Carl-Fra by ATTORNEY 5 Dgent Patented Aug

Total Page:16

File Type:pdf, Size:1020Kb

Carl-Fra by ATTORNEY 5 Dgent Patented Aug Aug. 18, 1953 H. l. DAVIS 2,649,375 LIGHT-SENSITIVE PHOTOGRAPHIC ELEMENT Filed Oct. 26, 1950 PHO7OGRAPHIC . S/L/AR Ada L/PE FMUS/OW 11 %3 cellulose ASTER owTAINING 10 N LESS 7 Alamy O. ooz, 7- DE77/YLAM/NO-4-METHYLCOUMARIN HARRY I. DAVIS INVENTOR Carl-fra BY ATTORNEY 5 dGENT Patented Aug. 18, 1953 2,649,375 UNITED STATES PATENT OFFICE 2,649,375 LIGHT-SENSTIVE POTOGRAPHIC ELEMENT Harry I. Davis, Rochester, N.Y., assignor to East man Kodak Company, Rochester, N. Y., a cor poration of New Jersey Application October 26, 1950, Serial No. 192,285 10 Claims, (C. 95-9) 1. 2 This invention relates to photographic elements der ultra-violet radiation. It was most unex and a method for identifying them. pected to find that Over a certain range 7-di Motion picture film is ordinarily identified ac ethylamino-4-methylcoumarin could be advan cording to the manufacturer and type (e. g. cellu tageously used without having a deleterious effect lose acetate or cellulose nitrate) by exposing let 5 on the photographic emulsion. 7-diethylamino ters or symbols photographically along the mar 4-methyl coumarin has no detectable effect on the gins of the raw or unprocessed film. Upon de Color of the film base and is insoluble in water velopment, these markings become visible and or the solutions used in film processing, when permit identification of the film. used in accordance with the process of my in The difficulty with such a means of identifica () vention. tion is that each foot of film must be separately Whereas the use of fluorescent materials in inspected, which is a somewhat laborious proc inks and the like for identifying certain materials ess. Identification is made even more difficult has long been known, many of these materials when separate lots of film are spliced together are unsuited for use in connection with the iden and different types of film are made into a single tification of photographic elements because of strip. Rapid identification of film is quite im their adverse effect on the color of the film base portant in recovery of scrap film or in the vault or their fogging action on the light-sensitive storage of film, where cellulose acetate type must emulsion coated on the base. These and other be distinguished from cellulose nitrate type film. difficulties are avoided when 7-diethylamino-4- It is, therefore, an object of my invention to methylcoumarin is used as the fluorescent ma provide a new photographic element. A further terial in photographic elements in accordance object is to provide a method for distinguishing With my invention. - one film type from another quickly and accu In the copending application Serial No. 191,017, rately. Still another object is to provide a new filed on October 19, 1950, of Ralph H. Talbot, composition of matter. Other objects will be- 2: a method for identifying photographic elements come apparent from a consideration of the fol comprising adding Small amounts of anthracene lowing description and exampleS. to the film base, e. g. cellulose acetate, is de According to my invention, I provide new pho scribed. While the method of that application tographic elements having a cellulose ester Sup offers certain advantages over the prior art, I port containing from 0.0001 to 0.002 per cent : have found that the 7-diethylamino-4-methyl by weight, based on the cellulose ester, of 7-di counarin of my invention offers further advan ethylamino-4-methylcoumarin. On inspection tages in that the counarin compound is effective of the photographic element under ultra-violet in amounts varying from about one-fortieth to radiation, a purplish fluorescence of sufficient in one-fiftieth of the anthracene. tensity for identification purposes is exhibited. 7-diethylamino-4-methylcoumarin is a known It is known that fluorescent materials can be Substance and has been described in Miglarese added to the film base of photographic elements. U. S. Patent 2,334,348, dated November 16, 1943. For example, Michaelis U. S. Patent 2,331,492, Its structure can be represented as follows: dated October 12, 1943, describes a photographic element containing a fluorescent material, such 40 H. as rhodamine, in the film base. The purpose of the fluorescent layer of Michaelis is to provide a source of radiant energy to cause exposure of a light-sensitive emulsion, which is not sensi ol O Ce:O tive to primary radiation. Other patents show The accompanying drawing shows a film base the use of fluorescent materials in the film base. of a cellulose ester containing 7-diethylamino-4- of a photographic element for the purpose of methylcoumarin and a coating of a photographic image intensification. I have now found that Silver halide emulsion on the film