dslreports logo
 
    All Forums Hot Topics Gallery
spc
Search similar:


uniqs
812

Hayward0
K A R - 1 2 0 C
Premium Member
join:2000-07-13
Key West, FL

4 edits

Hayward0

Premium Member

[Tech] A liitle history if you've ever wondered how film works

From the B&W era, but interesting document of how the whole technology works in both chemistry and mechanics.

And yes film original magic is almost alchemy.... turning plastic and silver into imagery gold.

A little dry in places, but chemistry class always was... The second half mechanisms of the process (already much automated) much the same today gets more interesting.

I have long know the basics, but interesting to hear the nitty gritty details of why it works.

»www.archive.org/details/ ··· emis1940
»www.archive.org/details/ ··· is1940_2

By the way archive.org a great resource for historical and PD media of all sorts.
49528867 (banned)
join:2010-04-16
Fort Lauderdale, FL

49528867 (banned)

Member

Re: A liitle history if you've ever wondered how film works

said by Hayward0:

From the B&W era, but interesting document of how the whole technology workes in both chemistry and mechanics.

Other than having more steps color is handled pretty much the same way, expose and develop a color negative and from that print color positives.

The second half mechanisms of the process (already much automated) much the same today gets more interesting.

The printer shown in the movie is a drum printer, and that is the same method still used today, the negative travels on sprockets around the exposure drum facing a light source within the drum, the un-exposed positive is then wrapped over the negative where it is exposed by the light passing through the negative.

In 35mm the perforations in the negative have what are called short pitch, while the positive has a long pitch, this pitch change compensates for the fact the positive is traveling a larger circumference around the drum than the negative.

The negative perforations are also shaped differently then the positive perforations, the negative perforations are designed to provide for a tight registration in the pulldown of the camera, while the positive perforations are designed to prevent tearouts from being run through a projector multiple times during its lifetime.

One type of perforations is known as the Kodak Standard, KS or positive perforations, the other type of perforations where known as the Bell & Howell, BH or negative standard.

Wayne

Hayward0
K A R - 1 2 0 C
Premium Member
join:2000-07-13
Key West, FL

4 edits

Hayward0

Premium Member

Hey thanks for your insight. Knew it was much the same on a basic level...a little more sophisticated tech but basically the same. But, really surprised it was as advanced and automated/clean room as it was in 1940.

Color, yes just more steps but also complex dyes rather than just simple metal alchemy. (also why color so much less permanent) There is horrid 50 year or less old color, but hundred+ year old B&W that is still near perfect.

Exception is true technicolor... where prism separated really 3 color selective B&W gray separated negs made combined color.

And here is another gem very early maybe first two color Technicolor feature film from 1922 (Certainly an amazingly conserved example)

»www.archive.org/details/ ··· er261922

And considering no blue (just green red) rather impressive rendition.

Plus digital and CYMK printing has gone back to what Technicolor much less cumbersome was... three separate distinct color images + the B&W scaling.
Hayward0

1 edit

Hayward0

Premium Member

Just thought I would do a little update on this thread.

This past week our member supported non profit theater, published an article on their recent updating to 3D capability.

The major incentive to do so now was that the major studios have announced that as of 2013 they will no longer distribute 35mm prints, and do digital only distribution, sighting the $1000+ cost per print and the 50lbs+ shipping costs.

Unfortunately this will probably lead to a lot of small theaters just hanging on to close down, as the conversion costs can be on the order of $100K per auditorium.

It will also mean a whole lot less film stock sales for Kodak... like they need sales loss.
Kearnstd
Space Elf
Premium Member
join:2002-01-22
Mullica Hill, NJ

Kearnstd

Premium Member

said by Hayward0:

Just thought I would do a little update on this thread.

This past week our member supported non profit theater, published an article on their recent updating to 3D capability.

The major incentive to do so now was that the major studios have announced that as of 2013 they will no longer distribute 35mm prints, and do digital only distribution, sighting the $1000+ cost per print and the 50lbs+ shipping costs.

Unfortunately this will probably lead to a lot of small theaters just hanging on to close down, as the conversion costs can be on the order of $100K per auditorium.

It will also mean a whole lot less film stock sales for Kodak... like they need sales loss.

I never realized that a movie cost 1k per print on 35mm.

I do know that the 4k digitals are expensive and you figure you need a high capacity uncapped broadband pipe too because theater quality films must be even bigger than a Blu-Ray.

Hayward0
K A R - 1 2 0 C
Premium Member
join:2000-07-13
Key West, FL

2 edits

Hayward0

Premium Member

Na they just ship hard drives place to place with digital, so film res and length aren't really an issue. And I'm sure they are proprietary format and encrypted so not easily cloned.

A benefit for audience though is if you are 25th theater in the dist. chain, or second run, the print doesn't get all dirty, scratched or splice damaged.

Some live digital events might be streamed, but not your normal stuff.

Haven't heard it announced yet, but I am sure true film IMAX will soon be gone too, at least for distribution. (Most of the IMAX theaters built for commercial film exhibition have been digital from the start.)

Those prints are more like $5K and a few hundred of pounds.
Kearnstd
Space Elf
Premium Member
join:2002-01-22
Mullica Hill, NJ

Kearnstd

Premium Member

said by Hayward0:

Na they just ship hard drives place to place with digital, so film res and length aren't really an issue. And I'm sure they are proprietary format and encrypted so not easily cloned.

A benefit for audience though is if you are 25th theater in the dist. chain, or second run, the print doesn't get all dirty, scratched or splice damaged.

Some live digital events might be streamed, but not your normal stuff.

Haven't heard it announced yet, but I am sure true film IMAX will soon be gone too, at least for distribution. (Most of the IMAX theaters built for commercial film exhibition have been digital from the start.)

Those prints are more like $5K and a few hundred of pounds.

I am guessing for a multiplex owner as well they can show multiple screens and only need one actual drive. allowing them to change screens a lot faster. if a movie gets really popular id imagine its all networked and they can just fire up a second screen.