Jump to content


Photo

Double-x 7222 B&W film - problems from lack of rem-jet backing?


  • Please log in to reply
5 replies to this topic

#1 greg quinn

greg quinn
  • Basic Members
  • PipPip
  • 10 posts
  • Producer
  • san diego

Posted 12 February 2017 - 02:32 PM

I've seen some comments to the effect that because 7222 (or other B&W films) has no rem-jet backing (why, Kodak, why?) it has halo problems in some cameras like the SR3 because of reflections from the reflective gate backing plate. How to avoid? Best camera for using 7222?

Thanks

Greg


  • 0

#2 Dirk DeJonghe

Dirk DeJonghe
  • Basic Members
  • PipPipPipPip
  • 577 posts
  • Industry Rep
  • Kortrijk,Belgium

Posted 12 February 2017 - 03:23 PM

B&W processing doesn't allow a rem-jet backing.

The best you can do it to have a matte black film pressure plate in the camera. Bolex is fine; Aaton and Arri have shiny chrome and may reflect overexposed light back into the emulsion from behind. You can check this by removing the lens, with no film in the camera and looking at the pressure plate while the camera is running.

You will see circular flare around highlights, for example a car headlights at night. This is light penetrating the emulsion and being reflected back off the base back into the emulsion. On certain cameras with shiny chrome on the pressure plate, you will see a pattern on the negative that matches the shiny bars on the pressure plate.

If you keep the exposure to the low end you will avoid this problem except for the circular halo on point highlights.

If your printing lights are from 18 to 22 or so, it is unlikely to pose a problem. The gray base acts as a anti-halo layer.


  • 0

#3 greg quinn

greg quinn
  • Basic Members
  • PipPip
  • 10 posts
  • Producer
  • san diego

Posted 12 February 2017 - 05:37 PM

B&W processing doesn't allow a rem-jet backing.

The best you can do it to have a matte black film pressure plate in the camera. Bolex is fine; Aaton and Arri have shiny chrome and may reflect overexposed light back into the emulsion from behind. You can check this by removing the lens, with no film in the camera and looking at the pressure plate while the camera is running.

You will see circular flare around highlights, for example a car headlights at night. This is light penetrating the emulsion and being reflected back off the base back into the emulsion. On certain cameras with shiny chrome on the pressure plate, you will see a pattern on the negative that matches the shiny bars on the pressure plate.

If you keep the exposure to the low end you will avoid this problem except for the circular halo on point highlights.

If your printing lights are from 18 to 22 or so, it is unlikely to pose a problem. The gray base acts as a anti-halo layer.

 

I'm no expert, just picking this up - my understanding is that double-X 7222 has a pretty narrow exposure latitude anyway. I don't recall seeing halo'ing in CLERKS, that was shot on an SR1 I believe with Double-X. I'd planned to shoot on an SR3 or perhaps something newer. 


  • 0

#4 Juha Mattila

Juha Mattila
  • Basic Members
  • PipPip
  • 35 posts
  • Other
  • Finland

Posted 13 February 2017 - 03:12 AM

I wonder is it possible to paint the pressure plate? I have ACL II and I have contemplating with this same thing.


  • 0

#5 Simon Wyss

Simon Wyss
  • Basic Members
  • PipPipPipPip
  • 1209 posts
  • Other
  • Basel, Switzerland

Posted 13 February 2017 - 04:44 AM

I've seen some comments to the effect that because 7222 (or other B&W films) has no rem-jet backing (why, Kodak, why?) it has halo problems in some cameras like the SR3 because of reflections from the reflective gate backing plate.

 

No, why, stupid camera maker, why? In this case I am protecting EKC. A pressure plate has to be dark.


  • 0

#6 Dirk DeJonghe

Dirk DeJonghe
  • Basic Members
  • PipPipPipPip
  • 577 posts
  • Industry Rep
  • Kortrijk,Belgium

Posted 13 February 2017 - 06:22 AM

You will always have circular halo about strong overexposed highlights like car headlights in a night shot. This is entirely internal reflection in the baselayer of the film stock, unrelated to the camera.

The other type of halo is the reflection off the chrome bars on the film pressure plate back into the emulsion, exposing from the back, these will only be visible on an even background with overexposure.

The first type could be considered 'artistic' but certainly not the second type.


  • 0


Glidecam

rebotnix Technologies

Quantum Music Works

Gamma Ray Digital Inc

ZoomCrane

Zylight

Rig Wheels Passport

Broadcast Solutions Inc

Ritter Battery

Willys Widgets

The Slider

Paralinx LLC

Metropolis Post

FJS International, LLC

Visual Products

Tai Audio

CineLab

Technodolly

Pro 8mm

CineTape

Abel Cine

Aerial Filmworks

Pro 8mm

Visual Products

Gamma Ray Digital Inc

Abel Cine

Tai Audio

Quantum Music Works

Ritter Battery

Rig Wheels Passport

Aerial Filmworks

ZoomCrane

rebotnix Technologies

The Slider

Glidecam

Zylight

Broadcast Solutions Inc

CineTape

FJS International, LLC

CineLab

Technodolly

Willys Widgets

Paralinx LLC

Metropolis Post