Cinematographer’s Field Guide KODAK
MOTION PICTURE CAMERA FILMS
C in i n e m a t o g r a p h e r ’s ’s F ie ie l d G u i d e S e v e n t h E d i t io i o n , No No v e 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
CONTENTS
Page No.
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv K ODAK MOTION PICTURE
CAME CAM ERA FILMS FILM S . . . . . . . . . . . . . . . . . . . . . . . MP F -1
Introd roduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M PF-1 Color Tem Temperature . . . . . . . . . . . . . . . . . . . . . . . M PF-2 KODAK KOD AK Motion Pictu icture Came Camera ra Films Films.. . . . . . . . M PF-4 Film Data Data (for (for each came camera ra film). film) . . . . . . . . . . . . . M PF-6 Incide Incident-Li nt-Lig ght Illumination Illumination Tab Table (fo (footca otcandle ndles s) . MPF-4 4 FILTER INFORM INF ORMA ATION . . . . . . . . . . . . . . . . . . . . . . . 1
Introd roduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Type Types s of Fil Filte ters rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Filters ilters for Black Black-a -andnd-White White Films Films.. . . . . . . . . . . . . . . . . 1 Color Color Compens Compensa ating Filt Filte ers. . . . . . . . . . . . . . . . . . . . . 3 Conve Conversion rsion Filters Filters for Color Color Films. ilms . . . . . . . . . . . . . . . . 4 KODA K Light Bala Balanc ncing ing Fil Filte ters. rs. . . . . . . . . . . . . . . . . . 5 Neutra Neutrall Dens Density Fil Filters ters . . . . . . . . . . . . . . . . . . . . . . . . . 6 A pproximate Correlated Color Tem Temperature for Various Light Source Sources . . . . . . . . . . . . . . . . . . . . . . . 7 TIPS AND TECHNIQUES . . . . . . . . . . . . . . . . . . . . . 9
Introd roduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 A spec pect Ratios. tios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Force (Push) Proc Processing. . . . . . . . . . . . . . . . . . . . . . . 1 1 Storage torage and Care Care of Motion M otion Pic Picture ture Films Films . . . . . . . . 1 1 Filmm ilmma aker’s ker’s Fl Flow Chart Chart . . . . . . . . . . . . . . . . . . . . . . 1 2 Shooting hoot ing for Television . . . . . . . . . . . . . . . . . . . . . . . 1 7 Getting tting R Re eady . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8 Flas lashing Camera Camera Films ilms to Lowe L owerr Contrast Contrast . . . . . . . . 2 1 Expose xposed Fil Film m — What What Now? . . . . . . . . . . . . . . . . . . . 2 1 FORM ATS AND PAC PACK AGING . . . . . . . . . . . . . . . . 2 3
Introd roduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3 Specif pecific ica ation Numbe Numbers for Came Camera ra Films Films . . . . . . . . . 2 3 H ow to to R Re ead a Film Can Can Labe Label . . . . . . . . . . . . . . . . . 2 4 Cores res and Spoo Spools ls . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 5 Winding inding Des Designa ignation tions s . . . . . . . . . . . . . . . . . . . . . . . . 27 Per fora forati tio on Typ Types . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7 Quantities—St es—Standard Pa Packages . . . . . . . . . . . . . . . . 2 8 ORDERING ORDERIN G RAW STOCK . . . . . . . . . . . . . . . . . . . 2 9
Introd roduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9 How to Orde Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9 The Ca Catalog talog Numbe Numberr (CAT CAT No.) . . . . . . . . . . . . . . . . 2 9 Product and Technical Informa Information . . . . . . . . . . . . . . 3 0 Limita Lim itation tion of Liability Liability on Se Sensit nsitiz ize ed Goods Goods . . . . . . . . 3 9 Motion Pictu icture Film Film Upda U pdate tes s. . . . . . . . . . . . . . . . . . . 4 0 9/98 iii
INTRODUCTION This pocket-sized publication provides up-to-date and easyto-us to-use i nforma nfor mation tion abo ut all K O D A K Mot Motion ion Pictur ictur e Camera Films and several important related subjects. We designed the book to help you choose and order the right films for your needs, and to help you use the films most effe fect ctively. ively. The The guide guide is divided divided int into o fiv fi ve major major secti ections ons for easy ref referen rence: Motion Picture Camera Films Filter Informa Information Tips and Tec Techniques Formats and Packaging Ordering Raw Stock Brief Br ief bu butt compre compr ehensi hensive descri descript ption ions s of ea eac ch blac black-a k-andndwhite and color camera film appear in the section “ KODA KO DAK K Mot Motion ion Picture Picture Came Camerr a Fi lms.” lms.” The se section ti on “ Filter Information” Infor mation” contain ontains s chart charts s for color color conver onver sion, io n, neutral density, color balancing, filter factors, and color temperature. The se sectio ction n “ Tips and Tec Techn hniiques” es” covers covers film storage and care, shooting for television, must items for your on-location ditty bag, survival tools, flashing techniques, force processing, a filmmaker’s flowchart, and more. The T he secti ction “ Formats For mats and Packa Packagin ging g” clears clears up any que ques stio ti ons you might might have concerni concer ning ng “s “ spec” ec” number umbers, “ ide den” n” number numbers, film film can can labe labell te ter ms an d number number s, an and d packaging information. The last section, “Ordering Raw St ock,” k,” t ells ells you how t o orde or derr film fi lm and list list s na nam m es, addresses, and telephone numbers of Kodak people worldwide who can answer all of your questions about film and film orde orders. This edition includ includes the ne new w KODA K ODAK K VIS V ISIION Color Negative Films, the highest quality camera films available from Koda Ko dak. k. K ODAK OD AK VISION VISION Films ilm s, which off offe er supe superr ior technology for image capture, intercut seamlessly with EA STMA N EX R Color Color Ne N ega gative tive Fi lms, lms, which are are als also o available. These films are based on emulsion chemistry that uses KODAK T-G T-GRA IN ® Emulsions and advanced dye-coupler technology. This gives the films increa increased iv 9/98
underex rexposure latitude, wider speed ranges, and improv impro vements in grain structure, sharpness, continuous-tone r eproduction, and color saturation. A n edg dge e-numb -numbering ering syste ystem m for all K O D A K M ot i on Pi ct ur e Camera Camer a Films f ea eatur ture es bot both h elect electro roni ni c- and op er at or -r ead char char acter acters s. Th e digita digit al numbe num berr s, called EA STMAN TMA N KE K EYKODE YK ODE Num Numb bers, rs, are are in the t he form for m of a machine-r eada dable ble barcode. barcode. This hi s feat ur e op opens ens up the potential potential for automa utomated film ha handlin ndling g. A ll K O DA KM ot i on Pict ure Color Negative Camera Films as well as most Black-and-White Camera Films have KE K EY KODENumbers. No t e : The Kodak filter materials, as well as other brand
name products we describe in this publication, are available from dealers in photographic supplies. You can use equivalent materials, if desired desired. N eed Ano the r H-2 H-2 ?
You can purchase extra copies of Publication No. H-2 from the nearest Kodak company or distributor in your country. U.S. residents can order directly from Eastman Kodak Company, Department 412L, 343 State Stree Street, Rochester, NY 14650-0532. Be sure to include the title Cinematographer’s Field Guide and the code number H-2 in your orde order. You can also find information on KODAK Motion Picture Films on the Web. Visit our website at: w w w . k o d a k . c o m / g / g o / m / m o t io n .
9/98 v
M OTION PICT PIC TURE CAMERA FILMS
K ODAK
In t r o d u c t io n This section provides pertinent information about all currently available KO K ODA K Motion Moti on Pict Pict ure Came Camera ra Films Films.. For information on future film updates, see page 40. A quick quick ref er ence cha ch ar t of al l t he films fi lms is i s on page MPF-4. Page ref references for the individual film film-informa rmation sheets as they appear in this guide are included at the right of the chart. The detailed descriptions for each film begin on page MPF-6 and include the following informa information:
• • • • • • • • •
Film code number and film name Exposure indexes and filt filters Uses and general pro prop perties Trial exposure settings Illumination table and light-contrast suggestions Filter factors Reciprocity characteristics H andling Ava Availability
C a u t io n : Load and unload all camera spools in total
darkness to prevent edge fog on the film fil m. H -1 -1 D a t a S h e e t s Av Ava ila b le
You can get detailed data sheets for all KO K O D A K M ot i on Picture Camera Films. To obtain a single free copy of any data sheet, write to Eastman Kodak Company, Dept. 412L, Rochester, NY 14650-0532. In countries outside the U.S., contact one of the facilities listed in the back of this book. Be sure to include the name and code number for each film data sheet you req request. (For example: EASTMAN EXR 50D Color Negative Film 5245 [35 mm] and 7245 [16 m m ], K OD A K Publication No. H-1-5245.) You can also find data sheets on the Kodak Entertainment Imaging website at: w w w . k o k o d a k . k . c o m / g / g o / m / m o t io n . ™
™
9/98 MPF-1
Technical Inform a t io n
For technical information in the United States, call the Kodak Information Center (KIC), 9:00 a.m. to 7:00 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 N ote o n T -St op s a nd F -St op s
When discussing lens aperture size, cinematographers traditionally refer to t -stops while still photographers refer to -st ops ops. A t -stop is a measure of actual light transmission by f -st the lens. An f -stop -stop is the theoretical ratio of the lens’ focal length to the diameter of its entrance pupil (approx (approximately the aperture diaphragm size in a symmetrical lens). What relates the two is the lens’ efficiency in transmitting light; if the lens could transmit all the light entering it, its t -stop and -stop would be the th e sa same (A (A NSI NSI PH PH 2 2.90 .9 0-1987 -19 87,, Ap e r t u r e f -stop Calibration Calibration of Mot Mot ion Pictu Pictu re Lenses, Met Met hod for Deter m in in g, gives full details).
Co lo r Te m p e r a t u r e The color quality of some light sources can be stated in ter ms of color defines olor tem perature, perature , and is a measure that define the color of a light source relative to the visual appearance and expressed in degrees Kelvin (K). There are at least two important points to keep in mind when using color temperature values. Fir st , color temperature refers only to the visual appearance of a light source and does not necessarily describe its photographic effect. S e c o n d , color temperature does not take into account the spectral distribution of a light source. Unless the light source has a continuou conti nuous s spectral spectral distr distribu ibutition, on, its it s effecti effectiv ve color temper emper ature alone may not be reliable as a means of selecting a suitable correction filt filter. For example, fluo fluoresce escent nt lamps mp s do not have have t he cont continuo inuou us smoot mooth h sp sp ectr ectral-d al-dis isttribu ri butition on curve curve that is characteristic of a tungsten-filament source source. It is possible for two or more light sources to be described as having the same color temperature, but the photographic results obtained with each may be quite diffe different. Only a
MPF-2 9/98
wavelength-by-wavelength comparison of film sensitivity and spectral output of the lamp can determine the exact filters req required to balance the light to the film res response. K O D A K Motion Moti on Pictur ictur e Fi lms ha have ve a photographic latitude that makes it unnecessary to use unusual filt fil tration, except for special visual effects. Filter recommendations in this publication, for most normal photography, are capable of producing excellent-quality pictures with the products described. A ll lig li ght sources ources,, whether daylight daylight,, tungst tungst en, or fluorescent, emit ener ener gy at a prec pr eciise color colo r temperature temperatur e at at a gi given ven moment and may not remain consistent at all times. Some factors that will affect color temperature are sun angle, conditions of sky (clouds, dust, haze), age of lamps, voltage, reflectors, reflectors, etc. Deviations from the expected light source source color temperature will cause an overall color shift in the fi nis ni shed p rodu ro duct. ct. While Whi le thi th i s diff er ence may be color olo r cor rected in p r int in t ing, in g, t here could be some unfor unf ore eseen mired shifts. The light source color temperature should be monitored with a color temperature meter and corrected as necessary, at the source, camera, or both. Only recommended conversion filters (e.g. daylight to artificial light) that are placed on the camera are listed in this publication. Since they may not be consistent with prev previous recommendations, use the current recommendations for exposures and test test ing. L ight source filters fil ters (filters on lamps, a r cs, cs, etc. ) ar ar e no t l ist ist ed becaus because of t he man y varieties and color temperatures of the source sources. The manufacturers of these light sources should be contacted for filter recommendations. It is suggested that all filter recommendations be tested before actual shooting.
