The Technology of Enhanced Color Saturation. KODAK EKTACHROME 100D Color Reversal Film/5285. David Long Eastman Kodak Company

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1 The Technology of Enhanced Color Saturation KODAK EKTACHROME 100D Color Reversal Film/5285 David Long Eastman Kodak Company

2 History of 100D Film Color Technology Initial Benefit Statement Research into customer needs identified the value in producing a high color saturation film capable of alternate looks in commercial, television, and feature applications Product Development Technology was developed by Color Reversal and Motion Imaging R&D teams for incorporation into a new reversal motion picture film Resulting color technology inventions were patented by Kodak

3 General Performance Well Balanced Against High Color Technology Speed True EI100 Best-Fit Gamma (positive sensitometry) compared to for EXR 50D Print Sharpness Grain Acutance higher than any EI100 speed reversal product and similar to AMT ratings of EXR 50D Print Comparable to other EI100 speed reversal products and advantaged over the EXR 50D Print by 4.5 grain units (N) Reciprocity No filter corrections required for exposures from 1/10,000 to 10 seconds Raw Stock Stability Comparable to any Kodak motion picture capture product Color High saturation of scene colors with accurate treatment of neutrals and flesh tones

4 Characteristic Curves EKTACHROME 100D vs. EXR 50D onto VISION Color Print Film Neutral Density EKT 100D - Red EKT 100D - Green EKT 100D - Blue EXR 50D Printed - Red EXR 50D Printed - Green EXR 50D Printed - Blue EXR 50D Print: Gamma = EKT 100D: Gamma = Relative Log Exposure

5 Quick Review of Image Capture Two general stages in color films: Red, green, and blue light from a scene is captured by a piece of film Captured light is converted into subtractive dyes (generally cyan, magenta, and yellow) in processing chemistry The saturation of reproduced colors is dependent upon factors in both stages - we will begin our discussion with the dye formation stage and then return to the light capture stage

6 High Color Technology Review of techniques for influencing color saturation and accuracy in any film raw (ideal) color gamut dictated by pure image dye spectrophotometry (spectral dye density)

7 Pure Dye Color Gamut A pure dye s color is characterized by spectrophotometry (spectral dye density) Density = -log 10 (Transmission) B: ~ nm G: ~ nm R: ~ nm different lines represent different amounts of this dye density 400 (wavelength of light in nm) 700

8 Pure Dye Color Gamut Spectrophotometry is gathered for all possible combinations of dyes in a film and converted into perceptive visual color space (gamut) via standard CIE (Commission International de l Eclairage) calculations Hue Gamut: b* (yellow to blue axis) L* CIE calculates a 3D Color Gamut Space: L* a* b* Hue Gamut is a 2D projection onto the a*b* plane a* (cyan to red axis)

9 Pure Dye Color Gamut Spectrophotometry is gathered for all possible combinations of dyes in a film and converted into perceptive visual color space (gamut) via standard CIE (Commission International de l Eclairage) calculations L*C* Gamut: 100 L* (luminance) 0 cyan magenta yellow red green blue C* (chroma or colorfulness) C* = (a* 2 + b* 2 ) 1/2

10 High Color Technology Review of techniques for influencing color saturation and accuracy in any film raw (ideal) color gamut dictated by pure image dye spectrophotometry (spectral dye density) cleaner-cutting image dyes (defined against the eye s color matching functions) will yield more saturated color reproduction

11 Gamuts of Different Dyes Ideal subtractive block dye (no contamination absorption of light) D yellow dye absorbs B only D magenta dye absorbs G only D cyan dye absorbs R only λ λ λ Real photographic dyes (some contamination absorptions of light versus block dyes) D λ

12 Gamuts of Different Dyes Color (hue) gamut consequences of contamination absorption b* (yellow to blue axis) L* dashed: block solid: real a* (cyan to red axis)

13 High Color Technology Review of techniques for influencing color saturation and accuracy in any film raw (ideal) color gamut dictated by pure image dye spectrophotometry (spectral dye density) cleaner-cutting image dyes (defined against the eye s color matching functions) will yield more saturated color reproduction in addition to spectral dye density, practical multilayer film color gamut is influenced by spectral sensitivity, sensitometry, and image modifying chemistry

14 The Amount of Dye Created Due to Exposure: Spectral Sensitivity & Sensitometry Multilayer Film: White Light Blue-sensitive layer produces yellow dye Green-sensitive layer produces magenta dye Red-sensitive layer produces cyan dye

