Scanning Comparison - Pt. 2b FUJI PRO 400H

[drg]

This is the new part of the Comparisons I am adding. Grain structure.

I have played around with both negative and positive variations of both white and dark frame images. Dark frame meaning no exposure to light and thus only the film base is left after processing. White frame is shooting a known white color reference evenly lit and the film is washed completely at full exposure/over exposure.

I decided that for now, a Dark Frame inverted provides the best representative image for scanning and display. The film was scanned at 2000dpi and then the CYMK color separation was performed so each layer of the C-41 film can be viewed as to how it will effect the final image.

There is a quadrant of the marked square for each separation. I may need to put rule lines to delineate them, but for now each corner of the square is the separation as marked and if your monitor isn't too far off you will see the side-by-side difference.

The separations are based on the max density(90%) standard for each of the colors and the K is based on removing the residual dye colors as speced by FUJI and then producing the K or black reference separation. The result is a grain structure or the color 'blob' structure typical of C-41 films. This film is known to have a very uniform 'grain' though not fine or minimal.

In the hood of the Coral '57 chevy in the two previous posts related to this, you can see 'sand' like grain. Very typical of this film. It works wonders for portraits under mixed or difficult lighting. I've used it extensively for weddings and if anyone wants to see this used for that I'll find already posted links or make one.

[photophorous]

The K layer has obviously more pronounced grain, but I'm not sure I understand what that is. Why did you pick CMYK as opposed to RGB? I realize Fuji use 4 die layers, but do they correspond directly with CMYK? Just a little confused.

Thanks,
Paul

[Xia_Ke]

Thanks for the comparisons drg :thumbsup:

...Why did you pick CMYK as opposed to RGB? ...

I was curious of the same thing. Having read the literature on this film before, they state they have added a 4th layer in addition to the RGB layers.

http://www.fujifilm.com/products/pro..._datasheet.pdf

[drg]

I was tired! I typed CYMK instead of, well you get the idea.

Page 7 of the Datasheet in Section 15-Film Structure shows the before and after dye layers. The Post processing format is actuall YMMC with residual dye components. Backwards from top to bottom through the film. The second layer is a Light Magenta (CC30M I think I remember).

Printing via INKJETs and the calibration tools for RA printers is based on pre-press industry standards (in this case U.S. Sheetfed Uncoated v2) for the RIP engine that feeds the printer for what I've been working with of late. (That's for a catalog of landscape architecture solutions and products.)

The end printing results are why I chose to demonstrate noise in the structure of the film via CMYK.

As I mentioned the K (Black) layer is an extraction as it always is unless you calibrate each roll. The Polaroid/Imacon produced reference scanner (originally built for law enforcement in one variant) I use actually reads the edge of the film to get 'black' points. That way the entire dynamic range of the color is above the films black max (-DyMx I think is the term they use). It can produce a black layer on its own but I scanned it RGB and filtered the channels according to the appropriate calibration set for 400 PRO. Targets and reference strips. I don't do it very often as it will reset from the data table via scanning a calibrated white card. In this case I used a FUJI reference sheet which contains the same OBA's as Crystal Archive paper, but without the gloss finish.

I'm still playing with the 'best' way to do this via the limitation of 8-bit JPEGs on the net.