my profile | my password | search | faq & rules | forum home

» Film-Tech Forum ARCHIVE   » Operations   » Film Handlers' Forum   » Uneven polyester dye fading

Author Topic: Uneven polyester dye fading John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 09-30-2003 11:11 AM                     Continuation from Star Wars topic in the FITA (please don't clutter it with discussion). I noted that Criterion print #A:0776 of Star Wars: A New Hope (1997 Special edition) on Kodak 2386 polyester had "periodic color shifts toward red, lasting anywhere from a few seconds to a few minutes. Perhaps the result of improper storage and infrequent rotation." Brad Miller said, "John, the color shifting was on all prints. It was that way on the best of the remaining elements. That wasn't just the copy you screened." That doesn't quite ring true to me, since I don't at all recall this color shifting problem in 1997 when the prints came out. It really seems like some parts of the print faded to red much more than others. Is my memory just crap? On the other hand, John P. said, "Uneven dye fading is often indicative of improper storage. For example, film stored near a heat source will have a convolution repeat, where the side of the roll that was hotter fades faster. Or acidic by-products of hydrolysis from excess humidity settle on one side of the storage container, causing localized dye fading." This occured to me, and I even commented on it. But it doesn't ring true for me. I would expect to see fading/brightening effects every few seconds, but not run OK for mintues at a time, and then shift. At least, if it was stored on 2k reels. Are you suggesting that perhaps the outer half (rather than the left or right half) might see some kind of localized heat effect? That seems kind of farfetched to me. There was no localized fading in the sense that one side of the image was faded and the other was not. Furthermore, the transitions between fading and non-fading were sharp, sometimes across cuts; they were not slow gradient changes. Anyone have anything to offer? --jhawk  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 09-30-2003 11:35 AM                        I was just outlining examples I've seen of localized fading due to improper storage conditions. Usually it is a rather rapid "convolution repeat" related to the diameter of the roll, or a differential across the image if one side of the roll was subjected to more heat (e.g. can of film stored over a radiator) or acid vapors. A shift that occurs over several minutes of running time is more likely a printer balance problem, rather than fading. Or a faded element may have been used for part of the reel.  |  IP: Logged Mitchell Dvoskin Phenomenal Film Handler Posts: 1869 From: West Milford, NJ, USA Registered: Jan 2001 posted 09-30-2003 12:18 PM                     The lab quality control on the Star Wars Special Edition prints was all over the place. Some prints were almost red, others had color smears on one side, and others were perfect. It was the luck of the draw as to what print you got. Yes, the original elements had faded and were color corrected. You can see that most in some scenes that no longer had true blacks, but on the good prints, the colors were not noticably off. /Mitchell  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 09-30-2003 02:37 PM                     quote: Brad Miller said, "John, the color shifting was on all prints. It was that way on the best of the remaining elements. That wasn't just the copy you screened." That doesn't quite ring true to me, since I don't at all recall this color shifting problem in 1997 when the prints came out. It really seems like some parts of the print faded to red much more than others. Is my memory just crap? I ran 2 prints of the SE edition and one of them was an EK print. Both looked about the same in regards to the color shifting. You were probably just too enthralled at seeing Star Wars again on the big screen that you didn't notice, sort of like how on a really good movie it is possible to lose track of which reel you are on or the "old CAP code". (We all know not noticing the new CRAP code is impossible. )  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-30-2003 03:20 PM                     I don't want to get too embroiled in this discussion but I recall a special presentation at USC by either Tom Hollman or Gary Rydstrom in which we were shown R-1 of "Star Wars" with the original sound and then with each element being added. This was around the time that work was being done on the restoration and in the course of the lecture-presentation Hollman (or Rydstrom) briefly touched on the problems with negative fade. Part of the problem was one of the negatives used for a lot of the location shots was brand new when SW was made and Kodak had to discontinue making that stock because it was plagued by extreme fade in a short time-span. Next was the problem with the YCM separations. Evidently the Yellow separation wasn't quality-controlled and was overexposed. However, you guys are talking about the SE and all of this was supposedly corrected. I seem to recall seeing the color shifting on opening night at Mann's Chinese in Hollywood -- admittedly, I was "into" restoration back then and so I was looking at it from that perspective. I think they did a great job -- I saw what it would've looked like without the restoration -- but I wouldn't say that the restoration was flawless. How much shift are you seeing? I'm asking because I know we tend to be more observant (see also: anal-retentive) than average moviegoers. Is this a mountain-molehill situation?  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 09-30-2003 03:28 PM                     Wasn't some of the effects work on that film done on CRI, which did have poor resistance to fading?  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-30-2003 03:33 PM                     Okay I went and looked it up and Kodak CRI #5249 was the culprit.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 09-30-2003 03:36 PM                     That was quick, you must have read my last post the moment I sent it! John, I'm sure you'll read this, when CRI was introduced, was it's problem with fading not known, or was it expected, but felt to be outweighed by the advantage of the generation saved? I assume that in 35mm, all CRI printing must have been optical, to preserve the correct geometry of the negative. I know that CRI was used, contact printed, in 16mm to produce final prints with the standard geometry, base to lamp, for that gauge.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-30-2003 03:39 PM                     Actually, I figured someone would make me earn that one so I started looking it up before you posted. See what I mean? I was right about us being an anal-retentive lot.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 09-30-2003 04:49 PM                     Manny asks, "How much shift are you seeing?" I don't have the print anymore, so I'd have to do it from memory, which is probably sufficient here...but what units would you like? --jhawk  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 09-30-2003 05:05 PM                    I thought all the CRI was removed; that that was a big part of the restoration effort.  |  IP: Logged Manny Knowles "What are these things and WHY are they BLUE???" Posts: 4247 From: Bloomington, IN, USA Registered: Feb 2002 posted 09-30-2003 06:21 PM                     John -- Just do your best.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 10-01-2003 04:12 PM                        The science of predicting future image stability based on "Arrhenius Testing" was in its infancy in the late 1960's, when CRI was developed: http://aic.stanford.edu/jaic/articles/jaic31-02-005.html  |  IP: Logged

All times are Central (GMT -6:00)

Printer-friendly view of this topic

Hop To: Select a Forum: Category: Operations -------------------- Digital Cinema Forum Film Handlers' Forum Large Format Forum Ground Level Feature Info, Trailer Attachments & REAL Credit Offsets Category: Community -------------------- Film-Yak Film Handlers' Movie Reviews The Afterlife Bob Maar's Joke-A-Thon Category: Classified -------------------- Equipment and Supplies Wanted/For Sale Help Wanted/Seeking Employment Category: System -------------------- Software Beta Testing Forum

The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion and agrees to release the authors from any and all liability.