9/98 MPF-3
K O D AK AK Mo Mo t io n P ic t u r e C a m e r a F il ilm s Code No. Film Name
35 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 VISION 250D
5246
7246
—
KODAK VISION 320T
5277
7277
—
KODAK VISION 500T
5279
7279
—
EASTMAN EXR 500T
5298
—
—
KODAK VISION 800T
5289
—
—
KODAK EKTACHROME 100D
5285
—
—
EASTMAN EKTACHROME
—
7240
7240
EASTMAN EKTACHROME
—
7239
—
EASTMAN EKTACHROM EKTACHROME High Speed
—
7250
—
EASTMAN EKTACHROM EKTACHROME High Speed Daylight
—
7251
—
EASTMAN PLUS-X Negative
5231
7231
—
EASTMAN DOUBLE-X Negative EASTMAN PLUS-X Reversal EASTMAN TRI-X Reversal
5222 — —
7222 7276 7278
— 7276 7278
KODAK SFX 200T
MPF-4 6/00
Exposure Index (DIN) Type
Color Negative Color Negative Color Negative Color Negative Color Negative Color Negative Color Negative Color Negative Color Negative Color Negative
See Page
Dayl i ght
Tungsten (3200 K)
50 (18)
12 (12) with KODAK WRATTEN Gelatin Filter No. 80A
MPF-6
100 (21)
MPF-8
200 (24)
MPF-10
200 (24)
MPF-12
200 (24)
MPF-14
64 (19) with KODAK WRATTEN Gelatin Filter No. 80A
MPF-16
320 (26)
MPF-18
500 (28)
MPF-20
500 (28)
MPF-22
800 (30)
MPF-24 MPF-26
64 (19) with KODAK WRATTEN Gelatin Filter No. 85 125 (22) with KODAK WRATTEN Gelatin Filter No. 85 125 (22) with KODAK WRATTEN Gelatin Filter No. 85 125 with KODAK WRATTEN Gelatin Filter No. 85 250 (25) 200 (24) with KODAK WRATTEN Gelatin Filter No. 85 320 (26) with KODAK WRATTEN Gelatin Filter No. 85 320 (26) with KODAK WRATTEN Gelatin Filter No. 85 500 (28) with KODAK WRATTEN Gelatin Filter No. 85
Color Reversal
100 (21)
25 (15) with KODAK WRATTEN Gelatin Filter No. 80A
Color Reversal
80 (20) with KODAK WRATTEN Gelatin Filter No. 85B
125 (22)
MPF-28
Color Reversal
160 (23)
40 (17) with KODAK WRATTEN Gelatin Filter No. 85B
MPF-30
Color Reversal
250 (25) with KODAK WRATTEN Gelatin Filter No. 85B
400 (27)
MPF-32
Color Reversal
400 (27)
B&W Negative
80 (20)
100 (21) with KODAK WRATTEN Gelatin Filter No. 80A 64 (19)
B&W Negative B&W Reversal B&W Reversal
250 (25) 50 (18) 200 (24)
200 (24) 40 (17) 160 (23)
MPF-34 MPF-36 MPF-38 MPF-40 MPF-42
6/00 MPF-5
COLOR NEGATIVE FILM
50D 5245™ / 7245™ (35 mm, m m, 65 mm / 16 mm) m m) EA STMAN TM AN EXR 50D Fil Fi lm Daylig Dayli g ht EI 50 (18) 18) E x p o s u re In de xes a nd F ilters KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 80A
12 (12)
Tungsten 3200 K
WRATTENGelatin No. 80A
12 (12)
Tungsten Photoflood 3400 K
WRATTEN Gelatin No. 80A
12 (12)
Daylight 5500 K
None
50 (18)
Metal Halide H.M.I.
None
50 (18)
Yellow-Flame Arcs
WRATTEN Gelatin No. 80C
20 (14)
Light Source
White-Flame Arcs Optima 32
WRATTEN Gel WRATTE Gelati atin n/ Color Compensating 20Y + 10C
32 (16)
WRATTEN Gelatin No. 80A
12 (12)
None
50 (18)
Fluorescent* Cool White
WRATTEN Gel WRATTE Gela atin/ Color Compensating 20M + 10B
32 (16)
Fluorescent* Deluxe Cool White
WRATTE WRATTEN Gel Gelat atiin/ Color Compensating 30B + 10C
20 (14)
Vitalite
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lam l amp, p, use a CC CC20M filter filt er with with an index index exposure exposure of 20 (14 ( 14)) for a tria tri al exposure.
MPF-6 9/98
5245/72 45/7245 P r o c e s s : ECN-2
U s e : EA STMA N EXR 50D 50 D Film Film 5245/ 5245 / 7245 72 45 is a camera mera
film intended for general motion picture production. The wide exposure latitude of this negative film makes it especially suitable for outdoor photography under normal daylight conditions. G e n e r a l P r o p e r t i e s : EASTMAN EXR 50D Film
5 2 4 5/ 7 2 4 5 is bala balance nced d for fo r daylight. The emulsi mulsi on contains a colored-coupler mask to achieve excellent color rep roduc roductt ion i n print pr ints s f rom EA ST M A N C o l o r Release Print Film. This film is characterized by very high sharpn harpne ess, micro icr o-fine fin e grain, exce xcellent color r endition, ndit ion, and underexposure latitude. Illu m in a tion (In cid cid en t Ligh t) Ta Ta b le fo r Da y ligh t
(24 frames per second, 170° shutter opening) Lens Aperture Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
50
100
200
400
800
1600
3200
6400
Ligh tin tin g Contra st : The suggested ratio of key-light-plus-
fill-light to fill light is 2:1 or 3:1. R e c ip rocity roci ty Cha ra c te rist rist ics EI 5 0 (18 ): N o exposu exposur e
or filter compensation is req required for exposure times from from 1 / 100 10 0 0 second to 1 se second. Handling: Total darkness Available Roll Lengths: For information on film rol roll lengths, check Ko Kodak’ s P rofessi of ession on al Motion Mo tion Im agin agin g representative in Pr ice Cat alog, or contact a Kodak sales rep
your country. All All rolls rolls are ident iden t ifi ed wi with a produ pr oductct-ccode od e num n umber ber and an d an in t ernal product-code symbol.
9/98 MPF-7
COLOR NEGATIVE FILM
100T 5248™ / 7248™ (35 (35 m m , 65 m m/ 16 mm ) EASTM AN EXR 100T Film il m Tu ngst ng sten en EI 100 100 (21) (21) E x p o s u re Ind exes an d F ilte rs KODAKCamera Fi l ters
Exposure Index (DIN)
Tungst en 3000 K
WRATTENGelatitin No. 82B
64 (19)
Tungsten 3200 K
None
100 (21)
Tungsten Phot oflood 3400 K
None
100 (21)
Daylight 5500 K
WRATTENGelatin No. 85
64 (19)
Metal Hali de H.M.I.
WRATTENGelatin No. 85
64 (19)
Yellow-Flame Arcs
WRATTENGelatin No. 81C
80 (20)
Light Source
WRATTEN Gelatin/ Color Compensati ng 20R + 50Y
40 (17)
None
100 (21)
Vitalite
WRATTENGelatin No. 85
64 (19)
Fluorescent* Cool White
WRATTENGelatin No. 81B + 40R
40 (17)
White-Flame Arcs Opt ima 32
Fluorescent* Deluxe Cool White
WRATTEN Gelatin/ Color Compensating 20R
64 (19)
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC CC40R filter lter wit with an an exposure exposure index index of 50 (18) for a tria tri al exposure.
MPF-8 9/98
5248/ 52 48/ 72 7248 48 P r o c e s s : ECN-2 U s e : EA ST M A N EXR 100T Film il m 5 248/ 7248 is
intended for general motion picture production. The wide exposure latitude of this negative film makes it especially suitable for indoor and outdoor photography under a wide variety of conditions. 100T 0T Film G e n e r a l P r o p e r t i e s : EA ST M A N EXR 10 524 248 8 / 7 248 is a medi medium-spe m-speed ed film film bal balance anced d for tungs tungste ten n light and for daylight with appropriate filters. The emulsion contains a colored-coupler mask to achieve superior color rep reproduction in prints from EAS EA STMA N Color Release Print Film. This film is characterized by very high hi gh sh ar p ness ness, m icro-f icr o-fine ine gra gr ain, in , high r esolvi ng power and underex underexposure latitude. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (2 4 fr f r ames ames per secon econd, d, 17 1 7 0 ° shut hutter ter openi o pening) ng) Lens Apertur Aperture e Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
25
50
100
200
400
800
1600
3200
sugges gested ted ratio ratio of key-li key-light-p ght-plus lus-Ligh tin tin g Con tra st : The sug fill-light to fill light is 2:1 or 3:1. R e c ip ro city city Ch ara cter istics stics EI E I 1 0 0 (2 1 ): You do not
need to make any exposure or filter adjustments for exposure times times from 1/ 1 00 000 0 to 1/ 1 / 1 0 se second ond.. At A t an an expo expo-sure time of 1 second, increase exposure by 1 ⁄ 3 stop. Handling: Total darkness Available Roll Lengths: For information on film rol roll lengths, check Ko K odak’ s P rofession rofession al Mot ion Im agin agin g represe resent nta ative in in Pr ice Cat alog, or contact a Kodak sales rep
your country. All All roll rollss are iden identified tified with with a productprodu ct-co cod d e num n umber ber an a n d an an in t ernal product-code symbol.
9/98 MPF-9
COLOR NEGATIVE FILM
VISION 200T 5274™ / 7274™ (35 (35 m m , 65 mm mm// 16 mm ) K ODAK VIS VISIO ION N 20 200T 0T Color Colo r Negative Fil Film m Tu ngst ng sten en EI 200 (24) E x p o s u r e Ind Ind exes a n d Fil Filte rs KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
125 (22)
Tungsten 3200 K
None
200 (24)
Tungsten Photoflood 3400 K
None
200 (24)
Daylight 5500 K
WRATTENGelatin No. 85
125 (22)
Metal Halide H.M.I.
WRATTENGelatitin No. 85
125 (22)
White-Flame Arcs
WRATTENGelatin in No. 85B
125 (22)
None
200 (24)
Vitalite
WRATTENGelatin No. 85
125 (22)
Fluorescent* Cool White
WRATTENGelatin No. 85 + 10M
80 (20)
Fluorescent* Deluxe Cool White
WRATTENGelatitin No. 85C+ 10R
125 (22)
Light Li ght Source Source
Optima 32
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind kind of lamp, lamp, use use a CC40R filter wit with an an index index ex exposure posure of 250 (25) for a tri tr ial exposure xposur e.
MPF-10 -10 9/98
5274 52 74// 72 7274 74 P r o c e s s : ECN-2 U s e : KODAK VISION 200T Color Negative Film
5 2 7 4 / 7 2 74 fea features tures ver ver y hig h igh h sha harr pne pnes ss, fine fi ne gra grai n, accurate flesh-to-neutral rep reproduction, and wide underand over-e over-exposur e latit latitu ude for indoor or outdoor outdoor pho photogtography. Enhanced shadow detail provides crisp, rich blacks. G e n e r a l P r o p e r t i e s : KODAK VISION 200T Color
N egative Fi lm 5 2 74 / 7 27 274 4 is a me med dium-s ium-spe peed ed film balanced for tungsten light. It cuts seamlessly with other Kodak color negative motion picture films. VISION Film sets new standards for consistency — emulsion to emulsion, ion , roll r oll to t o roll, r oll, batch batch to ba batch. tch. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (2 4 fr f rames ames per secon econd d, 1 70 ° shut hutter ter op opening) ening) Lens Aperture
/1.4 /1.4 f
/ 2 f
/ 2.8 f
f / 4
/ 5.6 f
/ 8 f
f /11
/16 f
Footcandl es
12.5
25
50
100
200
400
800
1600
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req require 1 ⁄ 2 stop more exposure. exposure. Ligh ting ting Co ntra s t: The suggested ratio of key-light-plus-
fill-l fill-li ght to fill fi ll ligh lightt is i s 2:1 2:1,, 3:1 3:1,, or 4: 4 : 1. At A t a 4: 4:1 1 rat rat io, this film takes kes on a “ special cial look.” loo k.” R e c ip ro c ity Cha racte rist rist ic s EI 2 0 0 (2 4 ): You do not
need to make any filter corrections or exposure adjustments for exposu xposur e time ti mes s f rom 1 / 100 1000 0 to 1 second. If your exposure is in the 10-second range, increase your exposure 2 ⁄ 3 stop and use a KODAK Color Compensating Filter CC10 CC10Y Y. Handling: To tal da darr kness kness Available Roll Lengths: For information on film rol roll lengths, lengths, check check Ko Kodak’s Prof rof ession essional al Moti Mot ion Im agi agin g P r ice C a t a lo g, or contact a Kodak sales representative in your
country. All All roll rollss are iden identified tified with with a produc produ ct-co t-cod d e num n umber ber an a n d an in t ernal product-code symbol. 9/9 /98 8 MPF-11
COLOR NEGATIVE FILM
200T 5293™ / 7293™ (35 (35 m m, 65 m m/ 16 mm ) EASTM AN EXR 200 00T T Film il m Tu ngst ng sten en EI 200 200 (2 (24) E x p o s u r e Ind Ind exes a n d F ilters KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
125 (22)
Tungsten 3200 K
None
200 (24)
Tungsten Phot oflood 3400 K
None
200 (24)
Daylight 5500 K
WRATTENGelatin No. 85
125 (22)
Metal Halide H.M.I.
