Kodak_cinematographer_field_guide - Film Making] - Cinematography

8/14/2019 Kodak_cinematographer_field_guide - Film Making] - Cinematography

1/82

Cinematographers

Field Guide

KODAK

MOTIONPICTURECAMERAFILMS


2/82

C in e m a t o g r a p h e r sFie ld Gu id e

S e ve n t h Ed it io n , No ve m b e r 2 0 0 0

Eastman Kodak Company, 2000

ISBN 0-87985-749-8

Library of Congress Catalog Card No. 97-77797


3/82

9/98 iii

CONTENTS Page No.

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

KODAK MOTION PICTURE

CAMERA FILMS. . . . . . . . . . . . . . . . . . . . . . . MPF-1Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . MPF-1

Color Temperature . . . . . . . . . . . . . . . . . . . . . . . MPF-2KODAK Motion Picture Camera Films. . . . . . . . MPF-4Film Data (for each camera film). . . . . . . . . . . . . MPF-6Incident-Light Illumination Table (footcandles) . MPF-44

FILTER INFORMATION . . . . . . . . . . . . . . . . . . . . . . . 1

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Types of Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Filters for Black-and-White Films. . . . . . . . . . . . . . . . . 1Color Compensating Filters. . . . . . . . . . . . . . . . . . . . . 3Conversion Filters for Color Films. . . . . . . . . . . . . . . . 4KODAK Light Balancing Filters. . . . . . . . . . . . . . . . . . 5Neutral Density Filters . . . . . . . . . . . . . . . . . . . . . . . . . 6Approximate Correlated Color Temperature for

Various Light Sources . . . . . . . . . . . . . . . . . . . . . . . 7

TIPS AND TECHNIQUES . . . . . . . . . . . . . . . . . . . . . 9Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Force (Push) Processing. . . . . . . . . . . . . . . . . . . . . . . 11Storage and Care of Motion Picture Films . . . . . . . . 11Filmmakers Flow Chart . . . . . . . . . . . . . . . . . . . . . . 12Shooting for Television . . . . . . . . . . . . . . . . . . . . . . . 17Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18Flashing Camera Films to Lower Contrast . . . . . . . . 21Exposed FilmWhat Now? . . . . . . . . . . . . . . . . . . . 21

FORMATS AND PACKAGING . . . . . . . . . . . . . . . . 2 3Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Specification Numbers for Camera Films . . . . . . . . . 23How to Read a Film Can Label . . . . . . . . . . . . . . . . . 24Cores and Spools . . . . . . . . . . . . . . . . . . . . . . . . . . . 25Winding Designations . . . . . . . . . . . . . . . . . . . . . . . . 27Perforation Types . . . . . . . . . . . . . . . . . . . . . . . . . . . 27QuantitiesStandard Packages . . . . . . . . . . . . . . . . 28

ORDERING RAW STOCK . . . . . . . . . . . . . . . . . . . 2 9

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29How to Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29The Catalog Number (CAT No.) . . . . . . . . . . . . . . . . 29Product and Technical Information . . . . . . . . . . . . . . 30Limitation of Liability on Sensitized Goods . . . . . . . . 39Motion Picture Film Updates. . . . . . . . . . . . . . . . . . . 40


4/82

iv 9/98

INTRODUCTION

This pocket-sized publication provides up-to-date and easy-to-use information about all K O D A K Motion Picture

Camera Films and several important related subjects. Wedesigned the book to help you choose and order the rightfilms for your needs, and to help you use the films mosteffectively. The guide is divided into five major sections foreasy reference:

Motion Picture Camera Films

Filter InformationTips and Techniques

Formats and Packaging

Ordering Raw Stock

Brief but comprehensive descriptions of each black-and-

white and color camera film appear in the sectionKODAK Motion Picture Camera Films. The sectionFilter Information contains charts for color conversion,neutral density, color balancing, filter factors, and colortemperature. The section Tips and Techniques coversfilm storage and care, shooting for television, must itemsfor your on-location ditty bag, survival tools, flashing tech-

niques, force processing, a filmmakers flowchart, andmore. The section Formats and Packaging clears upany questions you might have concerning spec numbers, iden numbers, film can label terms and numbers, andpackaging information. The last section, Ordering RawS t o c k, tells you how to order fi lm and lists names,

addresses, and telephone numbers of Kodak people world-wide who can answer all of your questions about film andfilm orders.

This edition includes the new KODAK VISION ColorNegative Films, the highest quality camera films availablefrom Kodak. KODAK VISION Films, which offer superiortechnology for image capture, intercut seamlessly with

EASTMAN EXR Color Negative Films, which are alsoavailable. These films are based on emulsion chemistrythat uses KODAK T-GRAIN Emulsions and advanceddye-coupler technology. This gives the films increase d


5/82

9/98 v

underexposure latitude, wider speed ranges, and improve-ments in grain structure, sharpness, continuous-tonereproduction, and color saturation.

An edge-numbering system for all K O D A K M o t i o n

P i c t u re Camera Films features both electronic- ando p e r a t o r- read characters. The digital numbers, calledEASTMAN KEYKODE Numbers, are in the form of am a c h i n e - readable barcode. This feature opens up thepotential for automated film handling. All K O D A KM o t i o nPict ure Color Negative Camera Films as well as mostBlack-and-White Camera Films have KEYKODENumbers.

Note: The Kodak filter materials, as well as other brandname products we describe in this publication, are availablefrom dealers in photographic supplies. You can use equiv-alent materials, if desired.

Need Ano the r H-2 ?You can purchase extra copies of Publication No. H-2

from the nearest Kodak company or distributor in yourcountry. U.S. residents can order directly from EastmanKodak Company, Department 412L, 343 State Street,Rochester, NY 14650-0532. Be sure to include the titleCinematographers Field Guide and the code numberH-2 in your order.

You can also find information on KODAK MotionPicture Films on the Web. Visit our website at:www.kodak.com/go/motion .


6/82


7/82

9/98 MPF-1

KODAK MOTION PICTURECAMERA FILMS

IntroductionThis section provides pertinent information about allcurrently available KODAK Motion Picture Camera Films.For information on future film updates, see page 40.

A quick re f e rence chart of all the fi lms is on pageMPF-4. Page references for the individual film-informationsheets as they appear in this guide are included at the right

of the chart. The detailed descriptions for each film beginon page MPF-6 and include the following information:

Film code number and film name Exposure indexes and filters

Uses and general properties Trial exposure settings Illumination table and light-contrast suggestions Filter factors Reciprocity characteristics

Handling Availability

Ca u t io n : Load and unload all camera spools in totaldarkness to prevent edge fog on the film.

H-1 Da ta S he ets Ava ila b leYou can get detailed data sheets for all KODAK MotionPicture Camera Films. To obtain a single free copy ofany data sheet, write to Eastman Kodak Company,

Dept. 412L, Rochester, NY 14650-0532. In countriesoutside the U.S., contact one of the facilities listed inthe back of this book. Be sure to include the nameand code number for each film data sheet you request.(For example: EASTMAN EXR 50D Color NegativeFilm 5245 [35 mm] and 7245 [16 m m ] , K O D A KPublication No. H-1-5245.)

You can also find data sheets on the KodakEntertainment Imaging website at:www.koda k.com/go/m otion .


8/82

MPF-2 9/98

Technical Inform a tionFor technical information in the United States, callthe Kodak Information Center (KIC), 9:00 a.m. to7:00 p.m. (Eastern time), Monday through Friday, at

1 (800) 242-2424. In Canada, call 1 (800) 465-6325,Monday through Friday, from 8:30 a.m. to 5:00 p.m.(Eastern time). Outside the United States and Canada,contact Kodak or a distributor in your country.

A Note on T-Stop s a nd F-Stop sWhen discussing lens aperture size, cinematographers tradi-tionally refer to t-stops while still photographers refer tof-stops. A t-stop is a measure of actual light transmission bythe lens. An f-stop is the theoretical ratio of the lens focallength to the diameter of its entrance pupil (approximatelythe aperture diaphragm size in a symmetrical lens). Whatrelates the two is the lens efficiency in transmitting light; ifthe lens could transmit all the light entering it, itst-stop and

f-stop would be the same (ANSI PH 22.90-1987, ApertureCalibration of Mot ion Picture Lenses, Method for Deter-mining, gives full details).

Colo r Tempera tureThe color quality of some light sources can be stated in

terms of color temperature, and is a measure that definesthe color of a light source relative to the visual appearanceand expressed in degrees Kelvin (K). There are at least twoimportant points to keep in mind when using color temper-ature values. First, color temperature refers only to thevisual appearance of a light source and does not neces-sarily describe its photographic effect. S e c o n d , c o l o r

temperature does not take into account the spectral distri-bution of a light source. Unless the light source has acontinuous spectral distribution, its effective color temper-ature alone may not be reliable as a means of selecting asuitable correction filter. For example, fluorescent lamps donot have the continuous smooth spectral-distribution curvethat is characteristic of a tungsten-filament source.

