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  1. #31
    AgX
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    Even outside the cinematographic field a neg-pos workflow (at least two materials involved) gains more freedom and thus quality.

  2. #32
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    I'm not talking about freedom to muck around. I'm specifically targeting the comment that neg to neg is somehow higher fidelity than pos to pos.
    Stop worrying about grain, resolution, sharpness, and everything else that doesn't have a damn thing to do with substance.

    http://www.flickr.com/kediwah

  3. #33
    AgX
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    Fidelity starts from what you get. Current colour reversal materials are not good at it. Even basically such materials are are not good at it.

  4. #34
    MDR
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    I'd say you get more latitude and dynamic range with neg film so neg to neg should be better. Positive films usually have more inherent contrast than negative films meaning they retain less image information that can be reproduced and you already loose a lot of information at the copy/printing stage. Neg low contrast to ultra low contrast Neg (print) pos higher contrast to slightly higher contrast (loss of information).

  5. #35
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    Yes but pos pos materials take contrast into consideration. They aren't exposure from camera films.
    Stop worrying about grain, resolution, sharpness, and everything else that doesn't have a damn thing to do with substance.

    http://www.flickr.com/kediwah

  6. #36

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    I would argue that everything in the movie world is scanned now anyways and scanning a transparency editing the content and then producing transparencies for projection causes less issue in quality than 3 copies on film, but I could be wrong about the scanning bit.

    I assumed the reason they use the low contrast negs had more to do with the digital editing process and technicolor's handling profile and how they prefer to begin with muted colors and low contrast and add that stuff later on.


    ~Stone | Sent w/ iPhone using Tapatalk

  7. #37
    Steve Smith's Avatar
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    Quote Originally Posted by MattKing View Post
    1) movies are edited before they are distributed
    Are they edited as a negative?


    Steve.
    "People who say things won't work are a dime a dozen. People who figure out how to make things work are worth a fortune" - Dave Rat.

  8. #38
    MDR
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    No as prints or more likely scans (fully digital) Btw. editing does not equal cutting. The negatives/prints are cut by a negative cutter.

  9. #39
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    Quote Originally Posted by clayne View Post
    I'm not talking about freedom to muck around. I'm specifically targeting the comment that neg to neg is somehow higher fidelity than pos to pos.
    Among many other things, I rely on the many posts on this subject that PE has made - he has on multiple occasions stated that the limitations of the physics and chemical components themselves mean that a negative + negative copying process is inherently capable of higher quality.
    Matt

    “Photography is a complex and fluid medium, and its many factors are not applied in simple sequence. Rather, the process may be likened to the art of the juggler in keeping many balls in the air at one time!”

    Ansel Adams, from the introduction to The Negative - The New Ansel Adams Photography Series / Book 2

  10. #40

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    Here is what I have from them


    Welcome
    Hello and welcome to this mailing list.
    Just a few words to thank everybody who subscribed, although no more than a single brand is shown at the moment on the Ferrania home page.

    We think it is worth answering some questions that often arise on the discussion boards we are also following.

    As you know, Ferrania discontinued its photographic products some years ago and after that some buildings and equipments were dismantled or sold because the destiny of film seemed to be compromised forever after introduction of digital. Obviously we dream to put the film in a new era where it can live in symbiosis with digital imaging technologies.

    After more than one year of work, we are finally trying to start again with a small production of film. But rescaling a production workflow is not an easy process: some chemical products are not available anymore on the market, former Ferrania workers and engineers must be involved again in a completely new production workflow, etc.

    We worked a lot on many of the above issues and now we are proud to say that the moment is arrived of really making film.

    Right now there is a six month R&D project aiming to produce a first Jumbo of film. If during this period we are able to solve all the remaining technical issues and if the market gives us a reasonable preliminary feedback, we will be ready to go ahead and ship new film in the first quarter of 2014!

    Ok, now the question is: what kind of film?
    We think it is better to start revamping the very last produced emulsions. The first two that we will make are a color negative film derived from Ferrania Solaris FG-100 Plus (only for still photographs) and a professional color reversal film derived from Scotch Chrome 100.

    And which formats?
    We have the equipment to finish film in almost all photographic and motion picture formats: 110, 120, 126, 127, 135, 220, Super 8, Double 8, 16mm, 35mm and 70mm but at first we will put on line only the ones that are requested by the market.

    More details are coming, please continue to follow us!

    Cheers

    The FILM Ferrania team





    Copyright © 2013 FILM Ferrania s.r.l., All rights reserved.
    You are receiving this mail because you asked for news at our website. Thanks for the interest!

    Our mailing address is:

    FILM Ferrania s.r.l.
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