Exactly. Cross processing is an entirely different animal. In modern  
times, some of the movie film stocks were designed to be transfered  
to digital video -- scanned if  you will. So they scan rather nicely  
one frame at a time for the still photographer.
Paul
On Sep 21, 2007, at 8:21 PM, John Sessoms wrote:

> From: Axel Belinfante
>
>>>> There was a place in Hollywood called RGB that rewound several
>>>>>> movie stocks for still camera use. They would process it both  
>>>>>> as a
>>>>>> film positive and as prints.
>>>>
>>>> That's the place!  I have more than a few RGB boxes of slides in my
>>>> drawer.  And I got prints, too (which seemed the best of both
>>>> possible worlds at the time).
>>>>
>>>> Even though the negatives are difficult to print, it's cool to have
>>>> the multiple types of output.  That is, it WAS cool - back in  
>>>> the day
>>>> when I had "film" to be "processed", whatever that means.   :-)
>>
>> once for me a few E6 films got accidentally processed as C41.
>> the resulting negatives were hard to process,
>> at least judging from most of the results
>> (one mini lab succeeded to get good prints, elsewhere colors
>> got pretty miserable)
>>
>> just curious: are the negatives that you refer to similar?
>>
>>
>
> E-6 is sometimes cross-processed deliberately to get those weird  
> colors.
>
> I believe the idea behind the movie film was the negative was meant to
> be contact printed onto another "negative" film to make the positive
> print (neg + neg = pos) that was projected in the theatre.
>
> That probably required a very different characteristic curve than is
> required for making paper prints from regular (C-41) negative film.
> Wouldn't surprise me if there are two different curves, one for the
> negative and one for the positive printed from the negative.
>
> The movie films would have been formulated to produce those different
> curves.
>
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