It is possible for two or more light sources to be describedas having the same color temperature, but the photographicresults obtained with each may be quite different. Only a


9/82

9/98 MPF-3

wavelength-by-wavelength comparison of film sensitivityand spectral output of the lamp can determine the exactfilters required to balance the light to the film response.K O D A K Motion Picture Films have a photographic

latitude that makes it unnecessary to use unusual filtration,except for special visual effects. Filter recommendations inthis publication, for most normal photography, arecapable of producing excellent-quality pictures with theproducts described.

All light sources, whether daylight, tungsten, or flu o res-cent, emit energy at a precise color temperature at a given

moment and may not remain consistent at all times. Somefactors that will affect color temperature are sun angle,conditions of sky (clouds, dust, haze), age of lamps, voltage,reflectors, etc. Deviations from the expected light sourcecolor temperature will cause an overall color shift in thefinished product. While this diff e rence may be colorc o r rected in printing, there could be some unfore s e e n

mired shifts. The light source color temperature should bemonitored with a color temperature meter and corrected asnecessary, at the source, camera, or both.

Only recommended conversion filters (e.g. daylight toartificial light) that are placed on the camera are listed in thispublication. Since they may not be consistent with previous

recommendations, use the current recommendations forexposures and testing. Light source filters (filters on lamps,a rcs, etc. ) are not l ist ed because of the manyvarieties and color temperatures of the sources.

The manufacturers of these light sources should be con-tacted for filter recommendations. It is suggested that allfilter recommendations be tested before actual shooting.


10/82

KO DAK Mot ion P ictur e Ca m era Film s

Code No.

Film Name35 mm 16 mm super 8

EASTMAN EXR 50D 5245 7245

EASTMAN EXR 100T 5248 7248

KODAK VISION 200T 5274 7274

EASTMAN EXR 200T 5293 7293

KODAK SFX 200T

KODAK VISION250D 5246 7246

KODAK VISION 320T 5277 7277

KODAK VISION500T 5279 7279

EASTMAN EXR 500T 5298

KODAK VISION 800T 5289

KODAK EKTACHROME 100D 5285

EASTMAN EKTACHROME 7240 7240

EASTMAN EKTACHROME 7239


High Speed


High Speed DaylightEASTMAN PLUS-X Negative 5231 7231

EASTMAN DOUBLE-X Negative 5222 7222

EASTMAN PLUS-X Reversal 7276 7276

EASTMAN TRI-X Reversal 7278 7278

MPF-4 6/00


11/82

6/00 MPF-5

Exposure Index (DIN)

Type DaylightTungsten

See

(3200 K)

Page

12 (12) withColor Negative 50 (18) KODAK WRATTEN MPF-6

Gelatin Filter No. 80A

64 (19) withColor Negative KODAK WRATTEN 100 (21) MPF-8

Gelatin Filter No. 85


Gelatin Filter No. 85125 (22) with

Color Negative KODAK WRATTEN 200 (24) MPF-12Gelatin Filter No. 85

125 withColor Negative KODAK WRATTEN 200 (24) MPF-14


64 (19) withColor Negative 250 (25) KODAK WRATTEN MPF-16

Gelatin Filter No. 80A200 (24) with





Gelatin Filter No. 85500 (28) with


25 (15) withColor Reversal 100 (21) KODAK WRATTEN MPF-26

Gelatin Filter No. 80A

80 (20) withColor Reversal KODAK WRATTEN 125 (22) MPF-28

Gelatin Filter No. 85B40 (17) with

Color Reversal 160 (23) KODAK WRATTEN MPF-30Gelatin Filter No. 85B

250 (25) withColor Reversal KODAK WRATTEN 400 (27) MPF-32

Gelatin Filter No. 85B

100 (21) withColor Reversal 400 (27) KODAK WRATTEN MPF-34

Gelatin Filter No. 80AB&W Negative 80 (20) 64 (19) MPF-36

B&W Negative 250 (25) 200 (24) MPF-38

B&W Reversal 50 (18) 40 (17) MPF-40

B&W Reversal 200 (24) 160 (23) MPF-42


12/82

5245/ 7245 (35 mm, 65 mm/16 mm)EASTMAN EXR 50D FilmDaylight EI 50 (18)

Exp osure Inde xes a nd Filters

K O D A KC a m e r a ExposureLight Source

Filters Index (DIN)

Tungsten 3000 K W R A T T E NG e l a t i n 12 (12)No. 80A


Tungsten Photoflood 3400 K WRATTEN Gelatin 12 (12)No. 80A

Daylight 5500 K None 50 (18)

Metal Halide H.M.I. None 50 (18)

Yellow-Flame Arcs WRATTEN Gelatin 20 (14)No. 80C

WRATTEN Gelatin/White-Flame Arcs Color Compensating 32 (16)

20Y + 10C

Optima 32 WRATTEN Gelatin 12 (12)No. 80A

Vitalite None 50 (18)

WRATTEN Gelatin/Fluorescent* Color Compensating 32 (16)Cool White

20M + 10B

WRATTEN Gelatin/Fluorescent*

Color Compensating 20 (14)Deluxe Cool White

30B + 10C

*IMPOR TANT: These are approximate filter requirements. When you dont know the

kind of lamp, use a CC20M filter with an index exposure of 20 (14) for a trial exposure.

50D

MPF-6 9/98

COLOR NEGATIVE FILM


13/82

5245/7245Process : ECN-2

Use: EASTMAN EXR 50D Film 5245/ 7245 is a camera

film intended for general motion picture production.The wide exposure latitude of this negative film makesit especially suitable for outdoor photography undernormal daylight conditions.

G e n e r a l P r o p e r t i e s : EASTMAN EXR 50D Film5 2 4 5/ 7245 is balanced for daylight. The emulsioncontains a colored-coupler mask to achieve excellentcolor re p roduct ion in pr ints f rom E A S T M A N C o l o rRelease Print Film. This film is characterized by very highsharpness, micro-fine grain, excellent color rendition, andunderexposure latitude.

Illum ina tion (Inciden t Ligh t) Ta b le fo r Da yligh t(24 frames per second, 170 shutter opening)

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16

Footcandles 50 100 200 400 800 1600 3200 6400

Ligh tin g Contra st : The suggested ratio of key-light-plus-fill-light to fill light is 2:1 or 3:1.

Recip rocity Cha ra cte rist ics EI 5 0 (18 ): No exposureor filter compensation is required for exposure times from1/ 1000 second to 1 second.

Handling: Total darkness

Available Roll Lengths: For information on film rolllengths, check Kodaks P rofession al Motion Im aging

Price Catalog, or contact a Kodak sales representative inyour country.

All rolls are identified with a product-code number and aninternal product-code symbol.

9/98 MPF-7


14/82

100T

MPF-8 9/98

COLOR NEGATIVE FILM

5248/ 7248 (35 mm, 65 mm/16 mm)EASTMAN EXR 100T FilmTungsten EI 100 (21)

Exp osure Ind exes an d Filte rs


Filters Index (DIN)

Tungsten 3000 K WR A TTENG e l a tin 64 (19)No. 82B

Tungsten 3200 K None 100 (21)

Tungsten Photoflood 3400 K None 100 (21)

Daylight 5500 K W R AT TE NG e l a t i n 64 (19)No. 85

Metal Halide H.M.I. W R A T T E NG el a t i n 64 (19)No. 85

Yellow-Flame Arcs W R A T T E NG e l a t i n 80 (20)No. 81C


20R+ 50Y

Optima 32 None 100 (21)

Vitalite WR A TT ENGe l at i n 64 (19)No. 85

Fluorescent* W R A T TE NG e l a t i n 40 (17)Cool White No. 81B+ 40R



20R

*IMPORTANT: These are approximate filter requirements. When you dont know thekind of lamp, use a CC40R filter with an exposure index of 50 (18) for a trial exposure.


15/82


16/82

VISION 200T

MPF-10 9/98

COLOR NEGATIVE FILM

5274/ 7274 (35 mm, 65 mm/16 mm)KODAK VISION 200T Color Negative FilmTungsten EI 200 (24)

Exp osur e Ind exes a nd Filte rs


Filters Index (DIN)

Tungsten 3000 K W R A TT ENGe l at i n 125 (22)No. 82B



Daylight 5500 K W R A TT ENGe l at i n 125 (22)No. 85

Metal Halide H.M.I. WR ATTENG e l a tin 125 (22)No. 85

White-Flame Arcs W R A T T E NG el a t in 125 (22)No. 85B


Vitalite W R A TT ENGe l at i n 125 (22)No. 85

Fluorescent* WR ATTENGe latin 80 (20)Cool White No. 85+ 10M

Fluorescent* WR A TTENG e l a tin 125 (22)

Deluxe Cool White No. 85C+

10R

* IMPORTANT: These are approximate filter requirements. When you dont know thekind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.


