C-41 process

Oh, okay.

So, and that's where, um, you know, we had the C-41 and the EP2 at that time.

That was the chemicals used for-

Mm-hmm

So you'd get your little tag so you c- you know, you know, we can match them up when they come back.

Yeah.

The film goes through the process of C-41, which is, um, just the developer, the stop bath, and, and whatever.

Yeah.

it's

I love it yeah that's cool what was the idea behind calling the cafe C41 coffee

Yeah, because the C41 is a negative cutter film developing process.

Because I found there are some similarities to extracting coffee and also developing films.

They're all talking about our focus on process so I'm thinking of hey why can I combine these two concepts together and to open our own coffee shop so after after a long time of debating so I finally decided okay let's do C41 so let's name it as our coffee shop as C41 compared to shatter coffee or maybe angle coffee or angle or an aperture the aperture coffee yeah but C41 is more about the process yeah

And it sounds more like technical, like it can make something like really good according to a recipe or something.

Exactly.

It was really cool to just see it come out of the printer.

Um, it created, uh, iconic album covers for Jimi Hendrix, Bob Dylan, and Black Sabbath, so pretty interesting history, uh, with this film.

So, um, it's one of those interesting, uh, films in the sense that it can be, um, uh, it can be cross-processed, uh, in C-41.

Um, it actually had, um, two, um, uh, chemical, uh, formulas, and the first one, I forget the, the name of it.

I will have to look it up and maybe put it in the show notes.

[laughs] So if someone wants to go on my blog and find out, please do.

Um, but films that were processed prior or created prior to 1997 used this, um, this, uh, uh, this form, this, uh, development formulation, and then after 1997, um, it became, um, it became, uh, processable in E-6.

Um, [lip smacks] and of course, a lot of people will, um, process it in, uh, C-41, which is a cross-process technically.

Um, I have shot it a couple times, and I have only done it in E-6, and the reason that I choose to do it in E-6 is because I find that it's, it, it, of course, being not pr- not cross-processed, uh, it actually, um, represents the true, um, natural, um, uh, intention of the color palette of the film.