base. A fur by using very small amounts of 7-diethylamino ther description of the photographic elements 4-methlycoumarin in the film base of a pho 50 of my invention is given below. tographic element, the fluorescent properties of The amount of 7-diethylamino-4-methyl the 7-diethylamino-4-methylcoumarin have no counarin used in my invention is of material substantial effect on the light-sensitive emulsion importance in determining the properties of the layer, but are sufficient to permit identification cellulose ester film base, and consequently, the of the photographic element upon inspection un 55 photographic element comprising the cellulose 2,649,375 3 4. ester film base. An amount less than 0.0001 per photographic silver-halide emulsion f f. Instead cent should not be used, nor should an amount of a single photographic silver-halide emulsion, in excess of 0.002 per cent be used, the amounts the Support 10 can be coated with a plurality of being based on the cellulose ester, since the ad enulsions, for example, as shown in U. S. Patents vantageous results of my invention are not ob 2,350,764, dated June 6, 1944; 2,360,214, dated tained outside this range. October 10, 1944; 2,376,202, dated May 15, 1945; The 7-diethylamino-4-methylcoumarin can ad 2,391,198, dated December 18, 1945; 2,403,721, vantageously be added to a viscous Solution or dated July 9, 1946; etc. The photographic emul "dope' of the cellulose ester, and the composi Sion layer , and those described in the above tion agitated until homogeneity is accomplished. 0 U.S. patents are the usual gelatino-silver halide The 7-diethylamino-4-methylcoumarin can be enulsions customarily used in the art of black added in solid form, or in the form of a Solution, and-white or multi-color reproduction. These which contains, for example, the same Solvent emulsions can also consist of silver halide dis present in the cellulose ester dope. After inti persed in other water-permeable colloidal mate mate mixing the Solution is cast into a sheet and 5 rials, such as Synthetic resins, e. g. polyvinyl the solvent removed by evaporation. A film of alcohol, etc., cellulose ethers and esters, etc. the cellulose ester can be first formed and a Typical Silver-halide emulsions include silver coating of 7-diethylamino-4-methylcoumarin ap chloride, bromide, bromiodide, and chlorobro plied to the cellulose ester layer, although I have mide types. The photographic silver-halide found that a product is obtained which does not 20 emulsions can contain the usual addenda, such as exhibit the homogeneity and abrasion resistance polymethine Sensitizing dyes, anti-foggants, etc. shown by the product obtained from a cellulose What I claim as my invention and desire ester dope containing the 7-diethylamino-4- Secured by Letters Patent of the United States methycoumarin. A film of cellulose ester can 1S also be immersed in a solution of the 7-diethyl 2 5 i. A photographic element comprising at least annino-4-methycoumarin in a Solvent having no Gle photographic Silver halide emulsion layer dissolving power for the cellulose ester. Such and a colorless cellulose ester layer containing nodes of procedure are not generally to be pre from 0.0001 to 0.002 per cent by weight, based ferred since the amount of t-diethylaimino-4- On the cellulose ester, of 7-diethylamino-4-meth methylcounarin used cannot be as Systematically 30 yicouinarin, said cellulose ester being an ester of controlled and the 7-diethylamino-4-methylcou a Saturated carboxylic acid containing frona 2 to marin is easily removed from the film base 4 carbon atoms. during handling. 2. A photographic element comprising at least Cellulose esters which can advantageously be one photographic silver halide emulsion layer used in my invention cornprise cellulose acetate, and a colorless cellulose acetate layer containing cellulose propionate, cellulose butyrate, etc., from 0.000 to 0.002 per cent by weight, based mixed cellulose esters, Stich as cellulose acetate on the cellulose acetate, of 7-diethylamino-4- butyrate, etc. My invention is particularly methylcoumarin. adaptable to the use of cellulose acetate contain 3. A photographic element comprising at least ing, for example, from 35 to 44.8 per cent acetyl. 4 one photographic silver bromide emulsion layer The particular solvent, or mixture of Solvents, and a colorleSS cellulose ester layer containing used in the cellulose ester dope will depend on from 0.0001 to 0.002 per cent by weight, based the acyl content of the ester. For example, cellu On the cellulose ester, of 7-diethylamino-4-meth lose acetate containing from about 39 to 41 per ylcoumarin, said cellulose ester being an ester of cent acetyl can be dissolved in acetone. a saturated carboxylic acid containing from 2 to Cellulose acetate containing from about 42.5 to 4 carbon atoms.