17/82

9/98 MPF-11

5274/ 7274Process: ECN-2

U s e : KODAK VISION 200T Color Negative Film

527 4/ 7274 features very high sharpness, fine grain,accurate flesh-to-neutral reproduction, and wide under-and over-exposure latitude for indoor or outdoor photog-raphy. Enhanced shadow detail provides crisp, rich blacks.

Genera l P roper t ies : KODAK VISION 200T ColorNegative Film 5274/ 7274 is a medium-speed film

balanced for tungsten light. It cuts seamlessly with otherKodak color negative motion picture films. VISION Filmsets new standards for consistencyemulsion to emul-sion, roll to roll, batch to batch.

Illumination (Incident Light) Table for Tu ngs tenLight (24 frames per second, 170 shutter opening)

Lens Aperturef/1.4

f/2

f/2.8

f/4

f/5.6

f/8

f/11

f/16

Footcandles 12.5 25 50 100 200 400 800 1600

Use this table for average subjects. When a subjectincludes only pastels, use at least 12 stop less exposure;dark colors require 12 stop more exposure.

Ligh ting Co ntra s t: The suggested ratio of key-light-plus-fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, thisfilm takes on a special look.

Recip ro city Cha racte rist ics EI 2 0 0 (2 4 ): You do notneed to make any filter corrections or exposure adjust-ments for exposure times from 1/ 1000 to 1 second.If your exposure is in the 10-second range, increase your

exposure 23 stop and use a KODAK Color CompensatingFilter CC10Y.


Available Roll Lengths: For information on film rolllengths, check KodaksProfessional Motion Imaging PriceCatalog, or contact a Kodak sales representative in yourcountry.



18/82

200T

5293/ 7293 (35 mm, 65 mm/16 mm)EASTMAN EXR 200T FilmTungsten EI 200 (24)

Exp osur e Ind exes a nd Filters


Filters Index (DIN)

Tungsten 3000 K W R A TT ENGe l at i n 125 (22)No. 82B



Daylight 5500 K W R A TT ENGe l at i n 125 (22)No. 85

Metal Halide H.M.I. W RA T T E NG e la ti n 125 (22)No. 85

Yellow-Flame Arcs W R A T T E NG el a t i n 125 (22)No. 81D

White-Flame Arcs W R A T T E NG el a t i n 100 (21)No. 85C+ CC50Y


Vitalite WR A T T E NG e l a ti n 125 (22)No. 85

Fluorescent* W R AT TE NG e l a t i n 64 (19)

Cool White CC40RFluorescent* W RA T TENG el a t in 125 (22)Deluxe Cool White No. 85C

* IMPORTANT : These are approximate filter requirements. When you dont know thekind of lamp, use a CC40R filter with an exposure index of 100 (21) for a trial exposure.

MPF-12 9/98

COLOR NEGATIVE FILM


19/82

9/98 MPF-13

5293/ 7293U s e : EASTMAN EXR 200T Color Negative Film5 2 9 3/ 7293 is intended for general motion pictureproduction. The wide exposure latitude of this negativefilm makes it especially suitable for indoor and outdoorphotography under a wide variety of conditions.

Genera l P rope r t i e s : EASTMAN EXR 200T ColorNegative Film 5293/ 7293 is a medium-speed filmbalanced for tungsten light and for daylight with appro-priate filters. The emulsion contains a colored-coupler

mask to achieve superior color rep roduction in printsfrom EASTMAN Color Release Print Film. This film ischaracterized by very high sharpness, micro-fine grain,high resolving power and underexposure latitude.

Illumination (Incident Light) Table for Tu ngstenLight (24 frames per second, 170 shutter opening)


Footcandles 12.5 25 50 100 200 400 800 1600

Recip ro city Cha racte rist ics EI 2 0 0 (2 4 ): You do notneed to make any filter adjustments for exposure timesfrom 1/ 1000 to 1/ 10 second. At an exposure time of 1

second, increase exposure by

1

3

stop.Handling: Total darkness

Available Roll Lengths: For information on film rolllengths, check KodaksProfessional Motion Im aging PriceCatalog, or contact a Kodak sales representative in yourcountry.



20/82

SFX 200T

MPF-14 9/98

COLOR NEGATIVE FILM

(35 mm)KODAK SFX 200T Color Negat ive FilmTungsten EI 200 (24)

Exp osur e Indexes and Filter s


Filters* Index (DIN)

Tungsten 3000 K W R A T T E NG e l a t in 125 (22)No. 82B



Daylight 5500 K W R A T T E NG e l a t i n 125 (22)No. 85

Metal Halide H.M.I. W R A T T E NG e l a t i n 125 (22)No. 85

Yellow-Flame Arcs WRATTEN Gelatin 125 (22)No. 81D

White-Flame Arcs WRATTEN Gelatin 100 (21)No. 85C + 50Y


Vitalite WRATTEN Gelatin 125 (22)No. 85

Fluorescent, WRATTEN Gelatin 64 (19)

Cool White CC40R

Fluorescent, W R A T T E NG e l a t i n 125 (22)Deluxe Cool White No. 85C

*IMPORTANT: These are approximate filter requirements. Make final corrections duringprinting. When you dont know the kind of lamp, use a CC40R filter with an index expo-sure of 100 (21) for a trial exposure.


21/82

9/98 MPF-15

SFXProcess: ECN-2

Use: KODAK SFX 200T Color Negative Film is opti-

mized for traveling matte shots, so fore g round actionphotographed against a blue or green screen can be sepa-rated more cleanly from the background when itsscanned into the digital format. In complex compositeshots, this film can save time in postproduction.

G e n e r a l P r o p e r t i e s : KODAK SFX 200T ColorNegative Film is a medium speed film balanced for tung-

sten light. It intercuts seamlessly with other KODAK ColorNegative Films used to record live action footage. Thisfilm features microfine grain, unprecedented sharpness,high resolving power, wide exposure latitude and accuratetone re p roduction for the most difficult composit ingapplications.



Footcandles 12.5 25 50 100 200 400 800 1600

Use this table for average subjects. When a subjectincludes only pastels, use at least 12 stop less exposure;

dark colors require 12 stop more exposure.

Ligh ting Co ntra s t: The suggested ratio of key-light-plus-fill-light to fill-light is 2:1, 3:1, or 4:1. At a 4:1 ratio, thisfilm takes on a special look.

Recip ro city Cha ra cte ristics EI 2 0 0 (2 4 ): You do notneed to make any filter corrections or exposure adjust-

ments for exposure times from 1/ 1000 to 1/ 10 second.Handling: Total darkness.

Available Roll Lengths: SFX 200T Film is a specialorder product from Kodak. For information on film rolllengths, contact a Kodak sales re p resentative in yourcountry.



22/82

MPF-16 9/98

VISION 250D

COLOR NEGATIVE FILM

5246/ 7246 (35 mm, 65 mm/16 mm)KODAK VISION 250D Color Negative FilmDaylight EI 250 (25)

Exp osure Inde xes a nd Filter s


Filters Index (DIN)


Tungsten 3200 K No. 80A 64 (19)

Tungsten Photoflood 3400 K No. 80A 64 (19)




20Y + 10C

Optima 32 W R A T T E NG e l a t i n 64 (19)No. 80A



Color Compensating 200 (24)Cool White

20M

Fluorescent* W R A T T E NG e l a t i n 200 (24)

Deluxe Cool White No. 82C

*I MPOR TANT: These are approximate filter requirements. When you dont know thekind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.


23/82

9/98 MPF-17


U s e : KODAK VISION 250D Color Negative Film

5 2 4 6/ 7246 features very high sharpness, fine grain,accurate flesh-to-neutral reproduction, and wide under-and over- e x p o s u re latitude for daylight or mixed lightphotography. Enhanced shadow detail provides crisp,rich blacks.

Genera l P roper t ies : KODAK VISION 250D ColorNegative Film 5 246/ 7246 is a medium-speed filmbalanced for daylight. It cuts seamlessly with other Kodakcolor negative motion picture films. VISION Film setsnew standards for consistencyemulsion to emulsion,roll to roll, batch to batch.

Illumination (Incident Light) Table for Daylight(24 frames per second, 170 shutter opening)


Footcandles 10 20 40 80 160 320 640 1250


Ligh ting Co ntras t: The suggested ratio of key-light-plus-fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, thisfilm takes on a special look.

Recip ro city Cha racte ristics EI 2 5 0 (2 5 ): You do notneed to make any filter corrections or exposure adjust-ments for exposure times from 1/ 1000 to 1 second.

If your exposure is in the 10-second range, increase youre x p o s u re 23 stop and use a KODA K WRAT T E NFilter/ Color Compensating 10Y.





