Process ECP-2E Specifications 9-27

Storage of Solutions

Do not use replenishers that have been stored at normal room
temperatures 21 to 24°C (70 to 75°F), longer than the times
given in Table 9-9. Storage temperatures higher than 24°C
(75°F) will decrease the storage life of the solutions. Storage
temperatures below 16°C (60°F) can cause some solution
constituents to precipitate.
Do not attempt to bring aged replenisher solutions to the
formula level. Decomposition products that are formed as
the solution stands cannot be eliminated from the solution.
These compounds build up to a concentration that can cause
adverse photographic effects.
Table 9-9 STORAGE LIFE OF REPLENISHER SOLUTIONS
AT 21 TO 24°C (70 TO 75°F)
Discard the remaining few litres of replenisher before
fresh replenisher is pumped into the holding tank.
Replenisher remaining in the holding tank, even if kept
under a close-fitting floating cover, usually has deteriorated
to such an extent that it is unsatisfactory for further use.
For best process control, equip the holding tank for the
color developer replenisher with a tight-fitting floating
cover. The cover will minimize air oxidation of the solution,
and absorption of carbon dioxide from the air, which would
change the pH. Clearance between the cover and the tank
wall should not be greater than
1
⁄4 inch (6.4 mm).
Polyethylene sheeting of
1
⁄2 inch (12.7 mm) thickness makes
adequate covers in sizes up to 3 feet (1 meter) in diameter. A
dust cover, alone, permits air to contact more of the solution
surface and allows air oxidation to take place. Dust covers
should be used for non-developer solutions to minimize dirt
in the replenisher tanks.
Replenisher Floating Cover Open Tank
Color Developer
SD-50Ra, SD-51R 2 weeks 1 week
Stop SB-14 Indefinite
*
* If solution is kept clean.
8 weeks
Others 8 weeks
Closed, Full Glass
Container
8 weeks
Open or Partially
Full Container
OPTICAL SOUND PROCESSING

Overview

The sound track is printed onto KODAK VISION Color
Print Film / 2383, KODAK VISION Premier Color Print
Film / 2393 and KODAK VISION Color Teleprint Film /
2395 / 3395 from a negative sound original. Only the cyan
emulsion layer should be exposed. This can be accomplished
by using a KODAK WRATTEN Gelatin Filter 29 in the light
beam. (Some "ND" filtration may be necessary for
optimization.)
In Process ECP-2E, the developer produces a positive
silver and dye image of the sound track. As with the image
areas, the bleach converts the silver image back to silver
halide. The silver halide is removed from the film by the fix.
The dye track will be a cyan only image after processing. No
special sound track equiment is necessary. If a first fixer is
still periodically in use on a processor, it may be skipped by
threading the film directly from the stop wash into the bleach
or bleach accelerator if no sound track development is
required.
An overview of dye sound tracks can be found in Dye
Sound Tracks: A Laboratory Guide, available from our
Entertainment Imaging offices or the Eastman Kodak
Company website at http://www.kodak.com/go/motion.

Sound Track Operating Specifications

SMPTE Standards 40-2002 and 41-1999 define the location
and dimensions of the sound tracks for 35 mm and 16 mm
films respectively.

Sound Track Control

The major control parameters in the production of optical
sound tracks are the position of the track on the film, the
width of the track, and the unmodulated density of the track.
The sound track densities are dependent on processing
conditions and on the amount of exposure of the sound track
during printing. Unlike redeveloped silver or high magenta
sound tracks, the optimum density of cyan dye tracks should
be measured in Status A density.
The optimal variable-area sound track density on
KODAK VISION Color Print Film / 2383 and KODAK
VISION Premier Color Print Film / 2393 is between 2.0 and
2.2 (read as Status A density) The blue and green Status A
densities should be between 0.2 and 0.4 The filter pack
should be adjusted to give the proper green and blue
responses. Once a filter pack is found that produces blue and
green densities in this range, the red density should be used
as the primary quality control parameter. Choose a print
density that will provide a good compromise between signal-
to-noise ratio and frequency response.
The densities of the sound track negatives required to
produce minimum cross-modulation distortion at optimal
print densities are determined using recognized cross-
modulation test procedures.