Back to conversations with my father.

The Kodak lab in North Vancouver could also process Eastman Colour Negative motion picture stock. I recall my father telling me about a movie shoot in the 70s (I think) where the producer had bought up the stock shot a few years earlier of a movie that had never been completed. They were trying to complete the story by shooting new footage, and then editing it toghether into a single movie (I think flashbacks may have been involved). The problem they were encountering was that while they were able to find an emulsion with somewhat similar characteristics as the original film stock, the original had been priocessed by Kodak Pathe in France, and the colour balance and tonality and contrast had a particular, warm, Kodak Pathe character, that North Vancouver was having difficulty emulating.

I mention this to highlight the fact that photographic film and development of all types has a character of its own, and even the most technical parts of the process have components of artistry inherent in them.