24/82

MPF-18 9/98

VISION 320T

COLOR NEGATIVE FILM


Exp osur e Indexes a nd Filte rs


Filters Index (DIN)

Tungsten 3000 K WR A T T E NGe l a ti n 200 (24)No. 82B



Daylight 5500 K WR A T T E NGe l a ti n 200 (24)No. 85

Metal Halide H.M.I. WR ATTENGe la tin 200 (24)No. 85

White-Flame Arcs W R A T T E NG el a t i n 125 (22)

No. 85BOptima 32 None 320 (26)

Vitalite WR A T T E NGe l a ti n 200 (24)No. 85

Fluorescent* WR ATTE NGelati n 125 (22)Cool White No. 85+ 10M

Fluorescent* WR ATTENG e la tin 200 (24)Deluxe Cool White No. 85C+ 10R



25/82

9/98 MPF-19



5277/ 7277 lets you create a very different look

softer,more pastel. This film has very wide exposure latitude thatallows you to pick up the detail in the shadows withoutlosing the highlights. Overexpose it a bit and maintain theshadow detail, but the blacks get blacker. Underexpose it,and the shadows open up. This film features fine grain,high sharpness, and wide color reproduction.

Genera l P roper t ies : KODAK VISION 320T ColorNegative Film 5277/ 7277 is a 320-speed film balancedfor tungsten light. Youll get clean, white highlights,accurate flesh-tone reproduction, but with softer colors.It cuts seamlessly with other Kodak color negative motionpicture films. VISION Film sets new standards for consis-

tency

emulsion to emulsion, roll to roll, batch to batch.Illumination (Incident Light) Table for Tungs tenLight (24 frames per second, 170 shutter opening)


Footcandles 8 16 32 64 125 250 500 1000


Ligh ting Cont ras t: The suggested ratio of key-light-plus-fill-light to fill light is 2:1, 3:1, or 4:1.

Recip ro city Cha racte rist ics EI 3 2 0 (2 6 ): You do not

need to make any filter corrections or exposure adjust-ments for exposure times from 1/ 1000 to 1 second.If your exposure is in the 10-second range, increase youre x p o s u re 23 stop and use a KODA K WRAT T E NFilter / Color Compensating 10Y.


Available Roll Lengths: For information on film rolllengths, check KodaksProfessional Motion Imaging PriceCatalog, or contact a Kodak sales representative.



26/82

MPF-20 9/98

VISION 500T

COLOR NEGATIVE FILM




Filters Index (DIN)

Tungsten 3000 K W R AT TE NG e l a t in 320 (26)No. 82B




Metal Halide H.M.I. W RA T T E NGelat i n 320 (26)No. 85

White-Flame Arcs W RA T T E NG e la t i n 200 (24)No. 85B

WRATTEN Gelatin/Yellow-Flame Arcs Color Compensating 320 (26)

20Y


Vitalite WRATTEN Gelatin 320 (26)No. 85

Fluorescent* WRATTEN Gelatin 200 (24)Cool White No. 85 + 10M

Fluorescent* W R A T T E NG el a t i n 320 (26)Deluxe Cool White No. 85C + 10R



27/82

9/98 MPF-21



5 2 7 9/ 7279 features very high sharpness, fine grain,accurate flesh-to-neutral reproduction, and wide under-and over-exposure latitude for indoor or outdoor photog-raphy. Enhanced shadow detail provides crisp, rich blacks.

Genera l P roper t ies : KODAK VISION 500T ColorNegative Film 5279/ 7279 is a high-speed film balancedfor tungsten light. It cuts seamlessly with other Kodakcolor negative motion picture films. VISION Film setsnew standards for consistencyemulsion to emulsion,roll to roll, batch to batch.


Lens Aperturef

/1.4f

/2f

/2.8f

/4f

/5.6f

/8f

/11f

/16Footcandles 5 10 20 40 80 160 320 640


Ligh ting Co ntra s t: The suggested ratio of key-light-plus-fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, thisfilm takes on a special look.

Recip ro city Cha racteristics EI 5 0 0 (2 8 ): You do notneed to make any filter corrections or exposure adjust-ments for exposure times from 1/ 1000 to 1 second.If your exposure is in the 10-second range, increase your

e x p o s u re 23 stop and use a KODA K WRAT T E NFilter/ Color Compensating 10Y.


Available Roll Lengths: For information on film rolllengths, check KodaksProfessional Motion Imaging PriceCatalog, or contact a Kodak sales representative in your

country.



28/82

500T

MPF-22 9/98

COLOR NEGATIVE FILM

5298 (35 mm, 65 mm)EASTMAN EXR 500T FilmTungsten EI 500 (28)



Filters Index (DIN)

Tungsten 3000 K W R AT TE NG e l a t i n 320 (26)No. 82B




Metal Halide H.M.I. W RAT T E NGelat i n 320 (26)No. 85

WRATTEN Gelatin/Yellow-Flame Arcs Color Compensating 320 (26)

20Y

White-Flame Arcs WR ATTE NGelati n 200 (24)No. 85B


Vitalite W RAT T E NGelat i n 320 (26)No. 85

Fluorescent* W R AT TE NG e l a t i n 200 (24)Cool White No. 85+ 10M

Fluorescent* W RA T T E NG e la ti n 320 (26)Deluxe Cool White No. 85C+ 10R



29/82

9/98 MPF-23

5298Process : ECN-2

Use: EASTMAN EXR 500T Film 5298 is a camera film

intended for general motion picture production. The wideexposure latitude of this film makes it especially suitablefor indoor and outdoor photography under low-level illu-mination. The film offers the highest quality telecinetransfers and is an excellent choice for blue-screen specialeffects.

Genera l Pr op erties: EASTMAN EXR 500T Film 5298is a high-speed film balanced for tungsten light. Enhancedshadow detail provides crisp, rich blacks and clean, whitehighlights. The emulsion contains a colored-coupler maskto achieve superior color reproduction when printed ontoEASTMAN Color Release Print Film. This film is charac-terized by micro-fine grain, very high sharpness, high

resolving power, and wide under- and over- e x p o s u relatitude.



Footcandles 5 10 20 40 80 160 320 640

Ligh ting Con tra st: The suggested ratio of key-light-plus-fill-light to fill light is 2:1 or 3:1.

Recip r ocity Char acte ristics EI 5 0 0 (2 8 ): You do notneed to make any filter corrections or exposureadjustments for exposure times from 1/ 1000 to 1 second.


Available Roll Lengths: For information on film rolllengths, check Kodaks Professional Mot ion Im agin gPrice Catalog, or contact a Kodak sales representative inyour country.

All rolls are identified with a product-code number and an

internal product-code symbol.


30/82

VISION 800T

MPF-24 6/00

COLOR NEGATIVE FILM

5289/7289 (35 mm/16 mm)KODAK VISION 800T Color Negative FilmTungsten EI 800 (30)

Exp osure Indexes a n d Filte rs


Filters* Index (DIN)

Tungsten 3000 K W R A T T E NG e l a t in 500 (28)No. 82B



Daylight 5500 K W R A T T E NG e l a t in 500 (28)No. 85

Metal Halide H.M.I. W RA T T ENGel at in 500 (28)No. 85

Yellow-Flame Arcs WRATTEN Gelatin/ 500 (28)

Color Compensating 20YWhite-Flame Arcs W RA T T E NG e la ti n 320 (26)

No. 85B


Vitalite W R AT TE NG e l a t i n 500 (28)No. 85

Fluorescent,* W R A T T E NG el a t i n 320 (26)Cool White No. 85+ 10M

Fluorescent,* W R AT TE NG e l a t i n 500 (28)Deluxe Cool White No. 85C+ 10R

*IMPORTANT: These are approximate corrections only. Make final corrections duringprinting. When you dont know the kind of lamp, use a CC40R filter with an index expo-sure of 400 (27) for a trial exposure.


31/82

6/00 MPF-25

5289/7289Process: ECN-2

U s e : KODAK VISION 800T Color Negative

Film / 5289/ 7289 offers excellent image quality and thehighest capture speed available in motion picture films.It delivers the speed and latitude you need in low light, fastaction, and other filming conditions where film speedis vitally important.

Ge n era l P ro p e r t i e s : KODAK VISION 800T ColorNegative Film / 5289/ 7289 is a very high-speed filmbalanced for tungsten light. This film features a wideunder- and overexposure latitude, and accurate color andflesh-to-neutral balance. It intercuts with other Kodak colornegative motion picture films. KODAK VISION Film setsnew standards for consistencyemulsion to emulsion,roll to roll, batch to batch.

Illumination (Incident Light) Table for TungstenLight (24 frames per second, 170 shutter opening)


Footcandles 3 6 12.5 25 50 100 200 400

Use this table for average subjects. When a subject

includes only pastels, use at least1

2 stop less exposure;dark colors require 12 stop more exposure.

Lighting Con tra st: The suggested ratio of key-light-plus-fill-light to fill-light is 2:1 or 3:1.

Recip ro city Chara cter ist ics El 8 0 0 (3 0 ): You do notneed to make any filter corrections or exposure adjust-

ments for exposure times from 1/ 1000 to 1 second. Ifyour exposure is in the 10-second range, increase expo-sure by 23 stop.

Ha ndling: Total darkness

Available Roll Lengths: For information on film rolllengths, check Kodaks Professional Motion Imaging

Price Catalog, or contact a Kodak sales representative inyour country.

All rolls are ident ified with a product-code num ber and

an internal product-code sym bol.