WRATTENGela latin No. 85
125 (22)
Yellow-Flame Arcs
WRATTENGelatin No. 81D
125 (22)
White-Flame Arcs
WRATTENGelatin No. 85C+ CC50Y
100 (21)
None
200 (24)
Vitalite
WRATTENGelati tin No. 85
125 (22)
Fluorescent* Cool White
WRATTENGelatin CC40R
64 (19)
Fluorescent* Deluxe Cool White
WRATTENGelatin in No. 85C
125 (22)
Light Source
Opt ima 32
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an exposure index of 100 (21) for a trial exposure.
MPF-12 9/98
5293 52 93// 72 7293 93 U s e : EASTMAN EXR 200T Color Negative Film
5 2 9 3 / 7 29 3 i s inte int end nde ed for gene neral ral motion moti on picture production. The wide exposure latitude of this negative film makes it especially suitable for indoor and outdoor photography under a wide variety of conditions. G e n e r a l P r o p e r t i e s : EASTMAN EXR 200T Color
Negat ive Neg ive Film Film 52 9 3 / 7 29 3 is a me mediu dium-s m-spe pee ed film f ilm balanced for tungsten light and for daylight with appropriate filters. The emulsion contains a colored colored-coupler mask to achieve superior color rep reproduction roduction in prints pr ints from EASTMAN Color Release Print Film. This film is characterized by very high sharpness, micromicro-fine grain, high resolving power and underex underexposure latitude. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (24 frames per second, 170° shutter opening) Lens Apertur Aperture e
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
Footcandl es
12.5
25
50
100
200
400
800
1600
R e c ip ro city city Cha racte rist rist ics EI 2 0 0 (2 4 ): You do not
need to make any filter adjustments for exposure times from 1/ 100 1000 0 to t o 1/ 1 / 10 second ond.. A t an an expos exposu ur e time of 1 second, increase exposure by 1 ⁄ 3 stop. Handling: To tal da darr kness kness Available Roll Lengths: For information on film rol roll lengths lengths, check check Ko Kodak’s Prof rof ession essional al Moti Mot ion Im agi agin g Pri Price C at alo g, or contact a Kodak sales representative in your
country. All All rolls rolls are id id enti ent ified with a produc produ ct -code code n umber um ber and a nd a n in t ernal product-code symbol.
9/98 MPF-13
COLOR NEGATIVE FILM
SFX 200T (35 (35 m mm) m) KODAK KODAK SFX 20 200 0T Color Negat ive Film Film Tu ngst ng sten en EI 200 200 (2 (24) E x p o s u r e In In de x es and Fil Filter s KODAKCamera Fi l ters*
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
125 (22)
Tungsten 3200 K
None
200 (24)
Tungsten Photoflood 3400 K
None
200 (24)
Daylight 5500 K
WRATTENGelatin No. 85
125 (22)
Metal Halide H.M.I.
WRATTENGelatin No. 85
125 (22)
Yellow-Flame Arcs
WRATTEN Gelatin No. 81D
125 (22)
White-Flame Arcs
WRATTEN Gelatin No. 85C + 50Y
100 (21)
None
200 (24)
Vitalite
WRATTEN Gelat in No. 85
125 (22)
Fluorescent, Cool Whit e
WRATTEN Gelatin CC40R
64 (19)
Fluorescent, Deluxe Cool White
WRATTENGelatin No. 85C
125 (22)
Light Li ght Source Source
Optima 32
* IMPORTANT: These are approximate filter requirements. Make final corrections during printing. When you don’t know the kind of lamp, use a CC40R filter with an index exposure of 100 (21) for a trial exposure.
MPF-14 9/98
SFX SFX P r o c e s s : ECN-2 U s e : KODAK SFX 200T Color Negative Film is opti-
miz mi zed for f or tr aveli veling ng mat matte te shot hots s, so fore for eground actio ctio n photographed against a blue or green screen can be separated more cleanly from the background when it’s scanned into the digital format. In complex composite shots, 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 Color
Negative Film is a medium speed film balanced for tungsten light. It intercuts seamlessly with other KODAK Color Negative Films used to rec record live action footage. This film features microfine microfine grain, unprecedented sharpness, high resolving power, wide exposure latitude and accurate tone ton e rep r odu oduc ct ion f or the most most di ffi ff i cult com ompos posit iting ing applications. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (24 frames p er secon ond d, 1 7 0 ° sh utt utte er opening openin g) Lens Apert Aperture ure
/1.4 /1.4 f
f / 2
/ 2.8 f
/ 4 f
/ 5.6 f
/ 8 f
/11 f
/16 f
Footcandl es
12.5
25
50
100
200
400
800
1600
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req require 1 ⁄ 2 stop more exposure. exposure. Ligh ting 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, this film ta t akes kes on a “ special pecial look.” look. ” R e c ip ro c ity Cha r a c te ristic risticss E I 2 0 0 (2 4 ): You do not
need to make any filter corrections or exposure adjustment me nts s f or exposure exposure time tim es f rom 1/ 1000 t o 1/ 1 / 10 second ond.. Handling: Total darkness. Available Roll Lengths: SFX 200T Film is a special
order product from Kodak. For information on film rol ro ll lengths, lengths, co nt nta act a K oda odak k sales re r epr esent ntati ative ve i n you your country. All All roll rollss are id id enti ent ified wit wit h a p roduc rodu ct -code num n um ber an d an an in t ernal product-code symbol.
9/98 MPF-15
COLOR NEGATIVE FILM
VISION 250D 5246™ / 7246™ (35 mm, m m, 65 mm/ mm / 16 mm) m m) K ODAK ODAK VIS VISIO ION N 25 250 0D Color Colo r Negative Fil Film m Daylig Dayl ight ht EI 250 250 (25 (25)) E x p o s u re In de xes a nd Fil Fi lter s KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 80A
64 (19)
Tungsten 3200 K
No. 80A
64 (19)
Tungsten Photoflood 3400 K
No. 80A
64 (19)
Daylight 5500 K
None
250 (25)
Metal Halide H.M.I .
None
250 (25)
White-Flame Arcs
WRATTEN Gelatin/ Color Compensat ing 20Y + 10C
160 (23)
Light Source
Optima 32 Vitalite Fluorescent* Cool White Fluorescent* Deluxe Cool White
WRATTENGelatin No. 80A
64 (19)
None
250 (25)
WRATTEN Gelatin/ Color Compensating 20M
200 (24)
WRATTENGelatin No. 82C
200 (24)
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind kind of lamp l amp,, use a CC40R filt filter with with an index index exposur exposure of 250 (25) (25) for for a trial ri al exposur exposure. e.
MPF-16 9/98
5246 52 46// 72 7246 46 P r o c e s s : ECN-2 U s e : KODAK VISION 250D Color Negative Film
5 2 4 6 / 7 24 246 6 f eatures very h igh igh sha harp rpnes ness s, fine fi ne grain grain,, accurate flesh-to-neutral rep reproduction, and wide underand overover-exp osur e lat lat itud it ude e f or da dayli ylig ght or mixed mi xed lig li ght photography. Enhanced shadow detail provides crisp, rich blacks. G e n e r a l P r o p e r t i e s : KODAK VISION 250D Color
Negative Nega tive Film 5 24 246 6 / 7 24 6 is a me mediu dium-s m-spe peed ed film balanced for daylight. It cuts seamlessly with other Kodak color negative motion picture films. VISION Film sets new standards for consistency — emulsion to emulsion, roll to roll, batch to batch. Illumination (Incident Light) Table for Daylight
(24 frames per second, 170° shutter opening) Lens Aperture Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
10
20
40
80
160
320
640
1250
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req require 1 ⁄ 2 stop more exposure. exposure. Ligh ting ting Co ntr as 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, this film ta t akes kes o n a “ special pecial look.” look. ” R e c ip ro c ity Cha racte rac te risti risticc s E I 2 5 0 (2 5 ): You do not
need to make any filter corrections or exposure adjustment me nts s f or exposu xposure time tim es f rom 1/ 100 1000 0 to t o 1 sec second ond.. If your exposure is in the 10-second range, increase your ex p o su re r e 2 ⁄ 3 sto p and use use a K O DA K W RA RAT T T EN Filter / Color Compens Compensa ating 10Y. 10Y. Handling: Total darkness
roll Available Roll Lengths: For information on film rol lengths, check Ko Kodak’s Professional Motion Imaging P r ice C a t a lo g, or contact a Kodak sales representative in your country. All All roll rollss are iden identt ified with with a produ pr oducct-co t-cod d e num n umber ber an a n d an an in t ernal product-code symbol. 9/9 /98 8 MPF-17
COLOR NEGATIVE FILM
VISION 320T 5277™ / 7277™ (35 (35 m m , 65 mm mm// 16 mm ) K ODAK VIS VISIO ION N 32 320T 0T Color Colo r Negative Fil Film m Tu ngst ng sten en EI 320 (26) E x p o s u r e In In dexes a n d Fil Filte rs KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGe NGelati ti n No. 82B
200 (24)
Tungsten 3200 K
None
320 (26)
Tungsten Photoflood 3400 K
None
320 (26)
Daylight 5500 K
WRATTENGe NGelati ti n No. 85
200 (24)
Metal Halide H.M.I.
WRATTENGelatin No. 85
200 (24)
White-Flame Arcs
WRATTENGelatin No. 85B
125 (22)
None
320 (26)
Vitalite
WRATTENGe NGelati ti n No. 85
200 (24)
Fluorescent* Cool White
WRATTENGelatin No. 85 + 10M
125 (22)
Fluorescent* Deluxe Cool White
WRATTENGela latin No. 85C+ 10R
200 (24)
Light Li ght Sou Sourrce
Optima 32
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an index exposure of 100 (21) for a trial exposure.
MPF-18 -18 9/98
5277/ 5277/ 7277 P r o c e s s : ECN-2 U s e : KODAK VISION 320T Color Negative Film 5 2 7 7/ 7 2 77 lets lets you crea create te a very diff if ferent look — softer,
more pastel. This film has very wide exposure latitude that allows you to pick up the detail in the shadows without losing losing the th e highlig highli ght hts s. Overexpo Overexpos se it a bit bit and maint mainta ain the shadow det det ail, but the t he blacks blacks ge gett blacker. lacker. Un Unde derexp rexpos ose e it, and the shadows open up. This film features fine grain, high sharpness, and wide color rep reproduction. G e n e r a l P r o p e r t i e s : KODAK VISION 320T Color
Negative Nega tive Film 52 5 2 7 7/ 7 2 77 is a 3 2 0-spe 0-spee ed film bala balance nced d for tungsten light. You’ll get clean, white highlights, accurate flesh-tone rep reproduction, but with softer colors. It cuts seamlessly with other Kodak color negative motion picture films. VISION Film sets new standards for consistency — emulsion to emulsion, roll to roll, batch to batch. Illumination (Incident Light) Table for Tun Tu n g s t e n f rames ames per seco eco nd, 170 1 70° ° shut hutter ter op o pening) Lig h t (2 4 fr Lens Apertur Aperture e Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
8
16
32
64
125
250
500
1000
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req require 1 ⁄ 2 stop more exposure. exposure. Ligh tin tin g Co nt ras t: The sug sugg gested ested ratio ratio o f key-lig key-light-plus ht-plus--
fill-light to fill light is 2:1, 3:1, or 4:1. R e c ip ro city city Cha racte r ist ic s EI 3 2 0 (2 6 ): You do not
need to make any filter corrections or exposure adjustments me nts for expos xp osu ur e time ti mes s from 1 / 100 1000 0 to t o 1 second. If your exposure is in the 10-second range, increase your ex p o su re r e 2 ⁄ 3 st o p and use use a K O DA K W RAT T EN Filter / Color Compensa Compensating ti ng 1 10 0 Y. Handling: To tal da darr kness kness Available Roll Lengths: For information on film rol roll lengths, lengths, check check Ko Kodak’s Profe rofessi ssion onal al Moti Mot ion Im agi agin g P r ice C a t a lo g, or contact a Kodak sales representative. All All rolls rolls are id id enti ent ified with a produc produ ct-co t-code de n umber um ber and a nd a n in t ernal product-code symbol.
