From: Jeff Kreines (email suppressed)
Date: Sat Jan 23 2010 - 14:42:26 PST
Fred is absolutely right.
Plus and Tri-X and even 4X (RIP) Reversal printed onto 7361 was a beautiful combination, and glowed with silveriness that seemed slathered on with a trowel.
The suggestion to print to color positive that someone made is a bad one. Better to go to a B&W interneg and a B&W positive print.
But current B&W positive stocks aren't nearly as silvery as they were. And the generation loss is a bummer.
I've been thinking about building a special film recorder so you could scan your 16mm film at high res (over 2K -- I already make scanners) and tweak the look-up tables and gamma to permit making direct first-generation prints onto B&W positive stock.
i may have to build this anyway because my partner has some color reversal films to edit, and needs workprint to feed her Steenbeck -- and of course there is no more color reversal print stock.
Kodak is really doing their institutional idiotic best to keep people from starting to make films -- these were the people reversal stocks were perfect for. The people in Rochester are dreaming of the day that there is one "universal" cine camera stock that has no personality at all -- it is all "added in post." Then they will be able to concentrate on their stupid dream -- I am not kidding -- of making inkjet printers with cheap ink. That's a dream? That's a mission? They hire a new CEO from Hewlett Packard and he knows inkjets, so that's where they are headed? Sheesh!
Sorry for the rant, but think of filmmakers like Peter Hutton and Robert Fenz whose work really needs to be printed onto 7361. Nothing else will do.
Jeff "slather it on" Kreines
On Jan 23, 2010, at 3:27 PM, Fred Camper wrote:
> Many decades ago for a film I started but never finished, I made a tests of 16mm black and white camera emulsions as they might appear in a film -- in other words, printed. I found I liked direct reversal prints from Plus-X reversal much better than prints from Plus-X negative, and much much better than prints from reversal to negative then to reversal again. Direct reversal prints had a glow, a texture, a richness unlike anything else. To me a true "reversal" process should include reversal printing.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.