32/82

MPF-26 9/00

EKTACHROME 100D

COLOR REVERSAL FILM

5285(35 mm)KODAK EKTACHROME 100D Color Reversal FilmDaylight EI 100 (21)

Exp osure In dexes an d Filters


Filters Index (DIN)




Tungsten 3200 K No. 80A 25 (15)

Tungsten Photoflood 3400 K No. 80A 25 (15)


20Y + 10C

Optima 32 W R A T T E NG el a t in 25 (15)No. 80A




20M

Fluorescent* W R A T T E NG el a t in 80 (20)Deluxe Cool White No. 85C



33/82

9/00 MPF-27

5285Process: E-6, cine machine

Use: KODAK EKTACHROME 100D Color Reversal

Film / 5285 is a 100-speed, high-color reversal motionp i c t u re camera film intended for photography underdaylight illumination (5500 K).

General Properties: KODAK EKTACHROME 100DColor Reversal Film / 5285 offers strikingly saturatedcolor performance while maintaining a neutral gray scaleand accurate flesh reproduction. It has exceptional sharp-ness that is unsurpassed by any other 100-speed reversaltechnology, and its grain performance is excellent.


Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11

Footcandles 25 50 100 200 400 800 1600

Recip ro city Cha racte rist ics EI 1 0 0 (2 1 ): You do notneed to make any filter corrections or exposure adjust-ments for exposure times from 1/ 1000 to 1 second.



All rolls are identified with a product-code number and an

internal product-code symbol.


34/82

MPF-28 9/98

EKTACHROME FILM

7240 (16 mm, Super 8)EASTMAN EKTACHROME FilmTungsten EI 125* (22)

Exp osure Ind exes an d F ilter s


Filters Index (DIN)

Tungsten 3000 K W R A T T E NG e l a t i n 80 (20)No. 82B


Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 100 (21)

No. 81A

Daylight 5500 K WRATTEN Gelatin 80 (20)No. 85B

Metal Halide H.M.I. WRATTEN Gelatin 80 (20)No. 85B

Yellow-Flame Arcs None 125 (22)

White-Flame Arcs WRATTEN Gelatin 80 (20)No. 85B


Vitalite WRATTEN Gelatin 80 (20)No. 85B

WRATTEN Gelatin/Fluorescent**

Color Compensating 32 (16)

Cool White 60R + 10Y

WRATTEN Gelatin/Fluorescent**


20R + 20Y

*When exposed in Super 8 cameras through KODAK WRATTEN Filter No. 85, the effec-tive speed is reduced to 80 for Daylight. In automatic cameras, due to the cartridge speedand filter notching system, the film will be exposed as follows:

Daylight (with filter) 80Tungsten (without filter) 125

**IMPORTANT: These are approximate filter requirements. When you dont know thekind of lamp, use a CC40R filter with an exposure index of 64 (19) for a trial exposure.


35/82

9/98 MPF-29

7240P ro c e s s : VNF-1 or RV N P. Force processing: 1 stopwith some loss in quality; up to 2 stops with noticeablequality loss.

Use: EASTMAN EKTACHROME Film 7240 is a high-speed, color reversal camera film balanced for tungstenlight and for daylight with an appropriate filter. You canuse it for color news photography, nighttime sportingevents, industrial photography with existing light, and forhigh-speed photography. The processed original film is

balanced for projection at 5400 K.The processed camera original is meant for dire c t

projection; however, you can make color duplicates onEASTMAN EKTACHROME VN Print Film 7399(Process VNF-1). Use shortened first developer time.

Illumination (Incident Light) Table for Tungsten

Light (24 frames per second, 170 shutter opening)Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11

Footcandles 16 32 64 128 256 512 1024

Lighting Contrast: The suggested ratio of key-light-plus fill-light to fill light is 2:1 or 3:1.

Recip r ocity Chara cterist ics EI 1 2 5 (2 2 ): For expo-s u re times ranging from 1 to 1/ 10,000 second, nocompensation is needed for either exposure level orcolor balance.


Available Roll Lengths: For information on film roll

lengths, check Kodak's Professional Mot ion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

All rolls are iden tifi ed with a film em ulsion letter code.


36/82

MPF-30 9/98

EKTACHROME FILM

7239 (35 mm/16 mm)EASTMAN EKTACHROME FilmDaylight EI 160 (23)

Exp osure Ind exes an d Filters


Filters Index (DIN)

Tungsten 3000 K W R A T T E NG e l a t in 40 (17)No. 80A

Tungsten 3200 K W RA T T E NG e la ti n 40 (17)No. 80A

Tungsten Photoflood 3400 K W R A T T E NG el a t i n 50 (18)No. 80B



Yellow-Flame Arcs WR ATTENG e l a tin 40 (17)No. 80A

White-Flame Arcs None 160 (23)

Optima 32 WR ATTENG e la tin 40 (17)No. 80A

Vitalite None 160 (23)No. 85B


Color Compensating 100 (21)

Cool White 30M



20B

*IMPORTANT: These are approximate filter requirements. When you dont know thekind of lamp, use a CC20M filter with an exposure index of 100 (21) for a trial exposure.


37/82

9/98 MPF-31

7239Process : VNF-1 or RVNP.Force processing: 1 stop with some loss in quality; up to2 stops with noticeable quality loss.

U s e : This high-speed color reversal camera film isintended for photography under low-level daylight illumi-nation. It can be used for news photography, sportingevents, and high speed photography. It is a companionfilm to EASTMAN EKTACHROME Film 7251. Theprocessed original camera film is balanced for projection

at 5400 K.The processed camera original of EASTMANE K TACHROME High Speed Film 7239 is meant fordirect projection; however, color duplicates can be madeon EASTMAN EKTACHROME VN Print Film 7399(Process VNF-1). Use recommended shortened first devel-oper time.

NO TE: Operation at a lens opening larger than f/ 32 ispossible by making the exposure through a neutral densityfilter, such as a KODAK WRATTEN Neutral Density FilterNo. 96. For example, when a filter with a density of 0.9is used, the lens can be opened 3 full stops.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170 shutter opening)


Footcandles 16 32 64 128 256 512 1024

Light ing Con tras t: The suggested ratio of key-light-plusfill-light to fill light is 2:1 or 3:1.

Recip r ocity Cha racter ist ics EI 1 6 0 (2 3 ): For expo-s u re times ranging from 1 to 1/ 10,000 second, nocompensation is needed for either exposure level orcolor balance.


Available Roll Lengths: For information on film rolllengths, check Kodaks P rofessional Motion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

A ll rolls are iden tified with a fi lm em ulsion letter code.


38/82

MPF-32 9/98

EKTACHROME FILM

7250 (16 mm)EASTMAN EKTACHROME High Speed FilmTungsten EI 400 (27)

Exp osur e Ind exes a nd Filters


Filters Index (DIN)

Tungsten 3000 K WR A TT ENGe l a t i n 250 (25)No. 82B


Tungsten Photoflood 3400 K W RA T T E NG e la ti n 320 (26)

No. 81A

Daylight 5500 K W R A T T E NG e l a t in 250 (25)No. 85B

Metal Halide H.M.I. WR ATTE NGelati n 250 (25)No. 85B

Yellow-Flame Arcs None 400 (27)

White-Flame Arcs WR A TT ENGe l a t i n 250 (25)No. 85B


Vitalite W RA T TENG e l a tin 250 (25)No. 85B


Color Compensating 100 (21)Cool White 60R + 10Y



20R + 20Y


Note: Filters judged acceptable for use with EASTMANE KTACHROME Film 7240 (Tungsten) should pro videequal compensation when you use them with this film.


39/82

9/98 MPF-33

7250Process: VNF-1 or RVNP.

Force processing: 1 stop with some loss in quality; up to

2 stops with noticeable quality loss.Use: The very high speed of this color reversal camerafilm makes photography possible with very low-light illu-mination. It can be used for color news photography,nighttime sporting events, and high-speed photography byboth daylight and artificial light. The processed originalfilm is balanced for projection at 5400 K.

The processed camera original of High Speed Film7250 is meant for direct projection; however, you canmake color duplicates on EASTMAN EKTACHR O M EVN Print Film 7399 (Process VNF-1). Use recommendedshortened first developer time.

Illumination (Incident Light) Table for Tu ngs ten

Light (24 frames per second, 170 shutter opening)

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

Footcandles 6.3 12.5 25 50 100 200 400 800 1600

Lighting Contrast: The suggested ratio of key-light-plus-fill-light to fill light is 2:1 or 3:1.

Recip rocity Characteristics EI 400 (27): For expo-su re times ranging from 1/ 1000 to 1/ 10 second, nocompensation is needed for either exposure level or colorbalance. At 1/ 10,000 second, increase exposure by 13stop. At 1 second, increase exposure by 12 stop.



All rolls are identified with a film emulsion letter code.


