Well, with 2378 you can use a pretty bright red safelight... not an OA or something, but a modern red LED light that is much, much brighter than the old Kodak No. 2 safelight.
If you look at the datasheet for 2378, there's a pretty abrupt transition between black and white, and the center of that slope (what would be zone V if this were a continuous tone film) is right at 0 lux/sec and the total usable range between black and white is about 0.5 lux/sec (which isn't much... this is super super contrasty). If you check the datasheet for 2374, the curve is very similar. The center of the curve is about -0.1 lux/sec meaning it's a tiny bit slower than 2378 and the stretch from black to white is about 1.6 lux/sec, meaning it's a whole lot less contrasty. So. IF YOU EXPOSE UNCOLORED OBJECTS IN TUNGSTEN LIGHT AND RUN THESE FILMS THROUGH A STANDARDIZED POS PROCESS, the exposures will be about the same while 2374 will be a lot less contrasty. If you process them differently, the curves may respond differently but you don't really know until you plot them. My guess is that similar processing will result in similar differences but put a couple feet into a 35mm still cartridge and shoot a grey scale card. If you don't have a grey scale card, buy a 12-step card from a graphic arts supplier for $10 or so. They are much cheaper than the same cards sold for cine use. Oh, the other thing about 2374 is that it looks to be slightly compensating; that is the highlights don't block up as quickly as 2378. So it might stand a little overexposure that 2374 wouldn't. This is actually a really bad thing for soundtrack work but you might like it. --scott -- Frameworks mailing list [email protected] https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
