VISION 3 PROCESSED AS REVERSAL

[longlivefilm]

IF KODAK STOPS PRODUCING REVERSAL FILMSTOCK IT SHOULD BE POSSIBLE TO USE NEGATIVE AS A REVERSAL ARE ANY LABS WILLING TO TRY THIS

[richard p. t.]

Yes, it is possible to cross process colour negative in E6 chemistry. To get an image you need to under rate the stock by two stops (ie if its 200 asa, expose as though it is 50 asa) then you need to push process in the e6 a further 2 stops. You get lovely low contrast golden yellow tinted images.

[joelpierre]

But, if development is standard E6 (without push process), what is the result?

[richard p. t.]

It would be about two stops dark.
An e6 lab using machines would not be able to or want to cross process colour negative films in E6 because of the rem-jet backing. It would ruin the batch of chemistry.

[jpolzfuss]

Hi,

most colour-negatives (incl. the Vision1/2/3-film-stocks) do have a brown/orange base.

Jörg

[richard p. t.]

Hi,

most colour-negatives (incl. the Vision1/2/3-film-stocks) do have a brown/orange base.

Jörg

well, no. The base is clear. Colour negative stocks have so called 'coloured colour couplers'. The orange colour you see is in fact a dye in the emulsion.

[PyrodsTechnology]

Hi Richard, it is very interesting , so if i put a sort of blue/cyan filter in camera can i correct the yellow/golden dominant ? Does it work on negative fuji film too? And does pushing processing improve grain ?
Regards.
Roberto

[marc]

An e6 lab using machines would not be able to or want to cross process colour negative films in E6 because of the rem-jet backing. It would ruin the batch of chemistry.

I am sure that if it comes down to there being no reversal, there would be labs set up to handle the cross processing for the reversal market that just want to project their films or view them as positive before transfering them to video.

[richard p. t.]

Hi Richard, it is very interesting , so if i put a sort of blue/cyan filter in camera can i correct the yellow/golden dominant ? Does it work on negative fuji film too? And does pushing processing improve grain ?
Regards.
Roberto

Sadly, no. This comes back to the reason the orange colour is there in the first place. When colour negative film was being developed, it proved very difficult to make absolutely perfectly coloured cyan and magenta dyes that were able to be chromagenically developed into an image. It was easier for the manufacturers to make dyes that were a bit off these two colours one way or another. So, to compensate for this error (or more specifically, for the error that would accumulate were the image to go through successive generations) the chemicals in the emulsion itself that are 'coupled' to the silver and that are activated when the silver is developed, are themselves coloured when in their pre-developed state. So, during development of the image, every part of the film will either remain the colour of the coloured couplers, or have chroagenically activated dyes that are collectively also 'off' neutral in this orangy direction. So the orange can't be avoided. Either the image dyes come out orangy, or where there is no image, the colour that was added to the colour couplers remains.

Now days this orange masking isn't really necessary. More accurate chromagenic dyes are possible. However it has been deemed necessary to remain true to the overall system.

Fuji and Agfa used the same system of course. I don't know who invented it. Maybe Agfa since they made the first colour negative.

As for push processing, this always increases the grain. Pull processesing reduces the grain. But reversal processing always produces less grain than negative processing.