40/82

MPF-34 9/98

EKTACHROME FILM

7251 (16 mm)EASTMAN EKTACHROME High Speed FilmDaylight EI 400 (27)

Exp osure Ind exes a nd Filters


Filters Index (DIN)



Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 125 (22)No. 80B



Yellow-Flame Arcs W R A TT ENGe l at i n 100 (21)No. 80A

White-Flame Arcs None 400 (27)

Optima 32 WR A TT E NGe l a t i n 100 (21)No. 80A




30M



20B

*IM P ORT A NT : These are approximate filter requirements. When you dont know thekind of lamp, use a CC20M filter with an exposure index of 250 (25) for a trial exposure.

Note: Filters judged acceptable for use with EASTMANEKTACHROME Film 7239 should provide equal com-pensation when used with this film.


41/82

9/98 MPF-35

7251Process : VNF-1 or RVNP.Force processing: 1 stop with some loss in quality; up to2 stops with noticeable quality loss.

Use: EASTMAN EKTACHROME High Speed Film is avery high-speed color reversal camera film that makesphotography possible in very low-light illumination. Youcan use it for industrial photography, instrumentationstudies, sporting events, and high-speed photography byboth daylight and artificial light with filters. The processed

original camera film is balanced for projection at 5400 K.The processed camera original of EASTMANE K TACHROME High Speed Film 7251 is meant fordirect projection; however, color duplicates can be madeon EASTMAN EKTACHROME VN Print Film 7399( P rocess VNF-1) using recommended shortened firstdeveloper time.


Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22

Footcandles 6.3 12.5 25 50 100 200 400 800 1600

Ligh ting C ontr a st: The suggested ratio of key-light-plusfill-light to fill light is 2:1 or 3:1.

Recip ro city Chara cterist ics EI 4 0 0 (2 7 ): You do notneed to make any exposure or filter adjustment for expo-sure times from 1/ 1000 to 1/ 10 second. At an exposuretime of 1/ 10,000 second, increase exposure by 13 stop.At an exposure time of 1 second, increase exposure by12 stop.


Available Roll Lengths: For information on film rolllengths, check Kodak's P rofession al Mot ion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

A ll rolls are identifi ed with a film em ulsion lett er code.


42/82


43/82

9/98 MPF-37

5231/7231Recip rocity Characteristics: You do not need to makeany exposure or filter adjustment for exposure timesfrom 1/ 10,000 to 1/ 10 second. At an exposure time of1 second, increase exposure by 12 stop.


Available Roll Lengths: For information on film rolllengths, check Kodak's P rofession al Motion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

A ll rolls are identifi ed with a product-code num ber

and an internal product-code sym bol.


44/82

MPF-38 9/98

DOUBLE-XNEGATIVE FILM

5222/7222 (35 mm/16 mm)EASTMAN DOUBLE-X Negative Film

Exposure Indexes: (For development to gamma of 0.65)

Daylight2 5 0 (2 5 ) Tungsten 2 0 0 (2 4 )

Process: Black and white with KODAK Developer D-96.Force Processing: 1 stop (or more) with some loss inqualitycheck with your processing laboratory.

Use: EASTMAN DOUBLE-X Negative Film is suitable forgeneral photography and for photography under adverselighting conditions. It is useful in situations where great

depth of field is desired without an increase in illumination.

Gene ra l Pro p ert ies : EASTMAN DOUBLE-X NegativeFilm 5222/ 7222 is a high-speed, panchromatic film thathas good image-structure characteristics and excellentsharpness.

Illumination (Incident Light) Table for TungstenLight (24 frames per second, 170 shutter opening)


Footcandles 13 25 50 100 200 400 800

KODAK Filter FactorsWRATTEN

Filter No. 3 8 12 15 21 23A 25 29 96*DaylightFilter Factor

1.5 1.5 2.0 3.0 3.0 5 8 20 8

*For use in bright sunlight to reduce the exposure without modifying color renderingor depth of field. This neutral-density filter in a density of 0.90 provides a reductionequivalent to 3 full stops.


45/82

9/98 MPF-39

5222/7222R e c i p rocity Ch ar a cte r ist ics: No exposure or filtercompensation is re q u i red for exposure times fro m1/ 10,000 to 1 second.


Available Roll Lengths: For information on film rolllengths, check Kodak's P rofessional Motion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

All rolls are identified with a product-code numberand an internal product-code sym bol.


46/82

MPF-40 9/98

PLUS-XREVERSAL FILM

7276 (16 mm, Super 8)EASTMAN PLUS-X Reversal Film

E x p o s u r e Ind e xes *: (For recommended re v e r s a lprocessing)

Daylight5 0 (18 ) Tungsten 4 0 (17 )

For negative processing in a typical negative motionpicture film developer, use the following exposure indexes:

Daylight2 5 (15 ) Tungsten 2 0 (14 )

Process: KODAK Liquid Reversal Chemicals or from bulk.

Force Processing: 1 stop (or more) with some loss inqualitycheck with your processing laboratory.

Use: EASTMAN PLUS-X Reversal Film 7276 is usedwidely for general exterior photography and for indoorphotography where there is ample illumination.

Gener al Properties : EASTMAN PLUS-X Reversal Film

7276 is a medium-speed, panchromatic, reversal motionpicture film. It is characterized by a high degree of sharp-ness, good contrast, high resolving power, and excellenttonal gradation.

When processed as a reversal film, the resulting positivecan be used for projection or for duplication. Processed asa negative material by conventional methods, the film will

yield satisfactory results, although a print will be necessary.

*When exposed in Super 8 cameras through a KODAK WRATTEN Gelatin Filter No. 85, theeffective speed is reduced to 32 for daylight. In automatic cameras, due to the cartridgespeed and filter notching system, the film will be exposed as follows:

Daylight (no filter) 50Daylight (with filter) 25Tungsten (without filter) 40


47/82

9/98 MPF-41

7276Illumination (Incident Light) Table for Tu ngs tenLight (24 frames per second, 170 shutter opening)

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8

Footcandles 63 125 250 500 1000 2000

Lighting Con tra st Ra tios: The suggested ratio of keylight-plus-fill-light to fill light is 2:1 or 3:1 for normal use.

KODAK Filter FactorsWRATTEN

Filter No. 3 8 12 15 21 23A 25 29 96*

DaylightFilter Factor

1.5 2 2 2.5 3 5 10 40 8


Recip r ocity Ch ar a cter istics: You do not need to makeany exposure or filter adjustment for exposure times from1/ 1000 to 1 second. At an exposure time of 1/ 10,000second, increase exposure by 12 stop.


Available Roll Lengths: For information on film roll

lengths, check Kodak's P rofessional Motion ImagingPrice Catalog, or contact a Kodak sales representative inyour country.

A ll rolls are ident ifi ed with a film em ulsion letter code.


48/82

MPF-42 9/98

TRI-XREVERSAL FILM

7278 (16 mm, super 8)EASTMAN TRI-X Reversal Film

E x p o s u r e In d e x e s : (For recommended re v e r s a lprocessing)

Daylight2 0 0 * (2 4 ) Tungsten 1 6 0 (2 3 )

For negative processing in a typical motion picture nega-tive developer, use the following exposure indexes:

Daylight1 0 0 (2 1 )* Tungsten 8 0 (2 0 )

Process : KODAK Liquid Reversal Chemicals or from

bulk. Force Processing: 1 stop (or more) with some lossin qualitycheck with your processing laboratory.

Use: The high speed of EASTMAN TRI-X Reversal Film7278 makes it suitable for general interior photographywith artificial light. You can use it in daylight also, and itis particularly useful for sports events taken at regularspeed or slow motion in weak light (overcast sky or sportsevents at night).

General Prop ert ies : EASTMAN TRI-X Reversal Film7278 has high speed, excellent tonal gradation, and highresolving power. An antihalation layer is incorporated inthe film structure.

When processed as a reversal film, you can use the

resulting positive for projection or for duplication.P rocessed as a negative material by conventionalmethods, the film yields satisfactory results, although aprint will be necessary.

*Super 8 automatic cameras will expose the film at ASA 160 due to the ANSI standardcartridge notching system.


49/82

9/98 MPF-43

7278Illumination (Incident Light) Table for TungstenLight (24 frames per second, 170 shutter opening)

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8

Footcandles 16 32 64 128 256 512

KODAK Filter FactorsWRATTENFilter No. 3 8 12 15 21 23A 25 29 96*

DaylightFilter Factor

1.5 2 2 2.5 3 5 10 40 8


Recip rocity Characteristics: You do not need to makeany exposure or filter adjustment for exposure timesfrom 1/ 10,000 to 1/ 10 second. At an exposure time of

1 second, increase exposure by 12 stop.Ha ndling: Total darkness

Available Roll Lengths: For information on film rolllengths, check Kodak's P rofessional Motion Im agingPrice Catalog, or contact a Kodak sales representative inyour country.

A ll rolls are identified with a fi lm em ulsion let ter code.


50/82

Incident-Light Illumination(in fo otca ndles )(Frame rate: 24 frames/secapprox1/50 sec)

NOTE: Data applies to both color and black-and-white films.