15 The Amount of Dye Created Due to Exposure: Spectral Sensitivity & Sensitometry Spectral Sensitivity dictates the amount of exposure to be recorded by each of the three layers in a film as a function of the incident wavelength of light sensitivity B G R λ Here, the sensitivities overlap - in other words, green light which is intended to only expose the green layer may in fact expose the blue and red layers also, producing unwanted image dyes (known as punch-through)

16 The Amount of Dye Created Due to Exposure: Spectral Sensitivity & Sensitometry Sensitometry defines the amount of image dye (both wanted and unwanted) created for a given level of exposure Because of the overlap of sensitivities, it is virtually impossible to produce a single dye in a multilayer photographic film Consequently, not only are real image dyes not perfectly cutting with respect to our eyes, real photographic products will not image the single dyes anyway

17 Image Modifying Components Image modifying components are used to combat both the imperfections in the dyes themselves and the unintended formation of punch-through density from spectral exposures Proprietary chemicals are incorporated such that the formation of dye in one image layer leads to the repression of dye formation in an adjacent layer (Interlayer Interimage Effects or IIE)

18 Image Modifying Components Reversal Multilayer Film: B Light B G R Intended Exposure: Blue Light + Blue Film Layer = B&W Blue-layer layer Image + Inhibitor Unintended Exposure: Blue Light + Green Film Layer = B&W Green-layer Image BUT, Blue Light + Green Film Layer + Inhibitor = No B&W Green-layer Image *Note: This is reversal; where B&W image is recorded, no dye is formed

19 desaturation is a product of unwanted light absorption at exposure, dye contamination, and/or dye spectral density failures High Color Technology Review of techniques for influencing color saturation and accuracy in any film raw (ideal) color gamut dictated by pure image dye spectrophotometry (spectral dye density) cleaner-cutting image dyes (defined against the eye s color matching functions) will yield more saturated color reproduction in addition to spectral dye density, practical multilayer film color gamut influenced by spectral sensitivity, sensitometry, and image modifying chemistry

20 High Color Technology The color of EKTACHROME 100D color saturation advancements are realized not in the image dyes, but in the light capture and chemistry manipulation stages color manipulated by specially engineered light absorption layers color-amplifying layer added to the top of the multilayer film structure (cutting-edge emulsion technology)

21 Color-Amplifying Layer smaller silver halide crystals activated by spectral exposure modifies development in adjacent color records through the process of solution physical development and ionic inhibition (IIE) amplifies color saturation by modulating the development of unwanted dyes added bonus is the concurrent boost to sharpness realized by the chemical adjacency effects Kodak patented technology (US 5,932,401)

22 EKTACHROME 100D Structure F, F M S F M S F M S Color-amplifying layer Four component, blue light sensitive T-Grain emulsion layers (fast, fast, mid, slow) Blue-light absorber (Carey-Lee Silver) Three component, green light sensitive T-Grain emulsion layers (fast, mid, slow) Green-light absorber (Solid Particle Filter Dye) Three component, red light sensitive T-Grain emulsion layers (fast, mid, slow) Anti-halation layer (Gray silver)

23 High Color Technology Absorption layers designed for cleaner spectral sensitivity, less unwanted light absorption (punch-through), and more accurate color rendition Color-amplifying layer designed to enhance color saturation through IIE and the modulation of color contamination Both pieces optimized to ensure a balance between accurate hue reproduction in the flesh and neutrals and boosted color saturation in scene colors

24 New EKTACHROME 100D Color Palette 1 JND (Just Noticeable Difference) = Vector Length of ~1.0 Yellow Red Green b* Magenta Cyan Blue 5248 onto onto a*

25 Current Applications Telecine Transfers - primary usage direct transfer of a high color, alternate look for commercials, music videos, television, etc. high contrast relative to negative origination films offers an added look factor in the telecine regime Features - also possible high color positive camera original images incorporated into features through digital intermediate or internegative techniques Cross-processing yet another look option available with reversal camera films (marked by especially high contrast, high color images and unusual hue rendition)

26 Summary Market need for a high color alternate look film for commercials, music videos, etc. High color reversal technology developed and patented by Kodak Color boosted with use of enhanced absorber layers and new color-amplifying IIE layer EKTACHROME 100D Color Reversal Film made available December 1999

27 Acknowledgements Eastman Kodak Contributors Tom Maier Mike Murdoch Spencer Pugh Kathy Gisser Steve Powell

28 References Hunt, R.W.G., The Reproduction of Colour, 5th ed., 1995, Fountain Press, England. James, T.H., Editor The Theory of the Photographic Process, 4th ed., 1977, MacMillan, New York. Chen, Keath, Reversal Photographic Elements Comprising an Additional Layer Containing an Imaging Emulsion and a Non-Imaging Emulsion US Patent # 5,932,401, Eastman Kodak Company 1999.

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