Characteristics of Old Color Film Stocks Show in Fakes

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Characteristics of Old Color Film Stocks Show in Fakes

Postby rerevisionist » 12 Jan 2012 17:39

Here's a comment added as a footnote to an archived film (from Lookout Mountain) on early Kodachrome - this was state of the art in the 1950s---
There were disturbing results in archiving these extremely historic events in color, related directly to the properties and instabilities of Kodachrome I film of the time. The pigments of these color films reacted with the lacquer coating meant to protect the films in common storage conditions, causing very disappointing fading of blue dye, as well as changes in other dye components in these films. Careful, cool storage conditions in top secret vaults would have prevented much of this film quality destruction, and especially if the problem were discovered before the early 1970s, when Kodachrome I films were discovered to experience such destruction.

The blurriness of Kodachrome I films was attributed to the immense grain of very slow 16 mm ISO 10 color film, as well as the bleeding of dyes in the celluloid. These films were so slow that night scenes had to be simulated using blue filters in daylight. Blue dyes were the least sensitive to light in this stock, and therefore simulated darkness using blue filters. Notice in 1950s cowboy films that night scenes contained long shadows and bright highlights from sunshine, due to this technique of low light simulation required by Kodachrome I.

Some of this seems wrong, or not knowledgeable - there's no discussion of what the chemical formulas were of the three component colour dyes. There's nothing on the way human perception changes as light dims. The 'immense grain' comment must be wrong - slow films had fine grain, which was what made them slow; graininess must be related to the fact that, with colour, in effect there are three different images, which must imply a loss in resolution - black and white films of the same date are impressively sharp - and loss in sensitivity - so that brighter lights were needed.

But - of relevance to nukes - note the comment on night-time colour filming - ''day for night" as it's called now. It suggests that some or all of the films made of supposed nuclear tests at night were in fact filmed during the day ... and it provides a clue as to how the cheating can be detected, by shadows!
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Re: Characteristics of Old Color Film Stocks Show in Fakes

Postby FirstClassSkeptic » 21 Jan 2012 18:02

I've never heard of putting lacquer on film to preserve it, or for any other reason. My experience with lacquer is that it is a very strong solvent. It will tend to 'lift' another finish off. As, for example, if you spray it on an enamel finish, the enamel finish will lift off in flakes and mix with the wet lacquer. Ask me how I know this: By first hand experience. It will also dissolve some plastics, if you attempt to paint them with lacquer. Ask me how I know this, also. I couldn't imagine spraying it on celluloid film. Has anyone really done this sort of thing? Now, it's one thing I haven't tried.
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Re: Characteristics of Old Color Film Stocks Show in Fakes

Postby rerevisionist » 21 Jan 2012 19:17

Well, I don't think whoever wrote that had any idea. It's full of mistakes. Ordinary b/w pictures had silver grains making the black parts of the image, but obviously there's no way this works with colour - a dye has to replace the silver as closely as possible, and three separate dyes are needed. Very likely the laquer thing is nonsense.

However, the 'day for night' thing is perfectly true - there's even a French film with that title. (Truffaut I think).

So is the different rate of dye fading, and also slow diffusion.


[Mod: note added Sept 2012: 'Ektachrome' and 'Kodachrome' were Kodak trademarks. I believe one was designed for color slides - the same acetate backing and gelatine was used to project the picture, which of course was processed by removing the negative and then developing what was left.]
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