Exp Index Lens Opening(Daylightor Tungsten) f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11

12 200 400 800 1600 3200 6400 13000

16 160 320 640 1250 2500 5000 10000

20 125 250 500 1000 2000 4000 800025 100 200 400 800 1600 3200 6400

32 80 160 320 640 1250 2500 5000

40 64 125 250 500 1000 2000 4000

50 50 100 200 400 800 1600 3200

64 40 80 160 320 640 1250 250080 32 64 125 250 500 1000 2000

100 25 50 100 200 400 800 1600

125 20 40 80 160 320 640 1250

160 15 32 64 125 250 500 1000

200 12 25 50 100 200 400 800250 10 20 40 80 160 320 640

320 8 15 32 64 125 250 500

400 6 12 25 50 100 200 400

500 5 10 20 40 80 160 320

640 4 8 15 32 64 125 250800 3 6 12 25 50 100 200

1000 * 5 10 20 40 80 160

1250 * 4 8 15 32 64 125

1600 * 3 6 12 25 50 100

2000 * * 5 10 20 40 80

*Less than 3 footcandles

MPF-44 9/98


51/82

1

FILTER INFORMATIONIn troductionUse the filter and color temperature charts in this sectionas a quick reference and general guide. The values areapproximate. They offer good starting points for trialexposures in critical work. For less demanding work, therecommendations may be adequate, but it is always bestto run tests before shooting final footage. For photog-raphy with fluorescent lights, see the individual films filteri n f o rmation in the sectionKODAK Motion Picture

Camera Films.

Types of FiltersOptical filters may be solid, liquid, or gaseous; only solidfilters are discussed in this book. These consist mainly ofcolorants dissolved in a gelatin or in cellulose acetate.Each Kodak filter, gelatin or acetate, is standardized for

spectral transmittance and total transmittance by specialinstruments which apply an optical form of limit gauge tothese characteristics.

The dyes are obtained from a number of sources, andmany have been synthesized. Like other dyes, the dyesused in filters may, in time, change under certain condi-tions of heat and light. In this publication, we will beaddressing only fi lters for black-and-white films, colorcompensating, conversion, light balancing, and neutraldensity (No. 96).

Filte rs fo r Bla ck-a nd -White Film sYou can use a wide range of KODAK WRATTEN Filters

with black-and-white negative films for many purposes.They vary the contrast and tonal rendering of the subjectin a photograph, either to correct to the normal visualappearance or to accentuate special features. The totalphotographic effect obtained with a particular filterdepends on four main factors: its spectral absorptioncharacteristics, the spectral sensitivity of the sensitized

material, the color of the subject to be photographed, andthe spectral quality of the illuminant.


52/82

Filter Factors* for KODAK Motion Picture Films

Negative Films Reversal Films

Filter PLUS-X DOUBLE-X PLUS-X TRI-X

No. 3 1.5 1.5 1.5 1.5No. 8 (K2) 2.0 1.5 2.0 2.0

No. 122.5 2.0 2.0 2.0

(Minus Blue)

No. 15 (G) 3.0 3.0 2.5 2.5

No. 21 3.5 3.0 3.0 3.0

No. 23A 5 5 5 5No. 8N5 5 5 6 6

No. 25 8 8 10 10

No. 29 25 20 40 40

No. 96 8 8 8 8

2

*All filters absorb part of the incident radiation, so their use usually requires some

increase in exposure over that required when no filter is used. The number oftimes by which an exposure must be increased for a given filter with a given mate-rial is called the filter factor, or multiplying factor.

Filter factors published for Kodak products byKod ak a re inten ded on ly as ap pr oxim ate guides .Published filter factors apply strictly to the particular light-ing conditions used in the laboratory where the factors

were determined. For scientific applications, especially,the quality of light can vary widely so that it may be desir-able to determine the filter factor for actual workingconditions.

To determine a filter factor, choose a subject having aneutral-gray area, or place an 18-percent gray card or a

photographic gray scale in the scene to be photographed.Make one exposure without a filter. Then, with the filterwhere it will be for the exposure, and beginning with theunfiltered exposure setting, make a series of exposures.Increase each in 12-stop increments through a 2- to 4-stopgreater exposure (very dense filters may need more). Afterprocessing the negative, match densities of the unfiltered

exposure with the filter series either visually or with adensitometer. Choose the filtered exposure that is closestto the unfiltered. Some additional exposure adjustmentsmay be necessary.


53/82

3

Below is a conversion table of filter factors to exposureincrease in stops.

Each time a filter factor is doubled, the exposure needsto be increased by 1 stop. As an example, a filter factorof 2 requires a 1-stop exposure increase. A filter factor of4 requires a 2-stop exposure increase. Use this examplefor filter factors not listed in the above table.

Color Co m pe nsa ting Filter sColor compensating filters control light by attenuatingprincipally the red, green, or blue part of the spectrum.While controlling one color, the filter transmits one orboth of the other two colors. Thus, color compensatingfilters can make changes to the color balance of picturesrecorded on color films, or compensate for deficiencies in

the spectral quality of a light source. For optimum results,use the single recommended color compensating filterrather than combining filters (for example, CC20Y +CC20M = 20R, so using 20R only is preferable). KODAKWRATTEN Gelatin Filters/ Color Compensating Filtershave excellent optical quality and are suitable for imagef o rming optical systemso v e r-the-camera lens, for

example. For less critical work, you may use KODAKColor Printing Filters (acetate).

Filter + Filter + Filter +Factor Stops Factor Stops Factor Stops

1 .25 12 4 2 12 323

1.5 23 5 213 40 513

2 1 6 223 100 623

2.5 112 8 3 1000 10

3 123 10 313


54/82


55/82

5

KOD AK Ligh t Ba la ncing Filte rsLight-balancing filters enable the photographer to makem inoradjustments in the color quality of illumination toobtain cooler (bluer) or warmer (yellower) color rendering.

One of the principle uses for KODAK Light BalancingFilters is where light sources frequently exhibit colortemperatures different than that for which a color film isbalanced. When using a color temperature meter to deter-mine the color temperature of prevailing light, you can usethe table below, which converts the prevailing temperatureto either 3200 K or 3400 K.

*These values are approximate. For critical work, check by accurate tests, especiallyif you use more than one filter.

Exposure To Obtain To ObtainFilter Filter Increase 3200 K 3400 KColor Number in Stops* from: from:

82C + 82C 11/3 2490 K 2610 K82C + 82B 11/3 2570 K 2700 K82C = 82A 1 2650 K 2780 K

82C + 82 1 2720 K 2870 KBluish82C 2/3 2800 K 2950 K82B 2/3 2900 K 3060 K82A 1/3 3000 K 3180 K82 1/3 3100 K 3290 K

81 1/3 3300 K 3510 K81A 1/3 3400 K 3630 K

81B1

/3 3500 K 3740 KYellowish81C 1/3 3600 K 3850 K81D 2/3 3700 K 3970 K81EF 2/3 3850 K 4140 K


56/82

6

Neu tr a l De ns ity Filte r sIn black-and-white and color photography, filters such asthe KODAK WRATTEN Neutral Density Filters No. 96reduce the intensity of light reaching the film without

a ffecting the tonal rendition in the original scene. Inm o t i o n - p i c t u re work or other photography, neutraldensity filters allow use of a large aperture to obtain differ-ential focusing. You can use them when filming in brightsunlight or with very fast films. These filters control expo-sure when the smallest aperture is still too large. Alsoavailable are KODAK WRATTEN Gelatin Filters with

combinations of neutral density and color conversionfilters (for example, No. 85N3). These filters combine thelight-conversion characteristics of KODAK WRATTENGelatin Filter No. 85 with neutral densities.

KODAK WRATTEN Neutr a l Dens ity Filte rs No . 9 6

Neutral Percent Filter Exposure Increase

Density Transmittance Factor in Stops*

0.1 80 11/4 1/30.2 63 11/2 2/30.3 50 2 1

0.4 40 21/2 11/30.5 32 3 12/30.6 25 4 2

0.7 20 5 22

/30.8 16 6 22/30.9 13 8 3

1.0 10 10 31/32.0 1 100 62/33.0 0.1 1000 10

4.0 0.01 10,000 132/3

*These values are approximate. For critical work, check by accurate tests, especiallyif you use more than one filter.


57/82


58/82


59/82


60/82

10 9/00

theatrical presentation and to keep all pertinent actionwithin this area. The cinematographer must make certainno scene rigging, microphone booms, cables or lights areincluded in the expanded area which will be transmitted

on television at 1.33:1. Subsequent interpositives, dupli-cate negatives and prints contain sufficient frame heightto provide normal telecine transmission. In the theater, theprojectionist must use a 1.85:1 aperture plate and exer-cise some judgment in adjusting the projector framing.

