[Frameworks] optical printing questions - working in B&W

Mon Apr 25 23:58:22 CDT 2011

John,

If  you go to 7234 Internegative stock first, you can use this as a new
master.  It will be pretty much an identical reproduction of your Super8
footage.  There will be essentially no new grain introduced in the 16mm
form, and your shadows and highlights will be preserved as is, if not
actually flattened a bit... Not that this is a bad thing.

What this allows you to do is to essentially ³preserve² all of the
information in your blow up, not losing any detail.  Then if you do multiple
passes you can go to any of the higher con stocks or camera stocks... And
start crunching the blacks and blowing out the whites etc...

It sounds like Andrew and I are on the same page here.

You will find both 7302 and 7363 will have no grain ... But 7302 is a lo
con, which means it also will not darken anything, but make it more flat,
7363 on the other hand is Hi Con with no grey... Just extreme blacks and
whites.

Ideally if you want to have options, I¹d go to either 7302 (positive) first,
or 7234 (interneg) first and then do your multiple passes to other stocks
like  7363 or 7222, or 3374 which is almost identical to 7363 but has high
grain. 

I hope this helps!

Deco

On 4/25/11 10:38 PM, "John Woods" <jawoods01 at yahoo.ca> wrote:

> I'm looking to increase grain and contrast in my original low contrast film
> but I don't want to completely obliterate the original image like Larose has
> done, (thanks for the link btw, very interesting!). But I think contacting NCL
> about buying some small amounts of print film is a great idea, I really need
> to do a lot of tests and I can't afford to be buying the huge minimum amounts
> from Kodak. Thanks!
> 
> JW
> 
> 
> 
> From: andrew lennox <lew_ro at yahoo.ca>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Sent: Mon, April 25, 2011 3:44:22 PM
> Subject: Re: [Frameworks] optical printing questions - working in B&W
> 
> Hi John,
> 
> I've never used 7363 for optical printing.  in my experience with the stock,
> the blacks are much denser than 7302, for the purpose of doing mattes.  this
> leads to be believe that it may have less latitude?  either way, both those
> stock will increase your contrast considerably.  i'm not sure what you are
> looking for but i would consider blowing up to a master positive (7366) to
> preserve details.  especially as you want to strike an interneg from that new
> master pos and then make your release prints.  that's a number of new
> generations.  i noticed that you have a yahoo.ca account so i'm assuming
> you're in canada?  sebastjan at niagara custom lab has a decent cache of 7366
> so contact him and see if he can spool you down some if you are interested in
> doing a comparative test.
> i assume by tinted prints that you mean printing b/w neg to colour print?  if
> so, i have done this and seen it in the works of others.  it doesnt look
> great.  you can get it tinted to whatever colour you want.  i've done a sepia
> mimic colour and a blue to mimic cyanotype.  the colour is kinda interesting
> but the contrast is considerably flatter than printing the same bw neg to bw
> print.
> oh, i think alexander larose used 7363 for optical printing in his film 930.
> im not 100%  here's a link anyway:
> http://www.lightcone.org/en/filmmaker-1352-alexandre-larose.html
> 
> good luck,
> andrew
> 
> 
> From: John Woods <jawoods01 at yahoo.ca>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> Sent: Sun, April 24, 2011 11:42:57 AM
> Subject: [Frameworks] optical printing questions - working in B&W
> 
> I've also got a couple questions about printing but with working with B&W
> material. I've got some Super 8 Plus-X that was hand processed in D-76 to
> negative that I am interested in blowing up to 16mm.  There are some optical
> effects that I want to do with it (freeze frames and step printing). I've got
> some 7363 on hand to work with. I'm wondering whether it would be better to do
> a straight blow up to a stock like 7302 (or other stock) and then print from
> that onto the 7363 to create the effects and an internegative or to do it the
> other way around, & blow up to 7363 and then print to 7302?
>  
> I intend to do some tests with the 7363 but would appreciate any advice on S8
> blowups. My printing experience is limited and only with available camera
> stocks, I don't have experience with print stocks. I would also be interested
> to hear from anyone who has used a colour print stock to create tinted prints.
> Many thanks.
>  
> JW
>  
>  
> 
> From: Christopher Harris <charris91 at hotmail.com>
> To: frameworks at jonasmekasfilms.com
> Sent: Sat, April 23, 2011 4:12:26 PM
> Subject: [Frameworks] optical printing questions
> 
> Hello all,
> 
> I would like to make optical prints of color originals but before I begin I
> want to make sure I don't make things more difficult than necessary.  I have
> printed to 7399 once upon a time but I know that stock is long gone so I can't
> quite wrap my head around the workflow for color.  Can anyone suggest optimal
> workflow and  color print stocks to use (if there are any)?
> 
> Briefly: I plan to shoot color neg and have work-prints made at a lab.  Next I
> want to optically re-print the lab produced work-prints with color filters but
> I have no idea what stock I should use in the optical printer's camera.  Oh,
> and I plan to finish with sound on film and I'll be shooting all 16mm.
> 
> Any advice?
> 
> Thanks,
> 
> CH
> 
> 
> 
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www.decodawson.com 

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