Shot on "fake CineStill.” Following Kodak’s significant alteration to its film chemistry and two years after the 800T branding controversy, we tested the online myth concerning the production of CineStill films. The findings were completely unexpected, leading us to conduct our tests twice! This article covers: The myth, Kodak’s AHU: no more remjet, the motivation, the experiment, and why we had to repeat the process. It also discusses removing the remjet from Kodak Vision 3 film at home, the results comparing CineStill 800T, Kodak Vision 3 500T (with home remjet removal), and Kodak Vision 3 500T (unmodified). Additionally, it touches on photographic desensitization and hypersensitization, and provides behind-the-scenes content. Support this blog and gain premium features with GOLD memberships! This article is a collaboration with Vancouver photographers Daren @LearnFilmPhotography and Yvonne @YvonneHansonPhotography, and we were joined by Shawna @arielmixedmedia in front of the camera. Be sure to follow their channels for more content on art and film photography!
The myth suggests that CineStill’s signature films are merely Kodak Vision 3 motion picture film with the remjet layer stripped away before being packaged and sold at double the cost. A more elaborate version of this myth claims that CineStill 800T, the company's most recognized film, is actually Kodak Vision 3 500T without the remjet, with the boost in the film’s ISO attributed to light reflections off the pressure plate or a higher sensitization efficiency of the C-41 chemicals compared to ECN-2. I pre-washed a roll of Kodak Vision 3 500T to remove the remjet and then loaded it back into a 35mm canister once dried. This collage shows how it physically compares to a roll of CineStill 800T.
Kodak’s AHU: no more remjet. As I was wrapping up pre-production plans for this article, I discovered Kodak’s new technology eliminates remjet from their Vision 3 films. The Anti-Halation Undercoat is a crucial component that doesn’t require washing off, allowing the new Kodak Vision 3 film to be processed in regular labs or at home without a remjet pre-bath. Sadly, Kodak’s switch to AHU means the supply of Vision 3 film with remjet is limited to dwindling stocks. This raises concerns about the future of CineStill's distinctive halation effect and the practicality of replicating that effect at home for less using the methods outlined in this article. I reached out to CineStill for clarification but have not received a response. 🎧 You can also listen to the latest episode of the Analog.Cafe Podcast where Daren and I dive deep into Kodak’s AHU update and this project. Available on Spotify, Apple Podcasts, iHeartRadio, and Overcast.
The motivation. Even with the removal of remjet, I believe there may be some misunderstandings about this technology and its applications. Addressing that would be beneficial. Directly engaging with the medium to test theories offers a deeper, real-world comprehension of its workings. Such insights are valuable for anyone looking to improve their photography, create something innovative, or satisfy their curiosity without being misled by simplified explanations of complex photographic processes. Throughout this project, we shot five rolls of film in three cameras and unfortunately wasted a roll of Kodak Vision 3 film. This count does not include the film used for product photos (like the one above) and digital footage.
The experiment. CineStill 800T has been on the market for over 13 years, yet there have been no documented independent efforts to recreate this product based on existing knowledge while rigorously comparing the outcomes with the original. Successful commercial attempts have been shown to be feasible (roughly a decade post-CineStill's release), but is it as straightforward as a pre-wash and dry? This experiment aims to determine if the CineStill 800T process can be replicated at home and evaluate how it performs in comparison to the original. We’ll be comparing three stocks in 135/36exp: 1) Kodak Vision 3 500T (with the remjet pre-washed, or our “fake CineStill”). 2) The authentic CineStill 800T. 3) Kodak Vision 3 500T (with remjet). I acquired 50mm lenses for my three vintage Nikon cameras: the F2, FM2n, and FE, to maintain an identical angle of view across all film rolls using the same optical configuration. Daren and Yvonne assisted me with camera duties as we roamed New Westminster capturing bracketed exposures at EI 400/800/1600 for all films. We targeted a variety of scenes such as indoor daylight lighting, indoor tungsten lighting (with my Amaran lights), indoor flash, outdoor evening light, mixed outdoor lighting at
Following Kodak's significant alteration to their film chemistry and a year after the 800T branding dispute, we investigated the online rumor regarding the production of CineStill films (we created our own version and contrasted it with the branded stock). The outcomes were completely surprising. We conducted our tests on two separate occasions!