9/98 MPF-19
COLOR NEGATIVE FILM
VISION 500T 5279™ / 7279™ (35 (35 m m , 65 mm mm// 16 mm ) KODAK KODAK VIS ISIO ION N 50 500T 0T Color Negative Fil Film m Tu ngst ng sten en EI 500 (28) E x p o s u r e Ind Ind exes a n d Fil Filte rs KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
320 (26)
Tungsten 3200 K
None
500 (28)
Tungsten Photoflood 3400 K
None
500 (28)
Daylight 5500 K
WRATTENGelatin No. 85
320 (26)
Metal Halide H.M.I.
WRATTENGe NGelatin No. 85
320 (26)
White-Flame Arcs
WRATTENGela latin No. 85B
200 (24)
Light Li ght Source Source
WRATTEN Gelatin/ Color Compensating 20Y
320 (26)
None
500 (28)
Vitalite
WRATTEN Gelatin No. 85
320 (26)
Fluorescent* Cool White
WRATTEN Gelatin No. 85 + 10M
200 (24)
Fluorescent* Deluxe Cool Whit e
WRATTENGelatin No. 85C + 10R
320 (26)
Yellow-Flame Arcs Optima 32
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.
MPF-20 9/98
5279 52 79// 72 7279 79 P r o c e s s : ECN-2 U s e : KODAK VISION 500T Color Negative Film
5 2 7 9 / 7 2 7 9 fea featt ures ver ver y high sha harr pne pnes ss, fine fi ne grain, accurate flesh-to-neutral rep reproduction, and wide underand over-e over-exposur e lati latitude tude fo forr indoor indoor or outdo outdo or photo pho tog graphy. Enhanced shadow detail provides crisp, rich blacks. G e n e r a l P r o p e r t i e s : KODAK VISION 500T Color
Negative Nega tive Film Film 52 5 2 7 9 / 7 2 79 is a high-s high-spee peed d film film bala balance nced d for tungsten light. It cuts seamlessly with other Kodak color negative motion picture films. VISION Film sets new standards for consistency — emulsion to emulsion, roll to roll, ba batt ch to t o batch. batch. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (24 fr ames ames p er secon econd d, 17 1 7 0 ° sh utt utter er openin opening g) Lens Apert Aperture ure Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
5
10
20
40
80
160
320
640
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req require 1 ⁄ 2 stop more exposure. exposure. Ligh ting 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, this film fil m ta t akes kes on a “ speci peci al look. look.”” R e c ip ro c ity Cha racteristic racteristicss E I 5 0 0 (2 8 ): You do not
need to make any filter corrections or exposure adjustment me nts s f or exposu xposure times from fr om 1/ 1 / 10 0 0 to t o 1 se second. cond. If your exposure is in the 10-second range, increase your ex p o su re r e 2 ⁄ 3 sto p and use use a K OD A K WRAT T EN Filter / Color Compensa Compensat ing 10Y. 10Y. Handling: To tal da darrkness kness Available Roll Lengths: For information on film rol roll lengths, lengths, check check Ko Kodak’s Professional Motion Imaging P r ice Ca t a lo g, or contact a Kodak sales representative in your
country. All All roll rollss are iden identified tified with with a productprodu ct-ccode od e num n umber ber an a n d an an in t ernal product-code symbol. 9 / 98 MPF-21
COLOR NEGATIVE FILM
500T 5298™ (35 mm m m , 65 65 mm) mm ) EASTM AN EXR 500 00T T Film il m Tu ngst ng sten en EI 500 (28) E x p o s u r e Ind Ind exes a n d Fil Filte rs KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
320 (26)
Tungsten 3200 K
None
500 (28)
Tungsten Photoflood 3400 K
None
500 (28)
Daylight 5500 K
WRATTENGelatin No. 85
320 (26)
Metal Halide H.M.I.
WRATTENGe NGelatin No. 85
320 (26)
Light Li ght Source Source
Yellow-Flame Arcs White-Flame Arcs
WRATTEN Gelatin/ Color Compensati ng 20Y
320 (26)
WRATTENGelatin No. 85B
200 (24)
None
500 (28)
Vitalite
WRATTENGe NGelatin No. 85
320 (26)
Fluorescent* Cool White
WRATTENGelatin No. 85 + 10M
200 (24)
Fluorescent* Deluxe Cool Whit e
WRATTENGela latin No. 85C + 10R
320 (26)
Optima 32
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an exposure index of 250 (25) for a trial exposure.
MPF-22 9/98
5298 P r o c e s s : ECN-2 Use: EA STMA N EXR 500 50 0 T Film Film 529 52 9 8 is a came camera ra film fil m
int in tend nde ed for f or genera generall mot motio ion n pic pi cture prod pr oduc uctio tion. n. The wide wide exposure latitude of this film makes it especially suitable for indoor and outdoor photography under low-level illumination. The film offers the highest quality telecine transfers and is an excellent choice for blue-screen special effe ff ects. Film m 5298 Genera l Pr op erties: erties: EA STMA N EXR 500T Fil is a high-s high-sp pee eed d film film ba balance lanced d for for tungst tungsten lig li ght ht.. Enhanced nhanced shad hado o w det det ail pro p rovide vides s cris cri sp , r ich blacks blacks an and d clea clean, wh whitite e highlights. The emulsion contains a colored-coupler mask to achieve superior color rep reproduction when printed onto EA STMA N Color Color Releas lease Pr int Film. This hi s fi lm is i s charac charac-terized by micro-fine grain, very high sharpness, high reso esolving lvi ng pow owe er, an d wi de under under- and over-exp osure latitude. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (24 frames per second, 170° shutter opening) Lens Aperture Footcandl es
/1.4 /1.4 f
/ 2 f
/ 2.8 f
/ 4 f
/ 5.6 f
/ 8 f
/11 f
/16 f
5
10
20
40
80
160
320
640
Ligh ting ting Con tra st: The sug sugges gested ted ra rat io of key-light-plus key-light -plus--
fill-light to fill light is 2:1 or 3:1. R e c ip r ocity ocity Ch C h ar acte risti ristics cs EI EI 5 0 0 (2 8 ): You do not
need to make any filter corrections or exposure adjus ad justtme ments nts for expos xp osu ure times from 1 / 1 00 000 0 to 1 se second. Handling: Total darkness Available Roll Lengths: For information on film rol roll lengths, check Ko K odak’ s P rofession rofession al Mot ion Im agi agin g representative in P rice rice Ca Ca talog, or contact a Kodak sales rep
your country. All All rolls rolls are identi iden tified fied with a prod uct-c uct-code od e nu m ber an d an in t ernal product-code symbol.
9/98 MPF-23
COLOR NEGATIVE FILM
VISION 800T 5289™ / 7289™ (35 mm/ m m/ 16 mm mm)) K ODA DAK K VIS VISION ION 80 800T 0T Co Color lor Negative Negati ve Film Tu ngst ng sten en EI 800 (30) (30) E x p o s u re In dexes a n d Fil Filte rs KODAKCamera Fi l ters*
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
500 (28)
Tungsten 3200 K
None
800 (30)
Tungsten Photoflood 3400 K
None
800 (30)
Daylight 5500 K
WRATTENGelatin No. 85
500 (28)
Metal Halide H.M.I.
WRATTEN ENGelatin No. 85
500 (28)
Yellow-Flame Arcs
WRATTEN Gelatin/ Color Compensating 20Y
500 (28)
White-Flame Arcs
WRATTENGela latin No. 85B
320 (26)
None
800 (30)
Vitalite
WRATTENGelatin No. 85
500 (28)
Fluorescent,* Cool White
WRATTENGelatin No. 85 + 10M
320 (26)
Fluorescent,* Deluxe Cool Whit e
WRATTENGelatin No. 85C + 10R
500 (28)
Light Source
Opt ima 32
* IMPORTANT: These are approximate corrections only. Make final corrections during printing. When you don’t know the kind of lamp, use a CC40R filter with an index exposure of 400 (27) for a trial exposure.
MPF-24 6/00
5289/7289 P r o c e s s : ECN-2 U s e : KODAK VISION 800T Color Negative
Film / 5 2 89 89// 72 728 8 9 offe offers rs exce xcellent llent image image quality lit y and and the highest capture speed available in motion picture films. It delivers the speed and latitude you need in low light, fast action, and other filming conditions where film speed is vitally important. G e n e r a l P r o p e r t i e s : KODAK VISION 800T Color
N egativ ti ve Film / 5 2 89 89// 72 728 8 9 is a very very highhigh-s spe pee ed film film balanced for tungsten light. This film features a wide under- and over over exposure latitude, and accurate color and flesh-t flesh-to-ne o-neu utra tr al ba bala lance nce.. It intercut ntercuts wi witth ot othe herr Koda Ko dak k color color negative motion picture films. KODAK VISION Film sets new standards for consistency—emulsion to emulsion, roll to roll, batch to batch. Illumination (Incident Light) Table for Tungsten Light (24 frames per second, 170° shutter opening) Lens Aperture
/1.4 f
/2 f
/2.8 f
/4 f
/5.6 f
/8 f
/11 f
/16 f
3
6
12.5
25
50
100
200
400
Footcandles
Use this table for average subjects. When a subject includes only pastels, use at least 1 ⁄ 2 stop less exposure; exposure; dark colors req requir e 1 ⁄ 2 stop more exposure. exposure. Ligh tin tin g Con tra st: The suggested ratio of key-light-plus-
fill-light to fill-light is 2:1 or 3:1. R e c ip ro city city Ch ara cter ist ic s El 8 0 0 (3 0 ) : You do not
need to make any filter corrections or exposure adjustment me nts s f or expo expos sure t imes imes from fr om 1/ 1 / 1 0 0 0 to 1 second. cond. If your exposure is in the 10-second range, increase exposure by 2 ⁄ 3 stop. H a n d lin g : Total Total darknes darkn ess s Available Roll Lengths: For information on film rol roll lengths, check Kodak’s Professional Motion Imaging representative in Pric Price Catalog, or contact a Kodak sales rep
your country. A ll rolls olls ar are ident ifi ed with with a produ produ ct-c t-cod e n um ber an an d an in tern tern al p roductodu ct-code code sym bol. bol. 6/00 MPF-25
COLOR REVERSAL FILM
EK TACH ACHROM ROME E 100D 100D 5285™ (35 mm mm) KODAK EK EKTAC TACHROME 100 00D D Color Color Reversal Reversal Film Film Daylig Dayli g ht EI 100 100 (2 (21) E x p o s u re In dexes an d F ilters KODAKCamera Fi l ters
Exposure Index (DIN)
Daylight 5500 K
None
100 (21)
Metal Halide H.M.I.
None
100 (21)
Tungsten 3000 K
WRATTENGelatin No. 80A
25 (15)
Tungsten 3200 K
No. 80A
25 (15)
Tungsten Photoflood 3400 K
No. 80A
25 (15)
WRATTEN Gelatin/ Color Compensating 20Y + 10C
64 (19)
Light Source
White-Flame Arcs Optima 32 Vitalite Fluorescent* Cool White Fluorescent* Deluxe Cool White
WRATTENGelatin in No. 80A
25 (15)
None
100 (21)
WRATTEN Gelatin/ Color Compensating 20M
80 (20)
WRATTENGelatin in No. 85C
80 (20)
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an index exposure of 100 (21) for a trial exposure.
