1、KODAK VISION3 250D ColorNegative Film 5207 / 7207TECHNICAL DATA / COLOR NEGATIVE FILMJuly 2015 H-1-5207tKODAK VISION3 250D Color Negative Film 5207/7207 is a medium-speed, incorporates the attributes of the VISION3 technology into a medium-speed,daylight-balanced emulsion.VISION3 250D Film has outst

2、anding skin tones and color reproduction, while adding technical innovations that improve product performance and increase product versatility. The proprietary, advanced Dye Layering Technology (DLT) provides noticeably reducedgrain in shadows, allowing you to pull outan amazing amount of shadowdeta

3、il.Theproprietary Sub-MicronTechnology enables 2 stops of extended highlight latitude, so you can follow the action into bright light-in a single shot-without worrying about blown-out details.VISION3 250D Film is designed to extend the capabilities of the DI (digital intermediate) process. The impro

4、ved grain provides better to signal to noise capabilities allowing the colorist to provide greater detail in shadows, while the extended highlight latitude enables improved digital dodging and burning to provide more details in highlights.BASEKODAK VISION3 250D Color Negative Films 5207 and 7207 hav

5、e an acetate safety base with rem-jet backing.STORAGEStore unexposed film at 13C (55F) or lower. For extended storage, store at -18C (0F) or lower. Process exposed film promptly.Store processed filmaccordingtotherecommendations in ISO 18911:2010, Imaging Materials - Processed Safety Photographic Fil

6、ms - Storage Practices.Short Term (less than 6 months)Long Term (more than 6 months)Unexposed film in original, sealed package13C (55F)RH below 60%-18 to -23C (0to-10F)RH below 50%Exposed film, unprocessed-18 to -23C (0to-10F)RH below 20%Not recommended. Process film promtly.Process film21C (70F) RH

7、 20 to 50%2C (36F) RH 20 to 30%Thisrelates to optimized film handling rather than preservation; static, dust-attraction and curl-related problems are generally minimized at the higher relative humidity. After usage, the film should be returned to the appropriate medium- or long-term storage conditio

8、ns as soon as possible.Warm-upTimesToprevent film telescoping, moisturecondensation, and spotting, allow your film to warm to room temperature before use:Film PackageTypical Warm-up Time (Hours)14C (25F) Rise55C (100F) RiseSuper 811 1/216 mm11 1/235 mm35For more information about film storage and ha

9、ndling, see ANSI/PIMA ISO-18911, SMPTE RP131-2002, andKODAK Publicatio No. H-845, The Essential Reference Guide for Filmmakers, available online at /go/referenceguide.DARKROOM RECOMMENDATIONSDo not use a safelight. Handle unprocessed film in total darkness.EXPOSUREExposure IndexesDaylig

10、ht (5500K): 250Tungsten (3200K): 64 (with 80A filter)Use these indexes with incident- or reflected-light exposure meters and cameras marked for ISO or ASA speeds or exposure indexes. Theseindexesapply for meter readings of average subjects made from the camera position or for readings made from a gr

11、ay card of18-percent reflectanceheldclose to andinfront of the subject.For unusuallylight- or dark-colored subjects, decrease or increase the exposure indicated by the meter accordingly.Eastman Kodak Company, 2015Color BalanceThesefilmsarebalancedforexposurewithdaylight illumination (5500K). For oth

12、er light sources, use the correction filters in the table below.Light SourceKODAK Filters on Camera *Exposure IndexDaylight (5500 K)None250Metal HalideNone250H.M.I.None250KINO FLO 55None250Tungsten (3000 K)WRATTEN 2 Optical Filter / 80A64Tungsten (3200 K)WRATTEN 2 Optical Filter / 80A64KINO FLO29 KI

13、NO FLO 32WRATTEN 2 Optical Filter / 80A64Fluorescent, Warm White Color Compensating CC20M + CC05R125Fluorescent, Cool White Color Compensating CC40B100* These are approximate corrections only. Make final corrections during printing. These are starting-point recommendations for trial exposures. If th

14、e kind of lamp is unknown, a KODAK Color Compensating Filter CC20M + CC10B can be used with an exposure index (EI) of 125.Note: Consult the manufacturer of high-intensity ultraviolet lampsfor safety information on ultraviolet radiation and ozone generation.Exposure TableDaylightAt 24 frames per seco

