Due to the remjet coating, ordinary photo labs would not accept the film, because it would contaminate their chemistry.
#Kodak c 41 developer iso
The film was surplus cine film stock, and could have been made by several companies, as we were not told anything other than it was Seattle Film Works film, ISO 400 or 200.
The use of color cine film in 35mm cameras goes back into the late 1970s, when Seattle Film Works sold their cheap color negative film that “only they could process.” Touted as the SWF-XL process, it was actually ECN-2, which uses slightly different chemicals than C-41, and also involved the removal of the black remjet layer (more about this later). However, cinema color films are what this post is about. Note that the C-41 still film has rectangular sprockets, whileĬine-films have rounded sprocket ends. There are other b&w emulsions that are made for cine use, but that's another story. It's an excellent b&w emulsion with great latitude and is very pushable. I still don't understand why Kodak has not offered the 5222 as a still film. As more people started using it, it became popular enough for resellers (such as the FPP, Cinestill, and Ultrafine) to buy the big reels of fresh 5222 and re-spool into 35mm cassettes and market them. Small quantities typically were about 70-200 ft, and the price was pretty cheap. At one time, the only way to get small quantities of it was to buy the unused "film ends" from an outfit in New York.
If you have used Kodak Double-X or Eastman 5222 film, it's a b&w ISO 200 negative film made for cinema. Yes, we still-film shooters have been putting cine-film in our cameras for quite a while. Over the past decade, as color film (C-41 and E-6) choices became more limited, I have seen a lot more attention paid to those cinema film emulsions offered by Kodak and Fujifilm.
0 kommentar(er)