MPF-26 9/00
5285 P r o c e s s : E-6, cine machine U s e : KODAK EKTACHROME 100D Color Reversal
Film / 52 528 8 5 i s a 100 10 0 -spe -spee ed, high hi gh-c -color olor reve reverr sal motion m otion p i ct ur e came camera ra film fi lm int in t ende nded d for p hot hotography ography unde nderr daylight illumination (5500 K). G e n e r a l P r o p e r t i e s : KODAK EK EKTAC TA CH ROME 1 0 0 D
Color Re Rever ver sal Film Film / 5 2 8 5 offers of fers strikingly tr ikingly sat ur ate ted d color perfo perfor ma mance nce while whil e ma maii ntaining ntain ing a neutral gra gr ay sc scale and accurat accurate e flesh flesh rep reproduction. It has exceptional sharpness that is unsurpassed by any other 100-speed reversal technology, and its grain perfo perf ormance is excellent. Illumination (Incident Light) Table for Daylight
(24 frames per second, 170° shutter opening) Lens Apertur Aperture e Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f 8 /
f /11
25
50
100
200
400
800
1600
R e c ip ro city city Cha racte r ist ics EI EI 1 0 0 (2 1 ): You do not
need to make any filter corrections or exposure adjustments me nts for expo expos sure time t imes s from 1 / 100 1000 0 to 1 second. Handling: Total darkness Available Roll Lengths: For information on film rol roll lengths lengths, check check Ko Kodak’s Professional Motion Imaging P r ice Ca t a lo g, or contact a Kodak sales representative in your
country. All All roll rollss are iden identt ified with with a produ ct-co t-cod d e num ber an a n d an in t ernal product-code symbol.
9/00 MPF-27
EKTACHROME FILM
7240™ (16 m m , Sup Super er 8) EASTM AN EK TACHROME Film Tungs un gstt en EI 125* 125* (22) (22) E x p o s u re Ind exes an d F ilter s KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
80 (20)
Tungsten 3200 K
None
125 (22)
Tungsten P Ph hotoflood 34 3400 K
WRATTENGelatin No. 81A
100 (2 (21)
Daylight 5500 K
WRATTEN Gelatin No. 85B
80 (20)
Metal Halide H.M.I.
WRATTEN Gelatin No. 85B
80 (20)
Yellow-Flame Arcs
None
125 (22)
Whit e-Flame Arcs
WRATTEN Gelatin No. 85B
80 (20)
None
125 (22)
WRATTEN Gelatin No. 85B
80 (20)
Lig Li ght Source Source
Optima 32 Vitalite
Fluorescent* * Cool White
WRATTEN Gelatin/ Color Compensating 60R + 10Y
32 (16)
Fluorescent* * Deluxe Cool White
WRATTEN Gelatin/ Color Compensating 20R + 20Y
64 (19)
* When exposed in Super 8 cameras through KODAK WRATTEN Filter No. 85, the effective tive speed speed is red reduce uced d to to 80 for for Dayli Daylight. ght. In automa utomatic ti c camera cameras, s, due to the the cart cartriridge dge spe speed ed and filter notching system, the film will be exposed as follows: Daylight (with filt filter) Tungsten (without filt filter)
80 125
* *IM *I MPORTANT: These are approximate filter requirements. When you don’t know the kind kind of lam l amp, p, use a CC40R filter wit with an an exposure exposure index index of 64 (19) for a tr trial exposur exposure e.
MPF-28 9/98
7240 P r o c e s s : V NF-1 or RV NP. Forc or ce proces pr ocess sing: in g: 1 stop
with some loss in quality; up to 2 stops with noticeable quality loss. Use: EASTMAN EKTACHROME Film 7240 is a high-
speed, color reversal camera film balanced for tungsten light and for daylight with an appropriate filt fil ter. You can use it for color news photography, nighttime sporting events, industrial photography with existing light, and for high-speed photography. The processed original film is balanced for projection at 5400 K. The Th e p r o ces cessed cam cam er a origi or igin n al i s meant meant f o r dire dir ect projection; however, you can make color duplicates on EASTMAN EKTACHROME VN Print Film 7399 (Process VNF-1). Use shortened first developer time. Illumination (Incident Light) Table for Tun Tu n g s t e n Light (24 frames per second, 170° shutter opening) Lens Aperture Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
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. R e c ip r ocity ocity Ch ara cterist cteri st ic s EI E I 1 2 5 (2 2 ): For expo-
sur e time ti mes s ranging ranging from f rom 1 to 1/ 10 10,, 0 00 second, no compensation is needed for either exposure level or color balance. H a n d lin g : Total darkness
roll Available Roll Lengths: For information on film rol lengths, check Kodak's Professi of ession on al Mot ion Im Im aging Price Price Catalog Ca talog, or contact a Kodak sales rep representative in your country. All Al l rolls olls ar are iden iden tifi tifi ed with with a fi lm em ulsi ulsion lett er code.
9/98 MPF-29
EKTACHROME FILM
7239™ (35 mm/ mm / 16 m m) EASTM AN EK TACHROME ACHROM E Film Daylig Dayl igh h t EI 160 160 (23) (23) E x p o s u re Ind exes an d F ilters KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 80A
40 (17)
Tungsten 3200 K
WRATTENGela latin No. 80A
40 (17)
Tungsten ten Photofl toflood 34 340 00 K
WRATTENGelatin No. 80B
50 (18)
Daylight 5500 K
None
160 (23)
Metal Halide H.M.I.
None
160 (23)
Yel low-Flame Arcs
WRATTENGelatitin No. 80A
40 (17)
White-Flame Arcs
None
160 (23)
WRATTENGela latin No. 80A
40 (17)
None No. 85B
160 (23)
Light Source
Optima 32 Vitalite
Fluorescent* Cool White
WRATTEN Gelatin/ Color Compensating 30M
100 (21)
Fluorescent* Deluxe Cool White
WRATTEN Gelatin/ Color Compensating 20B
100 (21)
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, lamp, use a CC20M 20M filt filter with with an exposu exposurr e inde indexx of 100 (21) for a tr trial exposur exposure e.
MPF-30 9/98
7239 P r o c e s s : VNF-1 or RVN RVNP.
Force processing: 1 stop with some loss in quality; up to 2 stops with noticeable quality loss. U s e : This high-speed color reversal camera film is
intended for photography under low-level daylight illumination. It can be used for news photography, sporting events, and high speed photography. It is a companion film to EASTMAN EKTACHROME Film 7251. The processed original camera film is balanced for pro je jection at 5400 K. The processed camera original of EASTMAN EK TACH ROME OM E H i gh Sp eed Film 7 2 3 9 is me m eant for direct projection; however, color duplicates can be made on EASTMAN EKTACHROME VN Print Film 7399 (Pr oces ocess V NF-1). Use re recommend com mended ed sho shorr tened tened firs fir st de develveloper time. N O T E : Operation at a lens opening larger than f / 32 is
possible by making the exposure through a neutral density filt filter, such as a KODAK WRATTEN Neutral Density Filter No. 96. For example, when a filter with a density of 0.9 is used, the lens can be opened 3 full stops. Illumination (Incident Light) Table for Daylight
(2 4 fra fr ames per second econd,, 170 17 0 ° shut hutter ter op openi ening) ng) Lens Aperture Footcandl es
/1.4 /1.4 f
/ 2 f
/ 2.8 f
/ 4 f
/ 5.6 f
f / 8
/11 f
16
32
64
128
256
512
1024
Light in g Co n tras t: The suggested ratio of key-light-plus
fill-light to fill light is 2:1 or 3:1. R e c ip r o c it it y C h a r a c t e r i st s t ic i c s E I 1 6 0 (2 3 ): For expo-
sur e time ti mes s ranging ranging from fro m 1 to 1/ 1 0, 0,00 000 0 second, cond, no compensation is needed for either exposure level or color balance. H a n d lin g : Total darkness Available Roll Lengths: For information on film rol roll lengths, check Kodak’s P rofessi rofess ional on al Motion Im agin gin g represe resent nta ative in in Pric Pricee Cata Cat alo g , or contact a Kodak sales rep
your your countr country. y. A ll rolls olls ar are iden iden t ifi ed wi w ith a fi lm em ulsi ulsion letter lett er code. code. 9/98 MPF-31
EKTACHROME FILM
7250™ (16 mm mm ) EASTM AN EK TACHROM ACHROM E High Hig h Sp Sp eed Film Tung un g sten st en EI 400 (27) (27) E x p o s u r e Ind Ind exes a n d F ilters KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 82B
250 (25)
Tungsten 3200 K
None
400 (27)
Tungsten Photoflood 3400 K
WRATTENGela latin No. 81A
320 (26)
Daylight 55 5500 K
WRATTENGelatin No. 85B
250 (25)
Metal Halide H.M.I.
WRATTENGelatin No. 85B
250 (25)
Yell ow-Flame Arcs
None
400 (27)
Whit e-Fl ame Arcs
WRATTENGelatin No. 85B
250 (25)
None
400 (27)
WRATTENGelatitin No. 85B
250 (25)
Lig Li ght Source
Opti ma 32 Vitalite
Fluorescent* Cool White
WRATTEN Gelatin/ Col or Compensating 60R + 10Y
100 (21)
Fluorescent* Deluxe Cool White
WRATTEN Gelatin/ Col or Compensating 20R + 20Y
200 (24)
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC40R filter with an exposure index of 200 (24) for a trial exposure.
Note: Filters judged acceptable for use with EASTMAN
EK TA CH CHROM ROME E Fi Fi lm 7 2 4 0 (Tungsten) Tungsten) should should pro pr ovide equal compensation when you use them with this film fil m.
MPF-32 9/98
7250 RVNP. P r o c e s s : VNF-1 or RVN 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 camera
film makes photography possible with very low-light illumination. It can be used for color news photography, nighttime sporting events, and high-speed photography by both daylight and artificial light. The processed original film is balanced for projection at 5400 K. The processed camera original of High Speed Film 7250 is meant for direct projection; however, you can make color duplicates on EASTMAN EKTAC EKTA CH ROME V N Print Print Film 7 3 9 9 (Proces Process V NF-1 NF-1 ). U se rec recommended shortened first developer time. Illumination (Incident Light) Table for Tu n g s t e n Lig h t (2 4 fr ame mes s per second, 1 7 0 ° shut huttter open op eniing) Lens Lens Aperture Aperture Footcandl es
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
f /16
f / 22
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. R e c ip rocity Characteristics EI 400 (27): For expo-
sure times times r ang nging ing from 1/ 1000 to 1 / 1 0 second ond,, no compensation is needed for either exposure level or color balan ba lance ce.. At A t 1/ 1 / 10 10,,00 000 0 second cond,, incre in crea ase expos exposure ure by by 1 ⁄ 3 stop. At 1 second, increase exposure by 1 ⁄ 2 stop. otal al dar dar kness kness Handling: Tot Available Roll Lengths: For information on film rol roll lengths, check Ko Kodak’s Professi rofe ssion onal al Motion Im agi agin g Pri Price C at alo g, or contact a Kodak sales representative in your
country. All rolls rolls are are identi den tifie fied d with a film em emuls ulsiion letter lett er code.
9/98 MPF-33
EKTACHROME FILM
7251™ (16 mm) m m) EASTM AN EK TACHROM ACHROM E Hi Hi g h Sp Sp eed Film il m Daylig Dayli g ht EI 400 (27) 27) E x p o s u re Ind exes a n d Fil Filters KODAKCamera Fi l ters
Exposure Index (DIN)
Tungsten 3000 K
WRATTENGelatin No. 80A
100 (21)
Tungsten 3200 K
WRATTENGelatin No. 80A
100 (21)
Tungst en P Ph hotoflood 3 34 400 K
WRATTENGelatin No. 80B
125 (2 (22)
Daylight 5500 K
None
400 (27)
Metal Halide H.M.I.