15、nd (fps), 180-degree shutter opening, use this table for average subjects that contain a combination of light, medium, and dark colors:Lens Aperturef/1.4f/2f/2.8f/4f/5.6f/8f/11f/16Footcandles Required102040801603206401250Reciprocity CharacteristicsYou do not need to make any filter corrections or ex

16、posure adjustments for exposure times from 1/1000 of a second to 1 second.PROCESSINGProcess in Process ECN-2.Mostcommercial motion-picture laboratories provide a processing service for these films. See KODAK Publication No. H-24.07, Processing KODAK Color Negative Motion Picture Films, Module 7 avai

17、lable online at /go/h24,formoreinformationonthe solution formulas and the procedure for machine processing these films. There are also pre-packaged kits available for preparing the processing solutions. For more information on the KODAK ECN-2 Kit Chemicals, check Kodaks Motion Picture F

18、ilms for Professional Use price catalog,/go/ motion.IDENTIFICATIONAfter processing, the product code numbers 5207 (35 and 65 mm) or 7207 (16 mm), emulsion, roll, and strip number identification,KEYKODENumbers,andmanufacturer/film identification code (EN) are visible

19、 along the length of the film.POST PRODUCTIONScanningThe wider exposure latitude in KODAK VISION3 Films differentiate film capture from the limited dynamic range of digital capture. Digital dodging and burning, a very powerful tool in the colorists toolkit, is now even more powerfulup to two stops m

20、ore image information can be extracted from scene highlights in VISION3 Films.If traditional 10-bit scanner data encoding schemes are used to digitize films having this extended density range, highlight information captured onthese filmcould be lost. Kodakhas recommendations for extracting the full

21、density rangestored on high dynamic rangefilms in a technical documenttitledScanningRecommendationsforExtended Dynamic Range Camera Films, available online at /go/scanning.Laboratory Aim Densities (LAD)To maintain optimum quality and consistency in the final prints, the laboratory must

22、carefully control the color timing,printing,andduplicatingprocedures.Toaidincolor timing and curve placement, negative originals should be timed relative to Laboratory Aim Density (LAD) Control Film supplied by Eastman Kodak Company. The LAD ControlFilmprovidesbothobjective sensitometriccontrol and

23、subjective verification of the duplicating procedures used by the laboratory.In the LAD Control Method, the electronic color analyzer used for color timing is set-up with the LAD Control Film to produce a gray video display of the LAD patch, corresponding to 1.0 neutral density (gray) on the print.

24、The negative printing original is then scene-to-scene timed. There are specific LAD values for each type of print or duplicating film that the original can be printed on. For print films, the LAD patch is printed to a neutral gray of 1.02KODAK VISION3 250D Color Negative Film 5207 / 7207 H-1-5207tvi

25、sual density. For duplicating films, the specified aims are at the center of the usable straight-line portionof the sensitometric curve of the film.Due to normal variations in exposure and processing of color negative films, particular scenes may not print exactly at the same printer lights as the L

26、AD Control Film. The LAD Control Film is intended as a set-up tool for electronic color analyzers and printers. It is NOT a reference that every scene must match. Normalfilm-to-filmandscene-to-sceneexposurevariabilityis accommodated by the color timing (grading) process, on an electronic color analy

27、zer set up with the LAD Control Film. Normally exposed and processed colornegatives will typically print well within the range of an additive printer setup with the LADControl Film, although SIGNIFICANT or UNEXPECTED departures from this center point balance may indicate an exposure/filtration probl

28、em with the cinematography or with the process control. Some specialized films and/or specialized negative processing techniques (push-processing, pull-processing,skip-bleach processing, etc.) may require more extreme adjustment from the LADprinting condition to attain desired results.Moreinformatio

29、niscontainedinKODAKPublication H-61, Laboratory Aim Density, available online at /go/lad.Film-to-Tape TransfersWhen you transfer the film directly to tape, you can set up the telecine using KODAK Telecine Analysis Film (TAF) supplied by Eastman Kodak Company. The TAF consists of a neutr

30、al density scale and an eight-bar color test pattern with a LAD gray surround.The TAF gray scale provides the telecine operator (colorist) with an effective way to adjust subcarrier balance and tocenter the telecine controls before timing and transferring afilm. The TAFcolor bars provide the utility

31、ofelectroniccolorbars,eventhoughtheydonot precisely match the electronically generated color bars. Using the TAF will help obtain optimum quality and consistency in the film-to-tape transfer. For more informationregarding TAF,seeKODAKPublicationNo. H-606, KODAK Telecine Tool Kit and Reference Manual