Recommended publications
  • Photographic Films
    PHOTOGRAPHIC FILMS A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic films capture the image formed by light reflecting from the surface being photographed. This instruction sheet describes the nature of photographic films, especially those used in the graphic communications industries. THE STRUCTURE OF FILM Protective Coating Emulsion Base Anti-Halation Backing Photographic films are composed of several layers. These layers include the base, the emulsion, the anti-halation backing and the protective coating. THE BASE The base, the thickest of the layers, supports the other layers. Originally, the base was made of glass. However, today the base can be made from any number of materials ranging from paper to aluminum. Photographers primarily use films with either a plastic (polyester) or paper base. Plastic-based films are commonly called “films” while paper-based films are called “photographic papers.” Polyester is a particularly suitable base for film because it is dimensionally stable. Dimensionally stable materials do not appreciably change size when the temperature or moisture- level of the film change. Films are subjected to heated liquids during processing (developing) and to heat during use in graphic processes. Therefore, dimensional stability is very important for graphic communications photographers because their final images must always match the given size. Conversely, paper is not dimen- sionally stable and is only appropriate as a film base when the “photographic print” is the final product (as contrasted to an intermediate step in a multi-step process). THE EMULSION The emulsion is the true “heart” of film.
    [Show full text]
  • Graphic Materials: Rules for Describing Original Items and Historical Collections
    GRAPHIC MATERIALS Rules for Describing Original Items and Historical Collections compiled by Elisabeth W. Betz Library of Congress, Washington, D.C., 1982 WordPerfect version 6/7/8 (July 2000; with MARC21 tagging added March 2002) With cumulated updates: 1982-1996 and List of areas to update for second edition: 1997-2000 Cover illustration: "Sculptor. Der Formschneider." Woodcut by Jost Amman in Hartmann Schopper's Panoplia, omnium illiberalium mechanicarum aut sedentariarum artium genera continens, printed at Frankfurt am Main by S. Feyerabent, 1568. Rosenwald Collection, Rare Book and Special Collections Division. (Neg. no. LC-USZ62-44613) TABLE OF CONTENTS Graphic Materials (1996-1997 Updates)...................p. i Issues to consider for second edition (1997-2000).......p. iii Preface.................................................p. 1 Introduction............................................p. 3 0. General Rules........................................p. 8 0A. Scope.............................................p. 8 0B. Sources of information............................p. 9 0C. Punctuation.......................................p. 10 0D. Levels of description.............................p. 12 0E. Language and script of the description............p. 13 0F. Inaccuracies......................................p. 14 0G. Accents and other diacritical marks (including capitalization)..................................p. 14 0H. Abbreviations, initials, etc......................p. 14 0J. Interpolations....................................p. 15 1.
    [Show full text]
  • April 29–May 1 Dryden Theatre
    DRYDEN THEATRE APRIL 29–MAY 1 2016 DEDICATION The 2nd Nitrate Picture Show Festival of Film Conservation Dryden Theatre April 29–May 1, 2016 2 decades. 226 students. 28 countries. Honorary President Kevin Brownlow Celebrating 20 years and a lasting Museum Director Bruce Barnes impact throughout the world. Festival Director Paolo Cherchi Usai Executive Director Jared Case Technical Director Deborah Stoiber “The only way to learn how to be an archivist is to get your hands dirty working in an archive. The Selznick School afforded me the opportunity Curator of Film Exhibitions Jurij Meden to dive into my work, to absorb the knowledge of my teachers and to Special Events Director Allen Buell learn how to do things for myself. It taught me how to troubleshoot in Registration Coordinator Caroline Yeager a field where problems are a dime a dozen. I’m not sure if I would be Hospitality Coordinator Daniela Currò ready, willing, or able to handle my position today had I not attended Student Coordinator Jeff Stoiber the Selznick School.” Nitrate Projection Manager Ben Tucker — Andrew Lampert, archivist, Anthology Film Archives Nitrate Projection Specialist Spencer Christiano Class of 2003 Designer Amy Schelemanow Catalogue Editor Ryan Conrath “The Selznick School is like a good wine: It’s getting better and better Copy Editor Molly Tarbell with time (and with no vinegar syndrome!). I belong to the first class Assistant Designer Amy Slentz of students who completed this program in a new millennium. Saving Public Relations Manager Kellie Fraver our moving image heritage for the future generations is a deeply Dryden Theatre Manager Malin Kan important task.
