From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #5060 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Wednesday, September 30 2020 Volume 14 : Number 5060 Today's Subjects: ----------------- NEW: never released before... ["Dr. Joe Vitales" Subject: NEW: never released before... NEW: never released before... http://treatmento.buzz/ZS6wZ0TpgrWuHKgD_VCpQYqPstnd9bA89wvGzK1Bm6_ozztt http://treatmento.buzz/c9kuD2JfueZDz38FuJN-ZiUFQSNMAlT7EModKsjlOFAZXXCr All plastic is subject to deterioration through physical or chemical means, and thus, motion picture film is at risk for the same reason. Films deteriorate over time, which can damage individual frames or even lead to the entire film being destroyed. Cellulose nitrate, cellulose diacetate and triacetate are known to be unstable media: improperly preserved film can deteriorate in a period of time much faster than many photographs or other visual presentations. Cellulose nitrate, because of its unstable chemistry, eventually breaks down, releasing nitric acid, further catalyzing the decomposition. In the final stages of celluloid decomposition, the film turns into a rust-like powder. Likewise, tri-acetate stock is also vulnerable to deterioration. Because of the small gauge of the film, owners of home-made films often find that their film can become shrunken and brittle to the point where the film is unwatchable in the space of a few years. In general, decaying acetate film breaks down into acetic acid, and similar to celluloid decomposition, leads to an auto-catylictic breakdown of the base that cannot be reversed. The result of the acetic acid released is a strong odor of vinegar, which is why the decay process in the archival community is known as "vinegar syndrome". Modern polyester-based stocks are far more stable by comparison and are rated to last hundreds of years if stored properly. Intermediate and print stocks 35 mm film print frames. At far left and far right, outside the perforations, is the SDDS soundtrack as an image of a digital signal. Between the perforations is the Dolby Digital soundtrack (note the tiny Dolby "Double D" logo in the center of each area between the perforations). Just inside the perforations, on the left side of the image, is the analog optical soundtrack, with two channels encoded using Dolby SR noise reduction that can be dematrixed into four channels using Dolby Pro Logic. The optical timecode used to synchronize a DTS soundtrack, which sits between the optical soundtrack and the image, is not pictured. Finally, the image here is an anamorphic image used to create a 2.39:1 aspect ratio when projected through an anamorphic lens. Note the thin frame lines of anamorphic prints. The distinction between camera stocks and print stocks involves a difference in the recording process. When the work print or edit master has been approved, the Original Camera Negative (OCN) is assembled by a negative cutter using the edited work print or EDL (edit decision list) as a guide. A series of Answer Prints are then made from the OCN. During the Answer Print stage, corrections in the film's density and color are corrected (timed) to the filmmakers' tastes. Interpositive (IP) prints are struck from the OCN, checked to make sure they look the same as the custom timed Answer Print, and then each IP is used to make one or more Dupe Negative (DN) copies. The release prints are then generated from the DN(s). Recently, with the development of digital intermediate (DI), it has become possible to completely edit, composite visual effects, and color grade the image digitally at full resolution and bit-depth. In this workflow, the answer print is generated digitally and then written out to the IP stage using a laser film printer. ------------------------------ End of alt.music.moxy-fruvous digest V14 #5060 **********************************************