Another method of movie distribution is by satellite. In these scenarios, a movie is downloaded on a secure server and the film is activated for playback via satellite. Satellite movie distribution is becoming increasingly popular for its convenience and cost reduction, but the DCP method is still very widely used.
While most movie theaters are no longer playing movies on film, many filmmakers still choose to shoot their movies on film. They choose this for a number of reasons - mainly for simplicity, efficiency, nostalgia, and the look of it. Some filmmakers love the way movies shot on film look, and they believe that the color appears better on film than digital recordings. Some say film is easier to edit than digital files. Despite digital filming becoming standard, there are still many movies shot on film every year. Some recent major movies shot mostly on film include Wonder Woman (2017), La La Land (2016), and Little Women (2019).
Kodak began to struggle financially in the late 1990s as a result of increasing competition from Fujifilm. The company also struggled with the transition from film to digital photography, although Kodak had developed the first self-contained digital camera. Attempts to diversify its chemical operations failed, and as a turnaround strategy in the 2000s, Kodak instead made an aggressive turn to digital photography and digital printing. These strategies failed to improve the company's finances, and in January 2012, Kodak filed for Chapter 11 bankruptcy protection in the United States Bankruptcy Court for the Southern District of New York.
In May 1995, Kodak filed a petition with the US Commerce Department under section 301 of the Commerce Act arguing that its poor performance in the Japanese market was a direct result of unfair practices adopted by Fuji. The complaint was lodged by the United States with the World Trade Organization. On January 30, 1998, the WTO announced a "sweeping rejection of Kodak's complaints" about the film market in Japan.
Kodak encountered a number of challenges from rival patents for film and cameras. These began while Eastman was still developing his first camera, when he was forced to pay inventor David Houston for a license on his pre-existing patents. A major lawsuit for patent infringement would come from rival film producer Ansco. Inventor Hannibal Goodwin had filed his own patent for nitrocellulose film in 1887, prior to the one owned by Kodak, but his was initially denied by the patent office. In 1898, Goodwin succeeded in convincing the patent office to change its decision and his patent was granted. Ansco purchased the patent in 1900 and sued Kodak for infringement in 1902. The lawsuit spent over a decade in court and was finally settled in 1914 at a cost of $5 Million for Kodak.
Kodak and Polaroid were partners from the 1930s until the 1960s, with Polaroid purchasing large quantities of film from Kodak for its cameras and further research and development. Their cooperative partnership came to an end in the late 1960s, when Polaroid pursued independent production of its film and Kodak expressed an interest in developing its own instant camera, bringing them into direct competition. In 1976, Kodak unveiled the EK series of instant cameras. Shortly after the announcement, Polaroid filed a complaint for patent infringement in the U.S. District Court District of Massachusetts, beginning a lawsuit which would last a decade. Polaroid Corporation v. Eastman Kodak Company was decided in Polaroid's favor in 1985, and after a short period of appeals, Kodak was forced to exit the instant camera market immediately in 1986. On October 12, 1990, Polaroid was awarded $909 million in damages. After appeals, Kodak agreed to pay Polaroid $925 million in 1991, then the largest settlement for patent infringement in US history.
DCPDIGITAL CINEMA PACKAGE: a set of files conforming to DCI specifications which contain all the elements needed (images, sound, subtitles etc.) for the projection of a film. The images in a DCP are compressed using JPEG2000 encoding, and it may be ENCRYPTED.
DIGITAL INTERMEDIATEAny digital video or data file made by scanning a film, or by digital capture, for the purpose of post-production. May be re-recorded back to film, or used to create a digital projection or other display format.
DPXDigital Picture Exchange (DPX) is a common file format for film scanning and DIGITAL INTERMEDIATES, and is an ANSI/SMPTE standard (268M-2003). The density of each colour channel is represented as an uncompressed scale, commonly logarithmic in an attempt to preserve the characteristics of an original camera negative. The DPX file format was originally derived from Kodak Cineon open file format used for digital images generated by its original film scanner.
FILM RECORDINGA film made from a video or data file. Can refer to the original recorded negative or or to a print made from this. This term should always be qualified by the addition of FILM RECORDED NEGATIVE or PRINT FROM FILM RECORDED NEGATIVE. See also RE-RECORDING.
Blackmagic RAW is a revolutionary format designed to capture the quality of sensor data from cameras. Video Assist supports Blackmagic RAW recording from Leica, Panasonic, Fujifilm, Nikon, Canon and Sigma cameras. Popular camera formats such as H.264 are highly compressed resulting in noise and processing artifacts. Blackmagic RAW eliminates these problems so you get incredible detail and color throughout the production pipeline from camera to edit, color and mastering. It also saves camera settings in metadata so you can set ISO, white balance and exposure, then override them later while editing. Only Blackmagic RAW gives you the highest quality, smallest files and fastest performance!
I have read and read about how the first gen X Trans sensor was something different. Not special but did something different. In a world where every digital camera basically produces files that are exactly the same with no character (sharpness is not always the way), I found a mint XPro 1 and a couple of the F/2 lenses. Since I got that, I have not used any of my film gear. It really does produce some cool colors. It is slow and deliberate and very much like an older film camera.
We work with a wide range of popular cameras to deliver the most precise picture profiles available. We then use those profiles to match to your chosen film stocks to create a stunning and accurate result.
Our Camera Packs contain accurate data for each Camera Picture Style so we can tailor each film stock to your camera, allowing authentic Film Stock looks across a wide range of cameras and settings. We continue to work directly with camera companies to bring you the latest profiles.
1. First and most important. You will need an SD card (no larger than 32GB) to use the KODAK SLIDE N SCAN. I typically use a 16GB card which allows me to scan and save hundreds of photos, possibly thousands depending on file size.2. A quick heads-up on the film sizes noted above [135, 110, 126]. Since we often refer to film in mm's, such as 35mm, I'm including an image below that provides some information on how [135, 110, 126] convert to millimeters.
Paul Godfrey has supplied me with two pdf files which contain details of Kodak's colour printing services available in the USA during 1952 and 1953. The document alongside is part of the leaflet (dated Julty 1949) included with the Kodacolor Type A film shown above. It deals with the subject of getting the film processed and the option to also have prints made. The full leaflet can be downloaded as a pdf here. The resolution is low but readable.
The film name was shortened to “Pro 100T” possibly for the American market. A 120 size roll film was also obtainable, packed as a “Pro Pack” of 5 rolls. PORTRA Films from Kodak Professional ~ 1998 The leaflet illustrated below (and as a pdf download) is dated 1998. It claims: "The new falmily of KODAK PROFESSIONAL PORTRA Colour Negative Films is based on a breakthrough Unified Film Emulsion technology - so you get remarkably harmonious results from film to film and shoot to shoot. It doesn't matter how many different PORTRA Fihns you shoot, Natural Colour (NC) or Vivid Colour (VC), 160 or 400 speed. Image after image, they work, together. Delivering a level of consistency that sets them apart." These films superseded the Vericolor and Professional Gold films.
Later Kodak increased their range of colour negative films by introducing Kodak Professional Supra films. To download the Portra 6-page leaflet as a pdf, click the image or here. Professional Portra 100T film By April 1999, Ektacolor Pro Gold 100T film was no longer manufactured and Kodak were recommending a “Portra” type film, “Professional Portra 100T” film, for photography under tungsten (3200°K) illumination as a replacement. As the exposure recommendations were identical to Ektacolor Pro Gold 100T/Pro 100T films it is likely that this was just a “name change”, as prior to this there had been no films balanced for tungsten lighting in the “Portra” range. 781b155fdc