32、, available online at /go/telecine.IMAGE STRUCTUREFor more information on image-structure characteristics, see KODAKPublication No. H-845, The Essential Reference Guide for Filmmakers available online at / go/referenceguide.Note: Thesensitometric curves and data in this pub

33、lication represent product testedunder the conditions of exposure and processing specified. They are representative of production coatings, and therefore do notapply directly to a particular box or roll of photographic material. They do notrepresent standards or specifications that must be met by Ea

34、stman Kodak Company. The company reserves the rightto change and improve product characteristics at any time.Modulation Transfer FunctionThe perceived sharpness of any film depends on various components of the motion picture production system. The cameraandprojectorlensesandfilmprinters,amongother f

35、actors, all play a role. But the specific sharpness of a film can be measured and is charted in the Modulation Transfer Function Curve.Modulation-Transfer Function CurvesB GRExpsu:50K DylightProDensitoer2: StatuM2001007050RESPONSE (%)3020107532112 3 4 5102050100200600SPATIAL FREQUENCY (cycles/mm)Thi

36、s graphshows a measure of the visual sharpness of this film. Thex-axis, Spatial Frequency, refers to the number of sine waves per millimeter that can be resolved. They-axis,Response, corresponds to filmsharpness. The longer and flatter the line, the more sine waves per millimeter that can be resolve

37、d with a high degree of sharpnessand, the sharper the film.KODAK VISION3 250D Color Negative Film 5207 / 7207 H-1-5207t3rms GranularityRead with amicrodensitometer, (red, green, blue) usinga 48-micrometer aperture.Theperceptionofthegraininessofanyfilmishighly dependent onscene content, complexity, c

38、olor, and density. Other factors, such as film age, processing, exposure conditions, and telecine transfer may also haveSensitometryThe curves describe this films response to red, green, and blue light. Sensitometric curves determine the change in density on the film for agiven change in log exposur

39、e.Sensitometric Curvessignificant effects.Diffuse rms Granularity Curves-3.7 -3.1-2.5-1.9Exposure: 5500 K Daylight, 1/50 secProcess: ECN-2Densitometry: Status MBGR3.0-1.3 -0.7-Process: ECN-2BGRB GR3.02.0Density2.0DENSITY0.101.00.05GRANULARITY SIGMA D0.040.030.020.010.0060.0050.0040.0030.002

40、1.00.0-8-7 -6 -5 -4-3 -2 -1 0 1 2 3 4 5 6 7 8Camera Stops0.00.01.02.03.04.05.0LOG RELATIVE EXPOSURE0.001Note: The exposure scale for VISION3 5207 / 7207 Film is longer than previous VISION and VISON2 Films. Because of the extended highlight latitude we haveTofindtherms Granularity valueforagivendens

41、ity, findthedensityontheleftverticalscaleandfollowhorizontally to the characteristic curve and then govertically (up or down) to the granularity curve. At that point, follow horizontally to the Granularity Sigma D scale on the right. Read the number and multiplyby 1000 forthe rmsvalue.Note: This cur

42、ve represents granularity based on modified measuring techniques. Sensitometric and Diffuse RMS Granularitycurvesareproducedondifferentequipment. A slight variation in curve shape may be noticed.expanded the exposure scale froma 0-4 increment to a 0-5 scale. In addition to the longer exposure scale,

43、 we are plotting 21 steps instead of 20.Spectral SensitivityThese curves depict the sensitivity of this film to the spectrum of light. They are useful for determining, modifying, and optimizing exposurefor blue- and green-screen special-effectswork.Spectral Sensitivity CurvesEffective Exposure: 0. P

44、rocess: ECN-2 Densitometry: Status Densitry: 0.2D-minYellow- Forming LayerCyan- Forming Layernta- ing erMage Form Lay02 secM4.0LOG SENSITIVITY*3.02.01.00.0250 300 350 400 450 500 550 600 650 700 750WAVELENGTH (nm)*Sensitivity = reciprocal of exposure (erg/cm2 ) required to produce specified density4KODAK VISION3 250D Color Negative Film 5207 / 7207 H-1-5207tKODAK VISION3 250D Color Negative Film 5207 / 7207Spectral Dye Density Thesecurvesdepictthespectralabsorptionsofthedyes formed when the filmis processed. They are useful for adjusting or optimizing any device that scans or prints the