Super 16 is a format that employs single-perforation16 mm film stock and has two objectives. When Super 16

was introduced in the early 1970s, it was to provide animage suitable for enlargement to a 35 mm print for wide-screen presentation. The second is for origination that willbe displayed on wide-screen television (1.78:1 = 16 x 9).Super 16 and 3-perforation 35 mm are great fits for wide-screen television. The Super 16 camera aperture extendsinto the area used for a sound track on conventional

16 mm film providing more negative area to achieve a1.66:1 aspect ratio, with some loss of image height whenenlarged to wide-screen 35 mm film (1.85:1) and to 1.78:1(16 x 9) for wide-screen television.

The Super 35, 4-perforation system utilizes the entirewidth of the film and is used primarily to extract ananamorphic print for theatrical release by optical reduc-tion printing. This system is quite versatile: from a Super35 negative, 70 mm blow-up prints can be produced, aswell as extractions for 16 x 9 (1.78:1).

The Super 35, 3-perforation system is used forextracting 16 x 9 (1.78:1) prints and for origination forwide-screen television.

The 65 mm, 5-perforation system has a camera aper-ture of 2.29:1. It is used primarily for special effects, butwhen used in feature films, is projected on the screenusing 70 mm release prints having an aspect ratio of2.20:1. In lieu of originating on 65 mm for theatricalpresentation, productions shot on 35 mm film with ananamorphic lens or in the Super 35 system are optically

enlarged onto 70 mm release prints.Other formats employing 65 mm negatives include

8-perforation (Iwerks 870), 10-perforation and the Imax15-perforation (horizontal) format.


61/82


62/82

16

Unp ro ce sse d Film Befor e an d After Exp osu re

Exposed film, particularly color, deteriorates more rapidlythan unexposed film. Process films as soon as possibleafter exposure.

Do not keep film in the camera or magazine longer thanis necessary. If you load magazines a long time ahead ofuse, protect them from excessive temperature and relativehumidity until you need to load the camera.

Keep loaded cameras or magazines and carrying casesout of closed spaces that can trap heat from the sun orother sources such as closed automobiles, airplanes, or the

holds of ships.Immediately after exposure, return the film to its can and

retape the can to help prevent any increase in moisturecontent.

Pro cessed Film S tora ge

The following suggestions apply to extended storage of all

motion picture films. Be aware that color dyes are moreprone to change than are silver images over extendedperiods, with heat and humidity being the chief factors.Before any extended storage (ten years or more), theseminimum guidelines should be followed:

1. Make sure the film was adequately washed to remove

residual chemicals, and the residual hypo level does notexceed the recommended maximum. ANSI PH 4.8-1985 describes a test method for residual hypo.

2. At present, only EASTMAN EKTACHROME MotionPicture Films require stabilization during processing fordye stability. Be sure process specifications have beenstrictly followed.

3. All film should be as clean as possible. Cleaning is bestdone professionally. If you use a liquid cleaner, provideadequate ventilation. Adhere to local municipal codesin using and disposing of any solvents.

4. Keep film out of an atmosphere containing chemicalfumes, such as hydrogen sulfide, hydrogen peroxide,sulfur dioxide, hydrogen sulfide, ammonia, coal gas,and automobile engine exhaust.

5. Do not store processed film above the recommended21C (70F), 20 to 50 percent RH for acetate orfor polyester, if extended life expectancy is to bemaintained.


63/82

17

6. Wind films emulsion in and store flat in untaped cansunder the above conditions.

Sho ot ing for Televis ion

The television industry is changing. New, advanced stan-dards for high-definition television (HDTV) will put moredemands on the cinematographer. Despite all the uncer-tainties associated with the new standards, indications arethat film remains the ideal, independent originationformat. With film, you have the ability to transfer to anyelectronic format, without conversions problems.

Film origination format and aspect ratio are moreimportant than ever before. Film choices for originationinclude 16 mm, super 16 mm, and 35 mm. When cine-matographers and producers compose the image, theyneed to decide whether to use the current 4:3 aspectratio or 16:9 for HDTV. Some are shooting 4:3 andprotecting the edges for 16:9.

The most widely used films in the television industrya re KODAK VISION Color Negative and EASTMANEXR Films.

In all likelihood, your film will still end up on a videoformat for broadcasting. An important part of this processis the telecine transfer. This critical procedure must bep e rf o rmed with the highest quality standards because,

after all, the video output of the telecine is only as goodas the film transfer input.So, no matter what format or aspect ratio you choose,

the best television images start with the best practices incinematography.

In general, photography expressly for television releaseshould avoid high-contrast scenes and scenes with impor-

tant details in dark shadows or against very bright back-grounds. The recommendations below should help youget the best possible results.

1. Always have a white re fe rence (something brighterthan a face) in every shot.

2. The white re f e rence should not be more than 112stops brighter than your subjects face.

3. Keep your subjects away from windows or other high-brightness backgrounds, such as white walls or largeexpanses of open sky, except for a desired effect.


64/82

18

4. Dont photograph dark-skinned people against verybright or very dark backgrounds.

5. Try to maintain a range of 5 to 6 stops from thebrightest to the darkest parts of the shot. A lighting

ratio of 2:1 is a good starting point.6. If you must shoot white or extremely bright costumes,

try to maintain a good face-to-face white referencerelationship. For these scenes, use soft lighting, such asthat produced by an overcast day or open shade.

7. Flat lighting will give very good results for television, butmay not be acceptable if the film is later released fortheater use.

Getting ReadyBefore you go out on a shoot, you should check over theequipment and accessories that you plan to use on loca-tion. Below are several lists of items judged necessary by

several suppliers of motion picture equipment. The first listincludes items that ought to be in the assistants ditty bag.The second list shows what tools the crew should have.Next is a list of camera accessories. Last is a list of thecontents of a camera operators meter case.

Ditty Bag

Felt marking pen Ear syringe Flashlight Lens tissue and lens cleaner Magnifying glass Scissors Masking tape

Tweezers Orange sticks Am erican Cinem atographer Manual Assorted 85 filters (85, 85B, 85C, etc.) Pencils and ballpoint pens Screwdrivers Paint brush (a 1-inch size w/ tapered bristles

is very handy) Leakproof precision oil can (the kind that looks

like a fountain pen) Rubber bands


65/82

19

Black cloth Magazine belt clips and pick This copy of Cinem atographers Field Guide,

KODAK Publication No. H-2.

Tools

Longnose pliers Diagonal cutters Channel Lock pliers ScrewdriversStandard and Phillips Jewelers screwdriver set

Allen wrenches Open end and box wrench sets Files (for metal and wood) Pocket knife C clamps 3-in. (7.5 cm) Spring clamps Scriber

14 x 20 screws 1- and 212-in. (2.5 and 6 cm) 38 x 16 screws 1- and 212-in. (2.5 and 6 cm) Washers Tape measure Voltmeter (w/ adequate range to cover voltages likely

to be encountered on location assignments) Electrical tape Ground adapters (both the 3-pin plug adapter

and water pipe clamp types) Electric drill and bits, up to 38-in. (0.75 cm) Soldering iron and solder Small and medium Crescent wrenches Expansion bit (and bit brace, if not electric)

FlashlightCam era Accessories

100-ft (30 m) camera spool* 200-ft (61 m) camera spool* Spare film cores Spare 85 conversion filters

Assorted ND filters (at least 0.3, 0.6, and 0.9) Black camera tape Gaffer tape

*Load and unload all camera spools in total darkness.


66/82


67/82

21

Fla sh ing Cam era Films toLower Contra stFlashing means to deliberately fog film by giving it auniform exposure before processing. The amount andtype of exposure will vary with the look desired. Thisslight exposure lowers the films contrast (to some extent),primarily in the upper scale (shadow) areas, and allowsfor more detail in the shadows. The results are similarwhether the film is pre- or post-flashed in a laboratoryor on the camera (equipment supplied by cameramanufacturers).

Flashing is often done to establish a closer matchbetween films of different contrast characteristics that willbe intercut. Other reasons for flashing are to cre a t epastels from more saturated colorsenhancing shadowdetails that have less fill light, etc. Effects such as changingthe color of shadows can be made by selective filtering

(non-neutral light source).The amount of flash will affect the result, but flashingintensity has its limits, and too much will distort the image.Flashing is often measured in percentages by the cine-matographers and laboratory personnel. There is noabsolute consensus about what these percentages mean.This is usually perceived through past experience, and as

with most other creative techniques, it is important towork closely with the laboratory and gain experiencethrough contacts and testing.

Exp ose d Film What Now?A Fina l Tho ugh t Abo ut La bo ra to ries

Perhaps now is a good time to draw on the experiencesof a lot of professional cinematographers that may offera few hints about dealing with the laboratories where youtake your films for processing and duplicating. You needto establish a good line of communications with your lab.Doing so will help this step of your production gosmoothly.

Know your needs

Know what you need from a laband then talk about those needs with several labs beforeyou make a choice. Consider such things as editing,dubbing, special effects, animation, etc., so the lab canhelp you accomplish these tasks the best way possible.


68/82

22

Get acquainted Once you have made your choice oflabs, get to know the people who will

Documents

Kodak_cinematographer_field_guide - Film Making] - Cinematography