Color reversal internegative - Revision history

Jeepday: Merge to Internegative

2009-04-11T11:08:21Z

← Previous revision		Revision as of 11:08, 11 April 2009
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			#REDIRECT [[Internegative]]
	'''Color reversal internegative''', or '''CRI''', is [[motion picture]] film duplication process designed by [[Kodak]] in the 1970s as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s. It is the color counterpart to a fine grain positive, in which a low-contrast color image is used as the positive between an original camera negative and a duplicate negative.

	Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.

	== External links ==
	* [http://lcweb.loc.gov/film/ National Film Preservation Board]
	* [http://www.film-foundation.org/ The Film Foundation]
	* [http://www.thedigitalbits.com/articles/robertharris/harris070102.html Article on CRI and other film decomposition problems]

	[[Category:Film and video technology]]

SoWhy: moved comment in article to talk page (HG)

2008-09-01T20:35:20Z

moved comment in article to talk page (HG)

← Previous revision		Revision as of 20:35, 1 September 2008
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	[[Category:Film and video technology]]		[[Category:Film and video technology]]
	The info on the use of CRI technology and it's purpose, as given here is incorrect.
	CRI was in the beginning introduced for faster but foremost better
	results for TV use. Better quality for the 35 mm motion picture industry
	was also achieved by the use of this system, whereby the camera negative
	was duplicated via the direct CRI technique onto a second neg. hereby
	bypassing the commonly used interpositive.
	The CRI did away with the interpos. and yielded much better definition
	and sharpness by the elimination of one complete duplicating step!!
	This technique produced a dupe neg directly from the camera master.
	Later in time, when the duplicating procedures became less lossy the
	interpositive made it's re-entry (now replaced with digital intermediate) thereby saving the camera original from too much use
	producing many CRI negs for the different labs throughout the world.
	From an archival point the CRI's gave serious problems after as little
	as 5 years because this Kodak material faded very quickly.
	If this system would be used nowadays it would render excellent results
	that would be hard to beat with the digital intermediate.
	The digital intermediate however lends itself superbly for all editing,
	color correcting and special effects and cannot be beaten for it's
	versatility in this area.

80.56.157.4: /* External links */ Correction on description of CRI negative and it's application.

2008-09-01T20:34:16Z

External links: Correction on description of CRI negative and it's application.

← Previous revision		Revision as of 20:34, 1 September 2008
Line 9:		Line 9:

	[[Category:Film and video technology]]		[[Category:Film and video technology]]
			The info on the use of CRI technology and it's purpose, as given here is incorrect.
			CRI was in the beginning introduced for faster but foremost better
			results for TV use. Better quality for the 35 mm motion picture industry
			was also achieved by the use of this system, whereby the camera negative
			was duplicated via the direct CRI technique onto a second neg. hereby
			bypassing the commonly used interpositive.
			The CRI did away with the interpos. and yielded much better definition
			and sharpness by the elimination of one complete duplicating step!!
			This technique produced a dupe neg directly from the camera master.
			Later in time, when the duplicating procedures became less lossy the
			interpositive made it's re-entry (now replaced with digital intermediate) thereby saving the camera original from too much use
			producing many CRI negs for the different labs throughout the world.
			From an archival point the CRI's gave serious problems after as little
			as 5 years because this Kodak material faded very quickly.
			If this system would be used nowadays it would render excellent results
			that would be hard to beat with the digital intermediate.
			The digital intermediate however lends itself superbly for all editing,
			color correcting and special effects and cannot be beaten for it's
			versatility in this area.

Lightbot: Units/dates/other

2008-06-22T13:27:29Z

Units/dates/other

← Previous revision		Revision as of 13:27, 22 June 2008
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	'''Color reversal internegative''', or '''CRI''', is [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s. It is the color counterpart to a fine grain positive, in which a low-contrast color image is used as the positive between an original camera negative and a duplicate negative.		'''Color reversal internegative''', or '''CRI''', is [[motion picture]] film duplication process designed by [[Kodak]] in the 1970s as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s. It is the color counterpart to a fine grain positive, in which a low-contrast color image is used as the positive between an original camera negative and a duplicate negative.

	Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.		Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.

Skier Dude: correct category

2007-04-07T03:08:28Z

correct category

← Previous revision		Revision as of 03:08, 7 April 2007
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	* [http://www.thedigitalbits.com/articles/robertharris/harris070102.html Article on CRI and other film decomposition problems]		* [http://www.thedigitalbits.com/articles/robertharris/harris070102.html Article on CRI and other film decomposition problems]

	[[Category:Film]]		[[Category:Film and video technology]]

Thephotoplayer at 23:38, 23 August 2006

2006-08-23T23:38:22Z

← Previous revision		Revision as of 23:38, 23 August 2006
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	'''Color reversal internegative''', or '''CRI''', ~~was a~~ [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.		'''Color reversal internegative''', or '''CRI''', is [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s. It is the color counterpart to a fine grain positive, in which a low-contrast color image is used as the positive between an original camera negative and a duplicate negative.

	Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.		Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.

Thephotoplayer at 23:36, 23 August 2006

2006-08-23T23:36:42Z

← Previous revision		Revision as of 23:36, 23 August 2006
Line 1:		Line 1:
	'''Color reversal internegative''', or '''CRI''', was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing ~~interpositive/internegative process~~ of creating film duplicates~~, or "dupes"~~. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.		'''Color reversal internegative''', or '''CRI''', was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing processes of creating film duplicates. Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.

	A ~~major~~ ~~problem~~ ~~was~~ ~~discovered~~ ~~only~~ ~~years~~ ~~later~~ ~~that~~ ~~the~~ ~~stock~~ ~~was~~ prone to rapid fading, on an average of within five to seven years. As a result, new masters have had to be created ~~to restore~~ the original stock in order to keep classic films such as ''[[Superman (movie)\|Superman]]'' ([[1978]]) and ''[[Jaws (film)\|Jaws]]'' ([[1975]]) from fading away. Groups such as the Film Foundation and the National Film Preservation Board were established to address these issues as well as many other problems with decomposing nitrate ~~film~~ ~~stock~~.		Because CRIs are considered a temporary negative, their chemistry is not meant to be as stable as prints, and because of this, they are prone to rapid fading, usually on an average of within five to seven years. As a result, new masters have had to be created from the original camera negative accordingly.

	== External links ==		== External links ==

ILovePlankton: clean up + typo fix using AWB

2006-03-06T04:01:53Z

clean up + typo fix using AWB

← Previous revision		Revision as of 04:01, 6 March 2006
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	== External links ==		== External links ==

	* [http://lcweb.loc.gov/film/ National Film Preservation Board]		* [http://lcweb.loc.gov/film/ National Film Preservation Board]
	* [http://www.film-foundation.org/ The Film Foundation]		* [http://www.film-foundation.org/ The Film Foundation]

Uris: Bold titlewords.

2006-02-02T16:50:23Z

Bold titlewords.

← Previous revision		Revision as of 16:50, 2 February 2006
Line 1:		Line 1:
	CRI was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing interpositive/internegative process of creating film duplicates, or "dupes". Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.		'''Color reversal internegative''', or '''CRI''', was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing interpositive/internegative process of creating film duplicates, or "dupes". Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.

	A major problem was discovered only years later that the stock was prone to rapid fading, on an average of within five to seven years. As a result, new masters have had to be created to restore the original stock in order to keep classic films such as ''[[Superman (movie)\|Superman]]'' ([[1978]]) and ''[[Jaws (film)\|Jaws]]'' ([[1975]]) from fading away. Groups such as the Film Foundation and the National Film Preservation Board were established to address these issues as well as many other problems with decomposing nitrate film stock.		A major problem was discovered only years later that the stock was prone to rapid fading, on an average of within five to seven years. As a result, new masters have had to be created to restore the original stock in order to keep classic films such as ''[[Superman (movie)\|Superman]]'' ([[1978]]) and ''[[Jaws (film)\|Jaws]]'' ([[1975]]) from fading away. Groups such as the Film Foundation and the National Film Preservation Board were established to address these issues as well as many other problems with decomposing nitrate film stock.

Uris: 1970s

2006-02-02T16:49:35Z

1970s

← Previous revision		Revision as of 16:49, 2 February 2006
Line 1:		Line 1:
	CRI was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[~~1970~~]]'s as a workaround for the existing interpositive/internegative process of creating film duplicates, or "dupes". Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid ~~1970's~~.		CRI was a [[motion picture]] film duplication process designed by [[Kodak]] in the [[1970s]] as a workaround for the existing interpositive/internegative process of creating film duplicates, or "dupes". Originally intended for the faster pace of the [[television commercial]] industry, it began to see use in major motion pictures of the mid 1970s.

	A major problem was discovered only years later that the stock was prone to rapid fading, on an average of within five to seven years. As a result, new masters have had to be created to restore the original stock in order to keep classic films such as ''[[Superman (movie)\|Superman]]'' ([[1978]]) and ''[[Jaws (film)\|Jaws]]'' ([[1975]]) from fading away. Groups such as the Film Foundation and the National Film Preservation Board were established to address these issues as well as many other problems with decomposing nitrate film stock.		A major problem was discovered only years later that the stock was prone to rapid fading, on an average of within five to seven years. As a result, new masters have had to be created to restore the original stock in order to keep classic films such as ''[[Superman (movie)\|Superman]]'' ([[1978]]) and ''[[Jaws (film)\|Jaws]]'' ([[1975]]) from fading away. Groups such as the Film Foundation and the National Film Preservation Board were established to address these issues as well as many other problems with decomposing nitrate film stock.