None
400 (27)
Yellow-Flame Arcs
WRATTENGelatin No. 80A
100 (21)
Whit e-Flame Arcs
None
400 (27)
WRATTENGe NGelatin No. 80A
100 (21)
None
400 (27)
Fluorescent* Cool White
WRATTEN Gelatin/ Color Compensating 30M
250 (25)
Fluorescent* Deluxe Cool White
WRATTE WRATTEN Gela elat in/ Color Compensating 20B
250 (25)
Light Source
Optima 32 Vitalite
* IMPORTANT: These are approximate filter requirements. When you don’t know the kind of lamp, use a CC20M filter with an exposure index of 250 (25) for a trial exposure.
Note: Filters judged acceptable for use with EASTMAN
EKTACHROME Film 7239 should provide equal compensation when used with this film fil m.
MPF-34 9/98
7251 P r o c e s s : VNF-1 or RVN RVNP.
Force processing: 1 stop with some loss in quality; up to 2 stops with noticeable quality loss. Us e : EASTMAN EKTACHROME High Speed Film is a
very high-speed color reversal camera film that makes photography possible in very low-light illumination. You Yo u can use it for industrial photography, instrumentation studies, sporting events, and high-speed photography by both daylight daylight and artificial tificial light light with wit h filte filt ers. rs. The T he p roc rocessed orig ori gina in al ca camera film is i s ba bala lance nced d for f or projec pr ojecti tion on at at 5 40 400 0 K. The processed camera original of EASTMAN EK TA CH CHROM ROME E H igh Spee Speed Fi lm 7 2 5 1 is meant meant for direct projection; however, color duplicates can be made on EASTMAN EKTACHROME VN Print Film 7399 (Pr o ces cess V N F-1 F-1 ) usi usi ng r ecommended com mended sho horr t ened fir fi r st developer time. Illumination (Incident Light) Table for Daylight
(2 4 frames f rames per seco eco nd, 170 17 0 ° shut hutter ter op openin ening g) Lens Aperture
/1.4 /1.4 f
/ 2 f
f / 2.8
/ 4 f
/ 5.6 f
/ 8 f
/11 f
/16 f
f / 22
Footcandl es
6.3
12.5
25
50
100
200
400
800 1600
Ligh ting ting C o ntr a st: The The sugge gges sted ra r atio of key-light-pl key-light -plu us
fill-light to fill light is 2:1 or 3:1. R e c ip ro c ity Ch ara cterist cterist ic s EI 4 0 0 (2 7 ): You do not
need to make any exposure or filter adjustment for exposure time times s from 1/ 100 1000 0 to 1/ 1 / 10 second nd.. A Att an an expos exposu ure time ti me of 1/ 1 / 1 0 ,0 ,00 0 0 secon con d, inc i ncrrease expos xp osure ure by 1 ⁄ 3 stop. At an exposure time of 1 second, increase exposure by 1 ⁄ 2 stop. H a n d lin g : Total darkness Available Roll Lengths: For information on film rol roll lengths, check Kodak's P rofession rofession al Mot ion Im agin agin g represe resent ntat ative ive in Pric Price Catalog , or contact a Kodak sales rep
your country. A ll rolls rolls are are ide ide n ti tifi fi ed with a fi lm em ulsion ulsion lett er code.
9/98 MPF-35
PLUS-X NEGATIVE FILM
5231™/ 5231 ™/72 7231 31™ ™ (35 (35 m m / 16 mm mm ) EASTMAN PLUS-X Negative Film Ex p o s u re Inde Inde x es : (For deve development to gamma gamma of 0.6 .65) 5) (2 0 ) Da Da y ylligh t – 8 0 (2
(1 9 ) Tun Tu n gst e n – 6 4 (1
P r o c e s s : Black and white with KODAK Developer D-96.
Force Processing: 1 stop (or more) with some loss in quality – check with your processing laboratory. Us e : The speed and grain characteristics of EASTMAN
PLUS-X Negative Film make it well suited for general motion picture production. These film characteristics provide an excellent balance between the maximum desirable speed for general production work and the fine grain. G en e n e r a l P r o p e r t ie s : T he me medium dium spee speed d of EA STMA TM AN
PLUS-X Negative Film 5231 and 7231 permits the use of relatively small apertures in daylight (thus allowing good depth of field). The film is widely used for making composite projection background scenes. Illumination (Incident Light) Table for Tun Tu n g s t e n mes s p er secon econd, d, 17 1 7 0 ° shutt hutter er opening) openi ng) Light (2 4 fr ame Lens Lens Aperture pert ure Footcandl es KODAK WRATTEN Fi l ter No. Dayl i ght Fi lter Fac Factor tor
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
40
80
160
320
640
1280
2560
Fi l ter Factors actors 3
8
12
15
21
1.5
2
2.5
3
3.5
23A 8N5
5
5
25
29
96*
8
25
8
*For use in bright sunlight to reduce the exposure without modifying color rendering or de depth pth o off fi field. eld. This This ne neutral-de utral-density nsity filt filte er in a density density of 0.90 0.90 pro pr ovid vides a reducti reduction on equivalent to 3 full stops.
MPF-36 9/98
5231 / 7231 R e c ip rocity Characteristics: You do not need to make
any exposure or filter adjustment for exposure times from 1/ 1 / 10 10,0 ,000 00 to 1/ 1 0 se second ond.. At A t an an expos exposure ure time of 1 second, increase exposure by 1 ⁄ 2 stop. H a n d lin g : Total darkness Available Roll Lengths: For information on film rol roll lengths, check Kodak's P rof ession ession al Moti Mo tion on Im agi agin g represent resentati ativ ve in in Pric Price Catalog , or contact a Kodak sales rep
your country. A ll ro ro ll llss are are ide iden n tifi ed wit wit h a p rod uct-code uct-code n u m ber an d an internal inte rnal prod productuct-code code sym bol. bol.
9/98 MPF-37
DOUBLE-X NEGATIVE FILM
5222™/7222™ (35 mm/16 mm) EASTMAN DOUBLE-X Negative Film Ex p o s u re In In de xes: (For development to gamma of 0.65) – 2 5 0 (2 5 ) Da Da y ylligh t –
Tun Tu n gst e n – 2 0 0 (2 4 )
P r o c e s s : Black and white with KODAK Developer D-96.
Force Processing: 1 stop (or more) with some loss in quality – check with your processing laboratory. Us e : EASTMAN DOUBLE-X Negative Film is suitable for
general photography and for photography under adverse lighting conditions. It is useful in situations where grea great depth of field is desired without an increase in illumination. G e n e r a l P r o p e r t ie s : EA STMAN TM AN DOU DO U BLE BL E-X Ne N ega gati tiv ve
Film 522 52 2 2/ 7 22 222 2 is i s a high high -spee -speed, d, panchroma panchromatt ic film that that has good image-structure characteristics and excellent sharpness. Illumination (Incident Light) Table for Tun Tu n g s t e n Light (24 frames per second, 170° shutter opening) Lens Aper Aperture ture Footcandl es KODAK WRATTEN Fi l ter No. Dayl i ght Fi lter Factor
f /1.4 /1.4
f / 2
f / 2.8
f / 4
f / 5.6
f / 8
f /11
13
25
50
100
200
400
800
Fi l ter Factors actors 3
8
12
15
21
23A
25
29
96*
1.5
1.5
2.0
3.0
3.0
5
8
20
8
* For use i n brig bri ght sunlight sunlight to to re reduce the exposure exposure wi witho thou ut modi modi fying fying color re r ende nderi rin ng or depth of field. This neutral-density filter in a density of 0.90 provides a reduction equivalent to 3 full stops.
MPF-38 9/98
5222 / 7222 R e c ip r o c it i t y C h a r a c t e r is i s t i c s : No exposure or filter
comp com p ensati nsation on i s r equi r ed f or ex posur posur e t i mes f r o m 1/ 10 10,000 ,000 to t o 1 se second ond.. H a n d lin g : Total darkness
roll Available Roll Lengths: For information on film rol lengths, check Kodak's P rofe ssional ssional Moti Mo tion on Im agin gin g Price Price Catal Cat alo o g, or contact a Kodak sales rep representative in your country. All rolls are identified with a product-code number and an int ernal ernal produ ct-c t-code od e sym bol.
9/98 MPF-39
PLUS-X REVERSAL FILM
7276™ (16 mm, Super 8) EASTM ASTMAN AN PLUSPLUS- X Rever Reversal sal Film il m E x p o s u r e I n d e x e s *: (For r ecomm eco mmended ended r ever sal
processing) Da D a y ylligh t – 5 0 (1 8 )
Tun Tu n gst en en – 4 0 (1 7 )
For negative processing in a typical negative motion picture film developer, use the following exposure indexes: Da Da y ylligh t – 2 5 (1 5 )
Tun Tu n gst e n – 2 0 (1 4 )
P r o c e s s : KODAK Liquid Reversal Chemicals or from bulk.
Force Processing: 1 stop (or more) with some loss in quality – check with your processing laboratory. U s e : EASTMAN PLUS-X Reversal Film 7276 is used
widely for general exterior photography and for indoor photography where there is ample illumination. Gener al Pro p e r t ie s : EASTMAN PLUS-X Reversal Film
7276 is a medium-speed, panchromatic, reversal motion picture film. It is characterized by a high degree of sharpness, good contrast, high resolving power, and excellent tonal gra grada dati tion. on. When processed as a reversal film, the resulting positive can be us used for for projec rojecttion or for duplic dupli cation. atio n. Proces Processed as as a ne nega gattive mat material by con conv ventional enti onal met metho hod ds, t he film will will yield satisfactory results, although a print will be necessary. * When exposed exposed in Super 8 cameras thro through ugh a KODA KODAK K WRA WRATT TTE EN Ge Gelati latin Fi Filter No. 85, 85, the t he effective speed is reduced to 32 for daylight. In automatic cameras, due to the cartridge speed and filter notching system, the film will be exposed as follows: Daylight (no filt filter) Daylight (with filt filter) Tungsten (without filt filter)
MPF-40 9/98
50 25 40
7276 Illumination (Incident Light) Table for Tu n g s t e n Lig h t (24 frames per second, 170° shutter opening) Lens Lens Aperture Aperture Footcandl es
/1.4 /1.4 f
/ 2 f
/ 2.8 f
/ 4 f
/ 5.6 f
/ 8 f
63
125
250
500
1000
2000
Lighting Con tra st R a tios: tios: The suggested ratio of key
light-plus-fill-light to fill light is 2:1 or 3:1 for normal use. KODAK WRATTEN Fi l ter No. Dayl i ght Filter Factor
Filter Factors 3
8
12
15
21
23A
25
29
96*
1.5
2
2
2.5
3
5
10
40
8
*For use in bright sunlight to reduce the exposure without modifying color rendering or depth of field. This neutral-density filter in a density of 0.90 provides a reduction equivalent to 3 full stops.
R e c ip r ocity ocity Ch ar a cter istics: stic s: You do not need to make
any expos any exposure or filte filt er adjus djustme ment nt for expos xp osu ure time times s fro fr om 1/ 10 1000 00 to 1 se secon ond. d. At an an expos exposure ure time of 1/ 10 10,, 000 second, increase exposure by 1 ⁄ 2 stop. H a n d lin g : Total darkness Available Roll Lengths: For information on film rol roll lengths, check Kodak's P rofessional Motion Im agin agin g representative in Price Catalog , or contact a Kodak sales rep
your country. A ll rol rolls ls are ident ifi ed with with a fi lm em ulsion ulsion lett er code. code.
9/98 MPF-41
TRI-X REVERSAL FILM
7278™ 7278 ™ (16 (16 m m , super sup er 8) EASTM ASTMAN AN TRITRI-X X Rever Reversal sal Film il m E x p o s u r e I n d e x e s : (For r ecom mended men ded r ever sal
processing) – 2 0 0 * (2 4 ) Da Da y ylligh t –
Tun Tu n gst e n – 1 6 0 (2 3 )
For negative processing in a typical motion picture negative developer, use the following exposure indexes: – 1 0 0 (2 1 )* Da Da y ylligh t –
Tun Tu n gst en en – 8 0 (2 0 )
P r o c e s s : KODAK Liquid Reversal Chemicals or from from
bulk. Force Processing: 1 stop (or more) with some loss in quality – check check with your processing laboratory. U s e : The The high sp sp eed of EA STMA TM A N TRI-X T RI-X Reve Revers rsa al Film
7278 makes it suitable for general interior photography with artificial light. You can use it in daylight also, and it is particularly useful for sports events taken at reg regular speed or slow motion in weak light (overcast sky or sports events at night). G e n e r a l P r o p e r t ie s : EASTMAN TRI-X Reversal Film
7 2 7 8 ha has s hig hi gh speed, excellent xcellent tonal t onal grada gradattion, ion, and hig hi gh resolving power. An antihalation layer is incorporated in the film structure. When processed as a reversal film, you can use the resulting positive for projection or for duplication. Pr o cess cessed as a n ega gatt ive materi mater i al by conve con vent ntio ional nal methods, the film yields satisfactory results, although a print will be necessary. *Super Super 8 auto automatic matic cameras cameras will will expose the film fi lm at AS ASA 160 due to the t he ANS ANSI stan standard dard cartridge notching system.
