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 (not included)
- 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 colour negative film at home as well! It is specially formulated without compromise for modern colour 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 colour negatives, ready to scan or print. All you need is water, a thermometer and any simple tank and reel system!