    [Show full text]
  • IPI Storage Guide for Acetate Film
    IPI Storage Guide for Acetate Film James M. Reilly • Director, Image Permanence Institute Instructions for Using the Wheel, Graphs, and Table Basic Strategy for Film Preservation l The IPI Storage Guide for Acetate Film provides an overview of environmental specifications for film storage. It explains the relationship between temperature, relative humidity (RH), and “vinegar syndrome,” the slow chemical decomposition of acetate plastics leading to loss of their value in a film collection. l The main purpose of the Guide is to help collection managers evaluate the quality of the storage environment they provide for their film. The Guide is not meant to predict the life of any individual film; it merely uses predicted life span as a yardstick to measure the quality of the storage environment. l CONTENTS What the Guide Is (and What It Is Not) ................... 2 The Wheel ................................................................ 4 Time Contours for Vinegar Syndrome .................... 7 The Time Out of Storage Table ............................... 8 Chemical Deterioration of Film Bases .................. 10 The Course of the Vinegar Syndrome .................. 13 Does the Guide Apply to Nitrate Film? ................. 15 Polyester Base Film ............................................... 15 The General Philosophy of Film Storage .............. 16 History of Film Supports ........................................ 21 References ............................................................. 23 ANSI and ISO Film Storage Standards ................. 24 Rochester Institute of Technology, 70 Lomb Memorial Drive, Rochester, NY 14623-5604 Phone: 716-475-5199 Fax: 716-475-7230 Image Permanence Institute Image Permanence l WHAT THE GUIDE IS (AND WHAT IT IS NOT) The IPI Storage Guide for Acetate Film is a tool for evaluating and planning storage environments for acetate base photographic film, cinema film, and microfilms.
    [Show full text]
  • Preservation of PHOTOGRAPHIC MATERIAL Preservation of Photographic Material
    Preservation of PHOTOGRAPHIC MATERIAL Preservation of photographic material Introduction Photographs are housed in libraries, archives and museums all over the world. Practical photographic conservation treatment provides an option for photographs that are damaged or have deteriorated. However, it is also possible to prolong the life of a photograph through good preservation practices in handling, housekeeping and storage. This booklet describes the most common historical photographic processes, outlines the causes of deterioration and provides guidelines on good preservation practice. It is aimed at people working or volunteering in libraries, archives and museums whose responsibilities include working with photographic collections. Whilst the booklet focuses on historic black and white or monochrome photographs, much of the information is applicable to colour photographs and other imaging materials such as microfilm, x-rays and motion picture film. What is a photograph? A photograph is an image produced by the action of light. The light initiates a chemical reaction which leads to a long-lasting chemical change in a light-sensitive compound bound to a support. The support is usually made of paper, plastic, glass, or metal, but is sometimes made from other materials such as leather or cloth. Photographic images are usually continuous in tone, meaning changes in shading between light and dark are gradual and no patterns are seen, such as the regularly spaced dots or grids found in photomechanical printing processes. History Photography was officially invented in 1839 with the public announcement of Louis Jacques Mandé Daguerre’s daguerreotype process in France and William Henry Fox Talbot’s photogenic drawing process in England.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • The Acetate Negative Survey
