow-blue axis. With these three terms, any color stimulus Downloaded at SMPTE Member on 2012-08-10 from IP in the red layer of the film, but the piece of media. It is rather the theo- directly viewed by the eye can be reversal development process creates retically ideal space of colors that described in terms of its hue and its dye in only the unexposed green and can be represented by any mixture of lightness. The CIELAB color metrics blue layers (magenta and yellow the dyes. are designed to establish a measure- dye).2 To characterize the color of an ment of space that is approximately individual dye, its spectrophotometry linear in perceived color differences. Photographic Color or spectral dye density must be deter- In other words, any two scene colors Reproduction: The Details mined. This is simply a measure of a (or film dyes) mapped into the The two-stage picture of image dye’s ability to transmit light at each CIELAB coordinate system will formation described above is admit- of the wavelengths in the visible henceforth be represented by a calcu- tedly simplistic. The actual photo- spectrum. Figure 2 represents a typi- lable difference in psychophysically physics involved in rendering the cal set of spectral density curves for perceived color. total visible color palette are decid- a cyan dye. Though this example refers to dye edly more complicated. Still, the Each curve offers information on color characterizations, the CIELAB more in-depth details of color repro- how much light is absorbed by the calculations allow the measurement of duction may be understood within dye in each of the three principal the color of any visible object with a the context of the two simple steps regions of the white light spectrum specific spectrum.
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