Re: [Frameworks] optical printing questions - working in B&W

From: John Woods <>
Date: Wed, 27 Apr 2011 09:44:34 -0700 (PDT)

Andrew/Deco, thanks for the tips! Its good to know that LIFT is also an option for those stocks, I did get in touch with NCL and will likely buy some stock from them. I think I will blow up my S8 neg to 7366 and then experiment from there, probably with 7222 first as I've got some in the fridge. But I'll also try testing with 3374 and 7302. Thx! JW ________________________________ From: andrew lennox <> To: Experimental Film Discussion List <> Sent: Tue, April 26, 2011 10:51:09 AM Subject: Re: [Frameworks] optical printing questions - working in B&W you can buy 100' loads of 7234 from LIFT. i also agree about the 7222 recommendation for the interneg if your goal is to increase grain specifically and contrast as well. i also agree that you really want to try achieving your desired contrast in the final print. i'd think you should go s8 to 7366 on the printer, then make an interneg from that and then your final prints from that interneg. another way might be s8 to 3374 to 7234 (or 7222 if you want more grain/contrast) to final print. there are a number of other ways to do it as well (deco gave you a list of stocks to try). i'm just throwing out a couple of examples that i think might reflect what you're looking for. you have to do tests to see what you want. ________________________________ From: D Dawson <> To: Experimental Film Discussion List <> Sent: Mon, April 25, 2011 9:58:22 PM Subject: Re: [Frameworks] optical printing questions - working in B&W John, If you go to 7234 Internegative stock first, you can use this as a new master. It will be pretty much an identical reproduction of your Super8 footage. There will be essentially no new grain introduced in the 16mm form, and your shadows and highlights will be preserved as is, if not actually flattened a bit... Not that this is a bad thing. What this allows you to do is to essentially “preserve” all of the information in your blow up, not losing any detail. Then if you do multiple passes you can go to any of the higher con stocks or camera stocks... And start crunching the blacks and blowing out the whites etc... It sounds like Andrew and I are on the same page here. You will find both 7302 and 7363 will have no grain ... But 7302 is a lo con, which means it also will not darken anything, but make it more flat, 7363 on the other hand is Hi Con with no grey... Just extreme blacks and whites. Ideally if you want to have options, I’d go to either 7302 (positive) first, or 7234 (interneg) first and then do your multiple passes to other stocks like 7363 or 7222, or 3374 which is almost identical to 7363 but has high grain. I hope this helps! Deco On 4/25/11 10:38 PM, "John Woods" <> wrote: I'm looking to increase grain and contrast in my original low contrast film but I don't want to completely obliterate the original image like Larose has done, (thanks for the link btw, very interesting!). But I think contacting NCL about buying some small amounts of print film is a great idea, I really need to do a lot of tests and I can't afford to be buying the huge minimum amounts from Kodak. Thanks! > >JW > > > ________________________________ From: andrew lennox <> >To: Experimental Film Discussion List <> >Sent: Mon, April 25, 2011 3:44:22 PM >Subject: Re: [Frameworks] optical printing questions - working in B&W > >Hi John, > >I've never used 7363 for optical printing. in my experience with the stock, the >blacks are much denser than 7302, for the purpose of doing mattes. this leads >to be believe that it may have less latitude? either way, both those stock will >increase your contrast considerably. i'm not sure what you are looking for but >i would consider blowing up to a master positive (7366) to preserve details. > especially as you want to strike an interneg from that new master pos and then >make your release prints. that's a number of new generations. i noticed that >you have a account so i'm assuming you're in canada? sebastjan at >niagara custom lab has a decent cache of 7366 so contact him and see if he can >spool you down some if you are interested in doing a comparative test. >i assume by tinted prints that you mean printing b/w neg to colour print? if >so, i have done this and seen it in the works of others. it doesnt look great. > you can get it tinted to whatever colour you want. i've done a sepia mimic >colour and a blue to mimic cyanotype. the colour is kinda interesting but the >contrast is considerably flatter than printing the same bw neg to bw print. >oh, i think alexander larose used 7363 for optical printing in his film 930. im >not 100% here's a link anyway: > > >good luck, >andrew > > ________________________________ From: John Woods <> >To: Experimental Film Discussion List <> >Sent: Sun, April 24, 2011 11:42:57 AM >Subject: [Frameworks] optical printing questions - working in B&W > >I've also got a couple questions about printing but with working with B&W >material. I've got some Super 8 Plus-X that was hand processed in D-76 to >negative that I am interested in blowing up to 16mm. There are some optical >effects that I want to do with it (freeze frames and step printing). I've got >some 7363 on hand to work with. I'm wondering whether it would be better to do a >straight blow up to a stock like 7302 (or other stock) and then print from that >onto the 7363 to create the effects and an internegative or to do it the other >way around, & blow up to 7363 and then print to 7302? > >I intend to do some tests with the 7363 but would appreciate any advice on S8 >blowups. My printing experience is limited and only with available camera >stocks, I don't have experience with print stocks. I would also be interested to >hear from anyone who has used a colour print stock to create tinted prints. >Many thanks. > >JW > > > ________________________________ From: Christopher Harris <> >To: >Sent: Sat, April 23, 2011 4:12:26 PM >Subject: [Frameworks] optical printing questions > >Hello all, > >I would like to make optical prints of color originals but before I begin I want >to make sure I don't make things more difficult than necessary. I have printed >to 7399 once upon a time but I know that stock is long gone so I can't quite >wrap my head around the workflow for color. Can anyone suggest optimal workflow >and color print stocks to use (if there are any)? > >Briefly: I plan to shoot color neg and have work-prints made at a lab. Next I >want to optically re-print the lab produced work-prints with color filters but I >have no idea what stock I should use in the optical printer's camera. Oh, and I >plan to finish with sound on film and I'll be shooting all 16mm. > >Any advice? > >Thanks, > >CH > > >________________________________ _______________________________________________ >FrameWorks mailing list > > >

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Received on Wed Apr 27 2011 - 09:44:49 CDT