    THE ACETATE NEGATIVE SURVEY FINAL REPORT A PROJECT FUNDED BY THE UNIVERSITY OF LOUISVILLE AND THE NATIONAL MUSEUM ACT David G. Horvath University of Louisville Ekstrom Library Photographic Archives February 1987 The University of Louisville Photographic Archives Ekstrom Library Louisville, KY 40292 ACKNOWLEDGMENTS The subject of this study should be of great interest to those who are responsible for the preservation of historical photographic negatives. It has involved the cooperation and advice of many people who, piece by piece, have helped construct the method, process, and format of the final product. My wife, Mary has been very supportive and kept me from becoming discouraged by the endless details of the project. My colleagues at the Photographic Archives were most helpful in their constant encouragement, suggestions and warm friendship, especially Andy Anderson, Bill Carner, and Barbara Crawford; Michel C. Atlas was invaluable for her editorial contributions. I thank the National Museum Act of the Smithsonian Institution and the University of Louisville for their assistance and support, especially Barbara Schneider and Martha Bowman, the University of Louisville Librarian. I am indebted to all the institutions which allowed me access to their collections and provided me with a wealth of background information upon which much of this study is based. I owe special thanks to Ford Peatross, Carol Johnson, and Stephen Ostrow of the Library of Congress; Amy Doherty of the Special Collection Department at Syracuse University; Tim Peterson
    [Show full text]
  • The Dangers of Cellulose Nitrate Film INDG469
    Health and Safety Executive The dangers of cellulose nitrate film This leaflet is aimed at private individuals and voluntary groups who have or find old film in domestic or other non-workplace premises. It gives advice on: ■ why cellulose nitrate film is hazardous; ■ how to identify cellulose nitrate films and negatives; ■ how to recognise signs of decomposition; ■ what to do if you have cellulose nitrate film; ■ contact points for information and advice. The leaflet does not cover requirements for the storage and handling of a large number of cellulose nitrate films and negatives such as may be found in archives on commercial or industrial premises or in museums. Exacting standards are defined for such activity (see British Standard BS ISO 10356:1996 and National Fire Protection Association Code NFPA 40), and it is covered by workplace health, safety and fire legislation including the Dangerous Substances and Explosive Atmospheres Regulations 2002 (DSEAR). Cellulose nitrate film is extremely dangerous. It catches fire very easily and once alight is difficult to put out. Fires involving cellulose nitrate burn extremely quickly with a hot, intense flame and the smoke is particularly toxic, containing large quantities of poisonous gases. Any cellulose nitrate film that you come across now will be extremely old. This is a problem because the high fire risk from cellulose nitrate film increases as it ages. Old cinematographic film and old photographic negatives (including X-ray film) may be made from cellulose nitrate (which means they contain nitrated cellulose or other nitrated product). These films are sometimes referred to as ‘nitrate’, ‘nitrate-based’, ‘nitro-cellulose-based’ or ‘celluloid’ film (although the term ‘celluloid’ is often used these days to refer to film in general, the film may not actually contain cellulose nitrate – see identification methods later in the leaflet).
    [Show full text]
  • KODAK PARK Its Products and People on the Cover: Testing a Kodak Color Film
    KODAK PARK Its Products and People On the cover: Testing a Kodak color film. Copyright 1951, 1953, and 1954, Eostman Kod.ok Company, Rochester, New York Photography in Action POWERFUL, dramatic, this news picture sym­ bolizes one important field-the press­ through which photography enters your daily lives. Other photos on the next two pages also show how photography furthers human knowl­ edge, enjoyment and progress. PLANT TOURS. .. th . V, s,tors rn rOUgh Frida ay take 9U;d ys, except hol"d ed tours of K d layS, beginn; 0 ok Park on M ng at 9:30 a ondoyS ·rn . and 1.30 . P.rn . Shooting an industrial scene on 16mm motion-picture film. 4 PICTURES: - In Worlc and Play COME with us via this brief booklet on a tour of our Kodak Park Works. For we'd like to show you how some of the "raw ma­ terials of photography" are produced in this, our largest plant. From Kodak Park to customers in many lands go shipments of Kodak films, papers, plates and chemicals. They are some of the "sensitized" materials that help to make modern photography. For these materials "react" when ex­ posed to light. And that is the basis of photography-the action of light on a chemical! y prepared substance. For aerial photography. The pictures you see on these two pages show a few of the ways-and the results­ ~~- of using some of the products we make here. But they only begin to tel! the part pho­ tography plays in your life today.
