Color reversal internegative: Difference between revisions
Units/dates/other |
→External links: Correction on description of CRI negative and it's application. |
||
| 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. |
|||
Revision as of 20:34, 1 September 2008
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
- National Film Preservation Board
- The Film Foundation
- Article on CRI and other film decomposition problems
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.