MPF-42 9/98
7278 Illumination (Incident Light) Table for Tun Tu n g s t e n Lig h t (24 frames per second, 170° shutter opening) Lens Aperture Footcandl es KODAK WRATTEN Fi l ter No. Dayl i ght Fi lter Factor
/1.4 /1.4 f
/ 2 f
/ f 2.8
/ 4 f
/ 5.6 f
f / 8
16
32
64
128
256
512
Filter Factors 3
8
12
15
21
23A
25
29
96*
1.5
2
2
2.5
3
5
10 10
40
8
* For use in br bright sunlight sunli ght to re reduce the exposure exposure without without modi modifying fying color re r ende nderi rin ng or de dept pth h of of field. This This ne neutralutral-de densit nsity y filte filt er in in a density density of 0.90 0.90 provide provides a reduction reduction equivalent to 3 full stops.
R e c ip rocity Characteristics: You do not need to make
any exposure or filter adjustment for exposure times from 1/ 1 / 1 0 ,00 ,000 0 to 1/ 1 0 se second. cond. At A t an expos exposure ure time of 1 second, increase exposure by 1 ⁄ 2 stop. H a n d lin g : Total darkness Available Roll Lengths: For information on film rol ro ll lengths, check Kodak's P rofe ssio ssio nal Motion Mo tion Im agi agin g representative in Price Catalog , or contact a Kodak sales rep
your your countr country. y. A ll rol rolls ls ar are iden iden tifi ed with with a fi lm em ulsi ulsion let ter code. code.
9/98 MPF-43
Incident-Light Illumination (in fo ot c a n dle dl e s ) (Frame rat rate: 24 fr frame mes/sec s/sec– –approx1/50 pprox1/50 sec) sec) NOTE: Data applies to both color and black-and-white films. Exp Index (Daylight or Tungsten) /1.4 f
Lens Openi ng /2 f
/2.8 f
/4 f
/5.6 f
/8 f
/11 f
12
200
400
800
1600
3200
6400 13000
16
160
320
640
1250
2500
5000 10000
20
125
250
500
1000
2000
4000
8000
25
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
2500
80
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
800
250
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
250
800
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
* Le Less ss tha than n 3 footca f ootcandle ndles s
MPF-44 9/98
FILTER INFORMATI INFORMATION In t r o d u c t io n U se t he filte filter and color color temp mpe erature chart charts s in thi t his s sect ion as a quick ref reference and general guide. The values are ap proximate. They offer good starting points for trial exposures in critical work. For less demanding work, the recommendations may be adequate, but it is always best to run tests before shooting final footage. For photogr aphy with fluo fluorescent lights, see the individual film’s filt filter i n f o r ma mation tion in the secti on“ KODA KO DAK K Mot Motion ion Pi cture Camera Films.”
Types of Filters Optical filters may be solid, liquid, or gaseous; only solid filters are discussed in this book. These consist mainly of colorants dissolved in a gelatin or in cellulose acetate. Each Kodak filt filter, gelatin or acetate, is standardized for spectral transmittance and total transmittance by special instruments which apply an optical form of limit gauge to these characteristics. The dyes are obtained from a number of sources, and many have been synthesized. Like other dyes, the dyes used in filters may, in time, change under certain conditions of heat and light. In this publication, we will be addressing only fi lt e r s for black-and-white films, color compensating, conversion, light balancing, and neutral density (No. 96).
F ilte r s fo r Bla Bla ck-a ck- a nd -White F ilm s You 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 subject in a photograph, either to correct to the normal visual appearance or to accentuate special features. The total photographic effect obtained with a particular filter depends on four main factors: its spectral absorption characteristics, the spectral sensitivity of the sensitized material, the color of the subject to be photographed, and the spectral quality of the illuminant.
1
Fi l ter Factors* for KODAK Mo Motition on P Pii cture Fi Fi l ms Nega egatitive ve Fi l ms Fil Fil ter
Reversal eversal Fi l ms
PLUS-X PLUS-X
DOUB UBLE LE--X
PLUS-X PLUS-X
TRI TRI-X
No. 3
1.5
1.5
1.5
1.5
No. 8 (K2)
2.0
1.5
2.0
2.0
No. 12 (Minus Blue)
2.5
2.0
2.0
2.0
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
5
No. 8N5
5
5
6
6
No. 25
8
8
10
10
No. 29
25
20
40
40
No. 96
8
8
8
8
* All filters fil ters absorb absorb part part of the t he incide incident nt ra r adiation, diation, so their their use usuall usually y requir require es some some increase in exposure over that required when no filter is used. The number of t imes imes by which which an an exposure exposure must must be increas ncrease ed for for a given given fil filter with wit h a given given material is called the filter factor , or multiplying factor.
Filter factors published for Kodak products by K o d a k a r e i nt n t e n d e d o n ly a s a p p r o xi x im a t e g u id id e s .
Publis Publishe hed d filte fil terr f actors ctors ap ply st stric ri ctly to t o the t he p ar ticular ticular lightlighting 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 desirable to determine the filter factor for actual working conditions. To determine a filter factor, choose a subject having a neutral-gray area, or place an 1818 -percent gray card or a pho hotogr togra aphic hic gray sc scale in the the sc scen ene e to be p hot hotogr ogra aphed hed.. Make one exposure without a filt fil ter. Then, with the filt filter where it will be for the exposure, and beginning with the unfilt filtered exposure setting, make a series of exposures exposures. Increase ase each each in 1 ⁄ 2-stop increments through a 2- to 4-stop greater exposure (very dense filters may need more). After processing the negative, match densities of the unfilt unfil tered red exposure with the filter series either visually or with a densitometer. Choose the filt filtered exposure that is closest to the unfilt unfiltered. Some additional exposure adjustments may be necessary. 2
Below is a conversion table of filter factors to exposure increase in stops. Fi l ter Factor
+ Stops
Fi l ter Factor
+ Stops
Fi l ter Factor
+ Stops
1.25
1
⁄ 2
4
2
12
32 ⁄ 3
1.5
2
⁄ 3
5
21 ⁄ 3
40
51 ⁄ 3
2
1
6
22 ⁄ 3
100
62 ⁄ 3
2.5
11 ⁄ 2
8
3
1000
3
12 ⁄ 3
10
31 ⁄ 3
–
10 –
Each time a filter factor is doubled, the exposure needs to be increased by 1 stop. As an example, a filter factor of 2 req requires a 1-stop exposure increase. A filter factor of 4 req requires a 2-stop exposure increase. Use this example for filter factors not listed in the above table.
Colo Col o r Co C o m pe ns a ting ti ng Fil Filter s Color compensating filters control light by attenuating principally the red, green, or blue part of the spectrum. While controlling one color, the filter transmits one or both of the other two colors. Thus, color compensating filters can make changes to the color balance of pictures pictures rec recorde ded d on color color films film s, or compe compensa nsat e for de deficiencie ficiencies s in the spectral quality of a light source. For optimum res results, use the single recommended color compensating filt fil ter rather than combining filters (for example, CC20Y + CC20M = 20R, so using 20R only is preferable). KODAK WRATTE ATT EN Gela Gelatin tin Filte ilt ers/ Color Compens Compensating Filt Filte ers have excellent optical quality and are suitable for image f o r ming mi ng op opti tica call syst yst ems — o ver-the-camera r-t he-camera lens, lens, fo forr example. For less critical work, you may use KODAK Color Printing Filters (acetate).
3
Conversion Filters for Color Films fi can t These filters are intended for use whenever sign i fi changes in the color temperature of the illumination are req required (for example, daylight to artificial light). The filt fil ter may be positioned between the light source and other elements of the system or over the camera lens in conventional photographic re rec cording. Fi l ter Col or
Fi l ter Number
Blue
80A 80B 80C 80D
2 2 1 / 3 1 1 3 /
3200 to 5500 3400 to 5500 3800 to 5500 4200 to 5500
85C 85 85N3 85N6 85N9 85B 85BN3 85BN6
1 3 / 2 / 3 2 3 1 / 2 2 / 3 2 3 3 / 2 / 3 2 3 1 / 2 2 / 3
5500 to 3800 5500 to 3400 5500 to 3400 5500 to 3400 5500 to 3400 5500 to 3200 5500 to 3200 5500 to 3200
Amber
Exposure Increase In Stops*
Conversi on i n Degrees K
* The hese se val val ues are are approxi approxima matte. For crit critical work, wor k, check check by accurate accurate test tests, s, especia especialllly y if you use more than one filt fil ter.
4
KOD AK Li Ligh t Ba la ncing Fil Filte r s Light-balancing filters enable the photographer to make m in o r adjustments in the color quality of illumination to obtain cooler (bluer) or warmer (yellower) color ren rendering. One of the principle uses for KODAK Light Balancing Filters is where light sources frequently exhibit color temperatures diffe different than that for which a color film is balanced. When using a color temperature meter to determine mine the colo colorr te t emp mpera eratture of pr prevaili vailing ng lig li ght ht,, you you ca can use the table table bel below, ow, whic whi ch conv convert erts s the prev preva ailing te t emp mpera eratture to eithe eitherr 3200 32 00 K or 3400 340 0 K. K. Exposure Increase i n Stops*
To Obtai n 3200 K from:
To Obtai n 3400 K from: 2610 K 2700 K 2780 K 2870 K 2950 K 3060 K 3180 K 3290 K 3510 K 3630 K 3740 K 3850 K 3970 K 4140 K
Fi l ter Col or
Fi l ter Number
Bluish
82C + 82C 82C + 82B 82C = 82A 82C + 82 82C 82B 82A 82
1 3 1 / 1 1 / 3 1 1 2 3 / 2 3 / 1 3 / 1 3 /
2490 K 2570 K 2650 K 2720 K 2800 K 2900 K 3000 K 3100 K
Yellowish
81 81A 81B 81C 81D 81EF
1 3 / 1 / 3 1 3 / 1 / 3 2 3 / 2 / 3
3300 K 3400 K 3500 K 3600 K 3700 K 3850 K
* These val values are approxi pproxima mate. te. For For cri critical tical work, check check by accurate accurate tests, especi especia ally if you use more than one filt filter.
5
N eu tr a l De ns ity Fil Filte r s In black-and-white and color photography, filters such as the KODAK WRATTEN Neutral Density Filters No. 96 reduce the intensity of light reaching the film without affecting ff ecting the t he ton tona al rendition renditi on i n t he original or iginal sce scene. ne. In In m o t i o n-p i ct ur e wor k or ot othe herr ph phot otogra ograp p hy, neu neutr tra al dens de nsitity y filt filters allow use use of a lar lar ge ap apertu erture to ob obtt ain diff differential focusing. You can use them when filming in bright sunlight or with very fast films. These filters control exposure when the smallest aperture is still too large. Also available are KODAK WRATTEN Gelatin Filters with combinations of neutral density and color conversion filters (for example, No. 85N3). These filters combine the light-conversion characteristics of KODAK WRATT WRATTEN Gelatin Filter No. 85 with neutral densities. KOD AK WRA WRATTE TTEN N Neu Neu tr a l De ns it y Fi Filt e rs No . 9 6 Neutral Densi ty 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 2.0 3.0 4.0
Percent Transmi ttance 80 63 50 40 32 25 20 16 13 10 1 0.1 0.01
Fi l ter Factor 1 4 1 / 1 1 / 2 2 1 2 / 2 3 4 5 6 8 10 100 1000 10,000
Exposure Increase i n Stops* 1 3 / 2 3 /
1 1 1 / 3 2 1 / 3 2 2 2 / 3 2 2 / 3 3 1 3 / 3 2 6 / 3 10 2 13 / 3
* These hese val values are are approxi approxima matt e. For For cri critt ical cal work, work, check check by accura ccurate tests, especi specia ally lly if you use more than one filt filter.
