Artikelnr 67021

CINESTILL Cn2 ''Color Negative'' ECN-2 Developer, Low-Contrast Motion Picture Color Negatives For ECP & Scanning


CINESTILL Cn2 ''Color Negative'' ECN-2 Developer, Low-Contrast Motion Picture Color Negatives For ECP & Scanning
After years of research & development, CineStill has now formulated the only safe and consistent way to process stills with the same characteristics Hollywood expects, from the comfort of your home.

Process or Bleach-Bypass ANY color negative film with Cn2 Low-Contrast Developer and our 'F96 Rapid Fixer," Not Included.

*Not intend for RA-4 chromogenic printing!

Our Cn2 “COLOR NEGATIVE” developer is combined with the prebath accelerant, to produce proper ECN-2 density, for CineStill negatives that match the characteristic curves for true motion picture processing. Reusable solution develops 16+ rolls color film and can be reused alongside the Bf2 Blix bath following the Cs2 instructions, or F96 Rapid Fixer for Bleach-Bypass color process. Bleach-bypassed color film requires Rapid Fixer (ammonium thio) to fully clear the color dyes.

The "Bleach-bypass" color process, also known as skip bleach or silver retention, is a process of skipping the step of bleaching during processing of color films. By doing this, silver is retained in the emulsion along with color dyes. The result is a black and white image over a color image. The images usually have reduced saturation along with increased contrast and graininess. And if you ever want to remove the effect you can simply process it in the Bf2 bath included in our Cn2 ECN 2-Bath Kits.

Motion Picture "Bleach-bypass" was first used in cinematography by Japanese filmmaker Hiroshi Inagaki in film Rickshaw Man (1957). Kazuo Miyagawa, as Daiei Film's cameraman, invented bleach-bypass for Inagaki's film, inspired by the color rendition in the original release of Moby-Dick (1956), printed using dye-transfer Technicolor, and was achieved through the use of an additional black and white overlay. Actually, this is a throwback to pre-1944 Technicolor, which incorporated a silver-containing "blank receiver". Despite this early foray into the technique, it remained overlooked for the most part until its use by Roger Deakins for 1984 (1984). The effect has subsequently become a regular development tool in labwork, and has remained in widespread use. Practitioners include cinematographers Rodrigo Prieto, Remi Adefarasin, Darius Khondji, Dariusz Wolski, Walter Carvalho, Oliver Stapleton, Newton Thomas Sigel, Park Gok-ji, Shane Hurlbut, Steven Soderbergh (as "Peter Andrews"), Tom Stern, Vittorio Storaro, and Janusz Kami ski (notably on Steven Spielberg's Saving Private Ryan and Minority Report.

Great for extremely high contrast scenes or to achieve that cinematic look.
Optimized for motion picture logarithmic scanning and ECP film printing
Essential chemical agents formulated for motion picture films
No special processor needed (use standard processing tanks and reels)
Ships without Limited Quantity Hazardous (ORM-D) regulations
Excellent for bleach bypass processing with F96 rapid fixer
Instructions for processing and Push/Pull processing included
Not compatible with still photography RA-4 chromogenic paper
More difficult to maintain higher temperature than Cs41
Less film capacity than the Cs41 process (16 rolls)
Recommended +1 stop of overexposure
Thinner low-contrast negatives

If you already process your own black and white film, there is no reason not to process color negative film at home as well! It is specially formulated without compromise for modern color films, not requiring a stabilizer bath. Modern emulsions were designed so that one-hour photo labs wouldn't need haz-mat training for formaldehyde, and have built-in dye stabilizers and hardeners that are released through the simplified 2-bath process. You can have beautifully developed, bleached and fixed color negatives, ready to scan or print. All you need is water, a thermometer and any simple tank and reel system!