Kodacolor Process (1930s) style camera

[yurisrey]

sorry i've been mia (damned weather forecasts!) i've kinda been out of the loop. Would this be like comparing single chip digi cams vs three chip digi cams (in terms of both Chroma & Luma info) only applying to film?
i'd feel for it to best work for film wouldn't one have to use or make a specific emulsion that has a physically larger surface areas ei: silver chloride in order to counteract the tendency modern emulsions have to bury the color info. Digi Mosiac grids are usually locked pixel-to-pixel with the sensor behind it. explaining why I had some limited success with old Valca 6 Din film (its from the 1960s!) my only reasoning is that of all the stocks i have it re-chlorinates in a very dilute (blue) simple copper (II) chloride bleach which unlike other off-the shelf bleaches are way too harsh for such an old-school emulsion and tend to strip it, indicating that there may be a high presence of silver chloride salts which tend to be big and clumpy. (i could be very off but it seems to have a correlation in numerous trail-and-error runs) If so I would suggest that maybe to make the mesh system work best you need to find a suitable stock. This is a bummer for me as silver chl is very slow and would be impractical to use in motion film as you'd need full sunshine or high power arc lamps to get sync sound speed! If so I may abandon it for 16mm motion and stick to still as I had my best results using 120mm or 35mm. Also could explain why even enlarging paper would work only after tweaking the specific color intensities of the filters to complement the emulsion.

[yurisrey]

by silver chl I also mean slver-bromo, etc; "old school" stox...

[Struan Gray]

Would this be like comparing single chip digi cams vs three chip digi cams (in terms of both Chroma & Luma info) only applying to film?

That's the basic idea. An exact analogue would equate a three-chip camera to a traditional three-frame B+W trichrome photo, and the single-chip with Bayer pattern to something like Dufay/Autochrome/Paget colour.

The point that has been forgotten in analogue photography is that there are other ways to encode the colour information than by using a coloured screen immediately in front of the film. Oddly enough, the techniques are alive and well in technical digital imaging - I lump them together as 'aperture encoding' - and are an active research topic, both for high-resolution imaging, and for supremely cost-conscious applications like cellphone cameras (where processing is cheaper than hardware).

I know - and respect - APUG's mission statement, but there are things to be learnt from the digimonkeys. Not least, that it can be useful to regard film as an information-recording medium, and not as some kind of mystic mimetic correlative with a deep physical connection to the thing observed.

i'd feel for it to best work for film wouldn't one have to use or make a specific emulsion....

Best would be a fast, fine-grain, panchromatic emulsion. Not easy, especially if you're going to homebrew. I'm using T-max 100 in 4x5, which at normal print sizes gives me a lot of unused space at the bottom end of the spatial scale. With motion film you don't have much real-estate to spare, which is why before tri-pack film took over there were so many attempts to minimise the information encoded (using bichrome instead of trichrome, using alternate frames rather than putting all the colour info on one frame, etc).

The combination of the filter and the crossline screen loses me about five stops of light. With modern 100-400 speed emulsions you end up with 1930s-era film speeds, which seems appropriate :-)


PS: the most recent attempts were all hideously over-exposed. I suspect I had a brain fart with my Sinar shutter. It's been a while ...

[yurisrey]

I share a similar outlook to the medium as well, at work we use both film and digital in unison, through a digi-intermediate system. Even sometimes generating 3D animation and then printing to film.
I feel that for film to be the continued medium of choice for professional applications we must be open to new ideas: Take for example "Storarovision," not only it allowed a more suitable format for telecine and digi conversion but also saves a lot of money. Right now the hype is with 3D imaging and that's where I came across this type of technology.

I get an average loss 3.5-4 stops over a range of films, although my tri-filter is homemade. I'm pretty much limited to MP re-cans from work, I found Tungsten balanced respond the best in general. I really wish I could find some more information regarding Kodak's research into emulsion design for Kodacolor Process 1. I really would like to get this onto 16 as I know there has to be some stock out there that would meet the above criteria you mentioned. I see what you mean now by "real-estate" as I thought it more having to do with the actual size of Au crystals and they being physically bigger size in the older days versus the modern smaller-sized crystal being implemented, in which case I was mistaken and there maybe no correlation what-so-over.