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ENR

ENR is a print processing technique that uses additional chemical baths to retain a controlled amount of silver in the print, increasing density and contrast compared to standard processing. It can achieve effects similar to bleach bypass but allows for more precise control over the level of silver retention. A LUT is a digital tool that can be used to simulate the look of ENR or other film processes by adjusting image parameters without modifying the original file.

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Elena Fedeli Illuminista
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251 views3 pages

ENR

ENR is a print processing technique that uses additional chemical baths to retain a controlled amount of silver in the print, increasing density and contrast compared to standard processing. It can achieve effects similar to bleach bypass but allows for more precise control over the level of silver retention. A LUT is a digital tool that can be used to simulate the look of ENR or other film processes by adjusting image parameters without modifying the original file.

Uploaded by

Elena Fedeli Illuminista
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as TXT, PDF, TXT or read online on Scribd
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ENR is actually a print-only process because it involves adding extra b&w proces

sing tanks to the ECP-2B print processing line. Unlike simply skipping the bleac
h step, which can be done in either the ECN-2 negative processing or ECP-2B prin
t processing, ENR at Technicolor (and CCE & ACE at Deluxe, and perhaps OZ at Tec
hnicolor) all involve additional processing in a b&w bath to permanently develop
a certain amount of silver so that a certain percentage can still be removed in
the bleach, fix, and rinse steps.
But in this case, they are talking about a digital simulation (using a LUT) of a
n image that was printed with the ENR process, i.e. higher contrast, deeper blac
ks, and less color saturation.
The basic idea with a skip-bleach process is that in normal color processing, an
equal amount of color dye is formed while exposed silver halides are being proc
essed into silver, and then the bleach step converts silver back into silver hal
ide so that it is all removed in the fix and rinse steps, leaving only the color
dye clouds. If you skip the bleach step, you leave all the developed silver in
the film as well as the color dye clouds. The ENR print process allows you to co
ntrol the percentage of silver that remains after processing rather than just ha
ve all or none of it.
Read more: http://www.cinematography.com/index.php?showtopic=45236#ixzz1FSez1Kxf
ENR basically uses chemical bath treatments during the printing process to retai
n a controlled amount of silver in the negative, adding density and contrast to
shadows and blacks generally. Also, pushing for an even harsher look for selecte
d scenes, filmmakers added a bleach bypass treatment on top of the ENR look for
those sequences. Both are processes Kaminski has used extensively in the past fo
r Spielberg, such as in the famous opening sequence of Saving Private Ryan.
For LUT definition go here http://www.theasc.co...rum2/page5.html
Read more: http://www.cinematography.com/index.php?showtopic=45236#ixzz1FSeiC0cA
ENR is a process that allows you to control the amount of silver left in the neg
ative and is done chemically. LUT is a digital approach

A LUT is a Look-Up Table.


http://en.wikipedia....i/Look_up_table
http://en.wikipedia.org/wiki/3D_LUT
They are just a set of image parameters created to transform an image, often to
create the correct gamma for the display device without affecting the original f
iles. Think of it as a pre-set look that then can be applied to an image without
actually editing the original file -- either for just viewing, or to be applied
and recorded as a new image. They are used in software based color-correction s
ystems.
So it's a bit different than normal color-correcting in the sense that applying
the LUT does an automatic overall adjustment to the values in the image. Of cour
se, to create the LUT you may have worked in a color-correction system.
LUT just stands for Look Up Table. Think of it as a way of approximating on a mo
nitor what a final version will look like. It's designed to "map" the values of
one medium onto another, in essence.
For example, film can record a lot more information than most monitors can show,
so we use a LUT to make the monitor look "closer" to how the film will look. Sa
me goes for monitoring digital sources, such as a Genesis camera or the like...
or for a basic understanding, just run through your computer monitors color cali
brations... those are essentially LUTs.