    [Show full text]
  • PRESERVATION of MOTION PICTURE FILM a Background
    .. I ?I! YlCTdRE, GROADCASTlM ' :,XCORDED SUUND DIVISION PRESERVATION OF MOTION PICTURE FILM A Background Paper for the National Film Preservation Board Milton R. Shefter MILJOY ENTERPRISES, INC. Preservation Consultation and Project Management January, 1993 MlWOY ENTERPRISES, INC. - PRESERVATION OF MOTION PICTURE FILM Motion picture film is now 100 years old. Since Edison and Eastman collaborated through their companies to produce continuous rolls of film at a standardized width of 35mm, our visual cultural history has been recorded in theatrical, documentary and newsreel forms. The light and shadows, which later included color, have enthralled, entertained, educated and emotionally moved audiences since the beginning of the century. Tragically, half of the 21,000 films produced in the first 50 years no longer exist. They are lost, destroyed or deteriorated. Time, the greatest enemy of motion picture film, claims more victims each day. The necessity for preservation of motion picture film is a given. The need for immediate action is what we must address now. Motion picture film was never designed to be long-lasting. Early films were produced for weekly runs at "nickelodeons" and then had no further use. While prints of some of these early productions still survive, most of the original elements that produced the screening prints have deteriorated into oblivion. To understand the need for film preservation, one must examine the physical properties of film as well as its subject matter. Film, physically, is comprised of three main layers: emulsion, adhering binder and support base. The emulsion is a colloidal (gelatin) medium which contains dispersions of light-sensitive materials.
    [Show full text]
  • 5.2 Types of Photographs, Part 1: 19Th and Early 20Th Century
    PRESERVATION LEAFLET PHOTOGRAPHS 5.2 Types of Photographs, part 1: 19th and Early 20th Century Gary Albright Conservator in Private Practice Monique Fischer Senior Photograph Conservator Northeast Document Conservation Center INTRODUCTION Coated paper: A support that has a binder layer on its surface consisting of albumen, gelatin, or collodion. This layer holds the This leaflet introduces the different types of photographs and light-sensitive photographic salts. A three-layer structure has as their distinguishing characteristics and should serve as a basic its third layer barium sulfate (aka Baryta layer). This layer occurs guide in identifying individual photoprints and negatives. between the paper and the image layer. DEFINITIONS Uncoated paper: A paper support without any binder layer. The First, a few useful terms and concepts: image often appears to be within the paper. POP (printing-out paper): A photographic paper that forms a DISTINGUISHING CHARACTERISTICS visible image directly from the reaction of light on light-sensitive When considering a photographic object, there are a few materials. POP prints are warm in tone, tending towards a primary features to consider: brown, purple, or reddish color. They are usually made in contact with a negative. 1. Positive or negative 2. Nature of support material DOP (developing-out paper): A photographic paper that forms a 3. Texture, surface quality visible image using a chemical developer to reveal the latent 4. Color, tone image made by exposure to light. DOP prints are cool in color -- 5. Characteristics of deterioration blue, neutral, or black -- unless they have been toned or are faded/chemically damaged. They may be either contact-printed or enlarged from a negative.
    [Show full text]
  • Film Structure Film Structure
    FILM STRUCTURE FILM STRUCTURE What is motion picture film? The American National Standards Institute (ANSI) describes it as “a thick flexible strip of plastic, complying with a dimensional standard as defined within, whose use is specific to the process of manufacturing a motion picture.” That definition leads to about a dozen pages of further definitions about various aspects of motion picture film. For our purposes, let’s take a look at how film is made, and how an image is formed on that film. THE STRUCTURE OF FILM Film is made up of layers, and it’s the combination of these layers that give each film its character. Motion picture film consists of a transparent support film base, a light-sensitive emulsion, and a number of layers coated on both sides. Some layers are diEerent from those coated on still film and are designed to help motion picture film travel smoothly through the camera. Film Base The supporting layer in film is called the base. This base has to be transparent (with some optical density), free from imperfections, chemically stable, insensitive photographically, and resistant to moisture and processing chemicals, while remaining mechanically strong, resistant to tearing, flexible, and dimensionally stable. Three plastics have been widely used as a motion picture film base: • Cellulose nitrate was the first material used. Discontinued in the 1950s because it was highly flammable, cellulose nitrate is chemically unstable if stored in conditions that are too damp (it can decompose) or too hot (it can self-ignite). • Cellulose acetates were developed to replace nitrate. Cellulose triacetate, called safety base, is much safer to use and store than nitrate.
    [Show full text]