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We’re putting on clean suits and getting ready to do pieces and parts of editing. I hope everyone knows how to edit it together. We have a coater two and it has laminar flow.

Welcome back to Smarter Everyday! I’ve been saying it for a while now, and some people believe me and some don’t, but I’m going to keep saying it because it’s true - film is back! Photos taken on film have a certain magic to them, and a lot of people really love it - including me!

This journey started at the lab where I get my film developed. In the film lab in Montgomery, Alabama, we were taught all about the film development process. Josh then hooked me up with Matt at Kodak, who invited me to Rochester, New York to see the gigantic facility that’s been making film for over a hundred years.

In the first video, we learned how they made the backing or the floppy part of the film. They took plastic pellets, put them in a grinder, and then put them into a screw auger thing. They then heated up the film and stretched it out. The big thing we learned in that first video is about the accumulator. It allows them to accumulate material inside the assembly line, so they can stop at one end of the line and make a cut when they roll it up onto a big roll. This allows the whole process to operate in a continuous fashion without ever stopping.

Today, we’re going to start the next step of the process. We’re going to take those huge rolls of backing or support material that we made last time and load them into a huge machine in a different building. The goal is to apply a light sensitive coating to the top of that backer. Maybe this is where the word “film” comes from - I don’t know.

Different kinds of film have different coatings. For example, today at the Kodak facility, they’re going to be making Ektar 100, which is known for its extremely fine grain and really good color saturation.

We need to think about how we would create a factory that applies a thin light sensitive coating to the backing, whether it be acetate or estar. How would you make that factory? What would it look like? Would you use a squeegee to apply film? What would you do?

Kodak’s solution to these problems is incredible. We got our hands on some engineering drawings and made a 3D model of the coating facility. It is amazing - there is so much going on!

Once you understand how this facility works, it makes shooting with film even more rewarding. We’re heading over to the film sensitizing division, so I can introduce you to Dr. Jeffrey Hanson. Jeff has been doing this for over 30 years, and I can’t overstate how incredible it is that he gave us two days of his time to teach us how Kodak makes film. Jeff is one of the leading experts in the world at designing new photochemical processes. re

In this room, they control the operation. When we start, we will see on the monitors Coater 1 and Coater 2, which is an infrared camera that looks at the film while it’s coating to check for any physical defects. We look at the left edge, right edge, and center. We are using a center-fed hopper and the water is running down the door. This is for air balance and we’ll talk about that when we start coating. We will also have to go through a light box. The liquid is flowing from left to right and it’s coming underneath. This is a laminar flow process, meaning we keep the different layers from intermixing. We have different chemicals coming out from each of these slots, and the layers could have five or six different components. We have a curtain hopper that will get ready underneath the pan. The pan will pop out of position and drop about 12-14 inches as a curtain. path   and it’s being dried with cool air and there’s  no contact with the film itself that’s correct and   then it’s being floated along with air bars so it’s  not touching anything else either.

Brian is saying that the film is riding all the way down a path and is being dried with cool air, without any contact with the film itself. The air bars are also floating the film, so it’s not touching anything else either. Awesome all right