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I have had some experienced with a bleach bypass project, and I wish I
could say it was pleasant.
The project has about 20 thousand feet of bleach bypass neg transferred
to video for a video finish. The majority of the film was normal process
neg. all 35mm.
"The look" of the bleach bypass was high contrast with both black and
white compression and quite desaturated. This is typical I gather in most
reading I have done about the process, although I have not seen much on neg
bleach bypass. Most of the material seems to be about print. I have been
that it is not recommended for neg.
About half of the bleach bypass was pushed 1 stop. This was a BIG
problem. It seems that there is no latitude. The neg is so dense that the
it is impossible to get an acceptable picture from it. We looked at it on
several other machines and all exhibited the same problems. Sky would
contain darker brown (shading like) regions both preceding and following
darker objects. Almost like a streak, but with a softer edge. I personally
think that it is caused by light reflections in the neg. but I may be all
The well exposed material was a bit nosier due to the amount of gain
required, but no worse that some dense normal process neg that I have seen.
With bleach bypass the negative can be restored to normal by sending it
to the lab for the bleach and washes. We compared transfers before bleach
and after. With the exact same film footage the "bleached rewashed" neg was
timed to match the beach bypass film that had been transferred earlier.
The desaturation and gamma compression were almost exactly matched to the
original transfer. All of the artifacts like "brown streaks"
and noise were not evident. All concerned were quite satisfied that the
bleach bypass look could be achieved much better in transfer from normal
processed neg and timed appropriately.
In my opinion for an electronic release, I would not use bleach bypass
neg. I have not seen the results from print, but I would think that with a
video release, transfer from neg. would save the cost of a print, and
produce the same results.
Thanks to Cinema Products for support in 1998.
No product marketing allowed on the main TIG. Contact rob at alegria.com
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