Fair enough, although I always thought that the reason R&D was spent on improving film was because it filtered down from movie film, was this the case with Fuji?
Am I right about Imax though?
R&D dollars did not filter down from any one source. In fact, even today the second biggest seller by EK and Fuji are their color papers. At one time, I would guess that color paper and movie film both sold equally well. That was probably in the 70s.
I was under the impression that the reason why technical improvements had been made in film emulsions in the last few years have been made because technological advancements in motion picture stocks, where it was still quite competitive, had filtered down to still films. I also thought that Fuji would have been selling more motion picture film than still film, no?
I work in the industry and though I'm not involved in that side per-se I work with those guys enough to know I'm pretty much on target with this statement.
They would prefer to use something that is tested even if of lesser quality because they can guarantee the result. With $100,000,000 dollars on the table, changing films isn't easy.
Well, actually, the image stability improvements moved from color paper (which drove image stability for years) back to MP print films and camera originals for archiving the original color footage. You see, the archiving of digital images became very difficult and expensive. You will see that both EK and Fuji have come out with new archival MP films.
Also, Fuji's contribution to MP was miniscule compared to EK, but in terms of their overall production it was large. EK was by far the biggest supplier.
Both companies make/made some great films but choosing one over the other has nothing to do with "changing systems."
The cinematographers and SFX people used to visit Kodak research and show us what was wrong with the films and how to improve them in terms of speed and curve shape (using the best examples).
To illustrate, the Dmax of ECN and the interneg films were just fine until all of these SF movies came along and then ILM found that there was not enough black for outer space SFX, and so space was gray! They used a work around, but came to EK to plead for more Dmax, which meant a longer tone scale. We did it.
Along the way, they showed us outcuts from some SF movies with SFX "bloopers". They also ran some footage at slow speed to show "bloopers" that were left in the final films, because the human eye could not see them at projection speed.
Anyhow, just another reason to use Kodak film... The cooperative effort with Hollywood people. We even had a KRL office in Hollywood staffed by 2 or more KRL engineers to help them.
Fuji did not!