In fact the sequence for ENR/CCE/ACE is slightly different. In a normal process


the film goes through the developer, which produces a silver image and a colour
dye image. Then after the stop it goes through a first fixer to remove the unexp
osed silver halide. Then through the bleach to convert the silver image back to
silver halide (ionised silver), which can then be removed in the second fixer. A
ll that's left is the colour dye image.
In the ENR etc process, after the bleach converts the silver image back to silve
r halide, the film is run through a black & white developer, which simply revers
es the process of the bleach - but to a partial, controllable extent. As a resul
t you end up with just as much of a silver image in additon to the colour dye im
age as you want.
It seems convoluted,but it is the way you get complete control of the extent of
the effect. In comparison, the bleach bypass process simply skips the bleach (as
the name suggests) leaving you with a full silver image. It's an all-or-nothing
process. Some labs may offer "partial bleach bypass" but the bleaching operatio
n is far less controllable than development, so the results aren't really reliab
le.
Finally, ENR, ACE, CCE cannot be done in the negative process because there is n
o first fixer. Hypothetically I guess a lab could convert their neg process to a
llow a first fixer as well as a redeveloper etc: but it's probably not a viable
option.
Look Up Tables (and in particular, what Floating Point Look Up Table - FLUT
You can select any level of silver retention you want with ENR, up to a 100 IR l
evel (silver retention is measured in the amount of infrared it absorbs, I think
. Full skip bleach is something like a 370 IR level.) 100 IR level of ENT is oft
en mistakenly referred to as "100% ENR", though it is the maximum strength you c
an request.
In between 100 IR level of ENR and Full Skip Bleach is a variation of ENR called
CCE at Deluxe and OZ at Technicolor -- it's somewhere in the 250 IR level I thi
nk.
Read more: http://www.cinematography.com/index.php?showtopic=36214#ixzz1FTJpDBs7
DELICATESSEN
Art direction, warm lens filtration/coloured gels, daylight balanced film and bl
each bypass/ENR to whack up the contrast.
I remember hearing that the film's optical effects were ten times more complicat
ed because of the distinct pallette.
0
ENR process with 5248 that was flashed with a Varicon. This was combined with ve
ry thorough art direction for the sets.
Check out the book "New Cinematographers" by Alexander Ballinger. It has a lot o
f technical info on Khondji's techniques. Cheers.
I was traineeing color grading at Eclair's lab when Yvan Lucas graded this film.
He really is a great color timist. The technics used on the shooting, I don't k
now, just heard there was no blue things on the set, but I can tell you it was n
ot bleach bypass, it was accelerator bypass. I never heard of Varicon flash, but
it doesn't mean there was no, I just would be astonished there was, since I did
n't hear that... 5248 for sure. At this time there was no DI but of course there
was traditionnal grading, that means working on the 3 : R, G, B channel. The Da
rius's will was a "dry blood color". It's basically no blue, so, yellowish and a
bit of red.
(In the very nice book that Evan mention, Darius Khondji says that he used the V
aricon for the film. )
Ok,then. I realised after I posted that one thing that astonished me when I was
"working" at Eclair is that color timer are sometimes not aware much of how the
film was shot... Sometimes they are sometimes not. And Yvan just did not mention
that.
As for ENR. Do you know if it was used on this one ? This I don't know either, i
t was the final timing only I assisted.
But One thing I know for sure is that it was not skip bleach put skip accelerato
r (the pos, not the neg)
They didn't use ENR per se, but the similar process that you described (accelera
tor bypass), which according to Khondji gives you the look of a fifty percent bl
each-by-pass. Since all these bleach-bypass processes are based on the same prin
ciple, the look would be similar to ENR.
ENR IS FOR PRINTS ONLY
It's because ENR requires an extra b&w developing tank to be installed in the EC
P-2B processor, unlike skip-bleach which can be done in either neg or positive b
ecause it just involves skipping the bleach step.
be aware that Eastman Kodak is now offering two new color print films Vision 238
3 and Vision Premier 2393 (formerly code-named "Clipper I and II") which may be
used as alternatives to some of the contrast-affecting processes explained in th
e following pages.

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