6
Ap p r o x im a ttee Co C o rr r reela l a te t ed d C o lo r Te m p e r a t u re for Va Va riou ri ou s Ligh t S ou r c e s Source
Degrees Kel vi n
Artificial Light Match Flame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1700 Candle Flame lame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1850 40-Watt Incandescent Tungsten Lamp. . . . . . . . . . . . . . . . . . . . . . 2650 75-Wa 75-Watt Incande Incandesce scent nt Tungste Tungsten n Lamp Lamp . . . . . . . . . . . . . . . . . . . . . 2820 100-Wa 100-Watt Incande Incandesce scent nt Tungste Tungsten n Lamp Lamp . . . . . . . . . . . . . . . . . . . . 2865 500-Wa 500-Watt Incande Incandesce scent nt Tungste Tungsten n Lamp Lamp.. . . . . . . . . . . . . . . . . . . . . 2960 200-Watt Incandescent Tungsten Lamp. . . . . . . . . . . . . . . . . . . . . 2980 1000-Wat 1000-Watt Inca Incande ndesce scent nt Tungst Tungsten La Lamp mp . . . . . . . . . . . . . . . . . . . 2990 3200-Degr 3200-Degre ee Kelvin Tungst Tungste en Lamp Lamp . . . . . . . . . . . . . . . . . . . . . . . 3200 Molarc “Brute” with Yellow Flame Carbons & YF-101 Filter il ter (approx.) (approx.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3350 “ C.P .P.” .” (Color Photography) hotography) Studio Tungs Tungsten ten Lamp Lamp . . . . . . . . . . . . 3350 Photoflood and and Re Reflector flector Flood Lamp Lamp . . . . . . . . . . . . . . . . . . . . . . 3400 Daylight Blue Photoflood hotoflood La Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . 4800 White hite Flame Carbon Arc Arc Lamp Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5000 High-Inte igh-Intensity nsity Sun Sun Arc Arc Lamp Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5500 Xenon Arc Lamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6420
Daylight Sunlight: Sunrise Sunrise or Suns Sunse et . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2000 Sunlight: One Hour After Sunrise . . . . . . . . . . . . . . . . . . . . . . . . . . 3500 Sunlight: Ea Early rl y Morning Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300 Sunlight: Late Late Aft Afte ernoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300 Aver verage Summer ummer Sunlight Sunlight at Noon (Washingt (Washington, on, D.C.) D.C.) . . . . . . . . . 5400 Dire irect Mid-Summ Mid-Summe er Sunlight Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5800 Overcast Sky. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6000 Average Summer Sunlight (plus blue skylight). . . . . . . . . . . . . . . . 6500 Light Summer Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7100 Average verage Summe ummer Shade Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8000 Sum umme merr Skylight Skylight Will Vary from fr om . . . . . . . . . . . . . . . . . . . . . . 9500 to 30,000 30,000 NOTE: Sunlig unli ght is i s the ligh light of the the sun onl only y. Day Daylight li ght is is a combina combinattion of sunlight sunlight plus skylight. The values given are approximate because many factors affect color temperat mperat ur e. OU OUTDOORS RS:: the sun angle angle, and th the e condi condittions of the sky– sky – clouds, haz ha ze, dust particl part icle es –raise or or lo l ower the t he col col or temperatu temperature. re. IND INDO OORS: lam lamp p age (and (and blackening), voltage, type of reflectors and diffusers affect tungsten bulbs–all of these can influence the actual color temperature of the light. Usually a change of 1 volt olt equa quals ls 10 deg degree rees s Ke Kelvi lvin. But this this is true true only only withi within n a l imite mited volta voltage range range a and nd does not always apply to “booster voltage” operation, since certain bulbs will not exceed a certain color temperature regardless of the increase in voltage.
7
TIPS AND TECH TECHNIQU NIQUES ES In t r o d u c t io n This collection of ideas is provided by Kodak people and others others wh who o work wor k in the prof profe essional motion motion picture i ndu ndus stry. tr y. The T he sec sectio tion n covers covers topics top ics from fr om for forc ce proce proces ssing ing, flas flashing, and shooting for television to what you need in the well-stocked ditty bag, and tools to survive. Also in this section (on the double foldout pages), is a film fil mmaker’ s flow chart that can help you through the tasks of prod pro duction scheduling. If you have further questions about our films or their applications, please refer to the last few pages in this guide for the names, addresses, and phone numbers of Kodak people worldwide who can help.
Aspect Ratios The aspect ratio is the relationship between the width and height of an image. mage. While Whi le the the image mage dimensio dimensions ns may var var y in size according to projection req requirements, the aspect ratio should comply with the cinematographic intent. The industry standard for 35 mm theatrical motion pictures remained a constant 1.37:1 between the introduction of sound and the introduction of Cinemascope in 195 19 5 3 , whe wh en “ wi wid de-scre -scree en” pre pr esent nta ations tion s ar rived. rived. The Th e non--anamor non namorphi phic c or “ flat flat ” wi wid de-scre -scree en pre pr esenta ntatt ions had had aspe pec ct ra r atios of 1.6 1 .66: 6:1, 1, 1. 1.7 7 5: 5:1 1 and and 1.85:1 1.8 5:1.. Toda Today y 1. 1.8 8 5: 5:1 1 is the wide-screen (flat) presentation format of choice in the USA, while in Europe 1.66:1 is used. In the t he early early 195 1 950 0 ’ s, televis levisiion on’’s de dema mand nd for fo r fe featu aturre film films increased. The typical television display provides a fixe fixed aspect ratio of 1.33:1 (4 x 3) and many of the films shown on television, to fill the picture height, lost a substantial par t of th the e imag image when when thi t his s was “ m atte tt ed off” of f” at the the edg dges es.. To rectify this incompatibility, the “Academy aperture” aperture” was introduced for flat (non-anamorphic) pres presentations. The Academy aperture produced an image of grea greater height so that it would fill a television screen without comp r om omii sing in g th the e wi width dth.. The Th e usual usual pro pr ocedure when filming lmin g prod pr oducti uctions ons for bot oth h thea theatr triical relea release and convenconventional ional televi television ion tr tr ansmi ansmis ssion is called called “ shoot and pro protect.” t.” The Th e came camerr a vi vi ewfinder wfinder is “ ma matted tted”” t o ind in dicate icate 1.85 1. 85:: 1 for 8/99 9
theatrical presentation and to keep all pertinent action within wit hin this hi s area. rea. The cinem cinema atogra togr ap he herr must must make ce certain rt ain no scene rigging, microphone booms, cables or lights are included in the expanded area which will be transmitted on television at 1.33:1. Subsequent interpositives, duplicate negatives and prints contain sufficient frame height to pro provid vide e normal normal te telec lecine trans transmi mis ssion. ion. In th the e thea heate ter, r, the the projectionist must use a 1.85:1 aperture plate and exercise some judgment in adjusting the projector framing. Super 16 is a format that employs single-perforation 16 mm film stock and has two objectives. When Super 16 was introduced in the early 1970’s, it was to provide an image suitable for enlargement to a 35 mm print for widescreen presentation. The second is for origination that will be displayed on wide-screen television (1.78 (1.7 8 :1 = 16 x 9 ). Supe perr 16 and 33 -per foration oratio n 35 35 mm are grea great fits fits for wide w ide-screen television. The Super 16 camera aperture extends into the area used for a sound track on conventional 16 mm film providing more negative area to achieve a 1.6 6: 6:1 1 asp asp ect ratio, rati o, with wit h some some los loss of image mage hei height when enlarged to wide-screen 35 mm film (1.8 (1.85:1) and to 1.78:1 1.7 8:1 (16 x 9 ) for wide-s wide-scree creen te t elevis levision. ion. The Super 35, 4-perforation system utilizes the entire width of the film and is used primarily to extract an anamorphic print for theatrical release by optical red reduction printing. This system is quite versatile: from a Super 35 negative, 70 mm blow-up prints can be produced, as well as extractions for 16 x 9 (1.78 (1.7 8 :1 ). The Super 35, 3-perforation system is used for extract tracting ing 16 x 9 (1 (1.7 .78:1) 8:1) prints and for origination for wide-screen television. The 65 mm, 5-perforation system has a camera aperture of 2.29:1. It is used primarily for special effects, but when used in feature films, is projected on the scree screen using 70 mm release prints having an aspect ratio of 2.20:1. In lieu of originating on 65 mm for theatrical presentation, productions shot on 35 mm film with an anamorphic 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), 1010 -perforation and the Imax 15--perforation (horizontal) format. 15 10 9/00
Am b ie n t -B a c k g k g r o u n d R a d ia ia t i on on (e ffects on r a w stock)
A mbien mbien t gamma radi radiation is com comp pose osed of two sources sources:: a low-energy component which arises from the decay of radionuclides and a high-energy component which is the product of the interaction of cosmic rays with the earth’s upper atmosphere. The radionuclides responsible for the low-energy photons exist in soil and rock and are carried into earth-derived building materials, such as concret concrete. U po pon n exposu exposur e to amb mbii ent-background nt-background r adiat diat ion, p hot hotoographic negative materials can exhibit an increase in minimum density, a loss in contrast and speed in the dark areas, and an increase in granularity. The changes in film fil m p er f or mance are de deter termi mined ned by several everal factor factor s, such uch as the film speed and length of time exposed to the radiation before the film is processed. A film with an exposure index of 500 can exhibit about three times the change in perfo rf or ma manc nce e as as a film fil m wi with th an inde i ndex x of o f 125 125.. While Whi le this thi s effe ff ect on on film fil m ra raw st st ock ock is i s not immed im mediate iate,, it is one rea reason why we suggest exposing and processing film as soon as possible after purchase. We recommend a period of no more than six months from the time of film purch purchase before processing, provided it has been kept under specified conditions. Extended periods beyond six months may aff ect fast fast er speed film fi lms s as as note not ed above, even even if kept kep t frozen. The only way to determine the specific effect of ambient-backgro und radiation diati on is with wit h actu ct ual te tes st ing in g or measurements ment s and pla placing a dete detect ctor or in the loca locations io ns where the film was stored. The most obvious clue is the obse obser vance vance of increa ncreas sed granula granularrity it y, especially especially in i n the t he light areas of the scene. P rotection from Physical Damage
Keep films away from heating pipes and direct sunlight, even if the room is air-conditioned. Maintain uniform room temperature throughout the storage area by means of adequ qua at e air circ cir culat ulation. ion. If the buil build ding in g is not fi rep reproo roof, install an automatic fire-extinguisher system. Design sto torag rage e r ooms oom s f or mot motio ion n pict pictu ure ra raw stock so so tha hatt film is at least 6 in. (15 cm) off the floo floor.
15
Un p ro c e sse d Fil Film Befor Befor e an d Af After Exp Exp osu re
Exposed film, particularly color, deteriorates more rapidly than unexposed film. Process films as soon as possible after expos exposure. Do not keep film in the camera or magazine longer than is necessary. If you load magazines a long time ahead of use use, prot pr otec ectt them from f rom exces xcessive tempera temperatur e and re r elative humidity until you need to load the camera. Keep loaded cameras or magazines and carrying cases out of closed spaces that can trap heat from the sun or other sources such as closed automobiles, airplanes, or the holds of ships. Immediately after exposure, ret return the film to its can and retape the can to help prevent any increase in moisture content. P r o c e s s e d F il ilm S t o r a g e
The following suggestions apply to extended storage of all motion picture films. Be aware that color dyes are more prone to change than are silver images over extended periods, with heat and humidity being the chief factors. Before any extended storage (ten years or more), these minimum guidelines should be followed: 1. Make sure the film was adequately washed to rem remove residual chemicals, and the residual hypo level does not exceed the recommended maximum. ANSI PH 4.81985 describes a test method for residual hypo. 2. At present, only EASTMAN EKTACHROME Motion Picture Films req require stabilization during processing for dye stability. Be sure process specifications have been strictly followed. 3. All film should be as clean as possible. Cleaning is best done professionally. If you use a liquid cleaner, prov pro vide adequate ventilation. Adhere to local municipal codes in using and disposing of any solvents. 4. Keep film out of an atmosphere containing chemical fumes, such as hydrogen sulfide, hydrogen perox pero xide, sulfur dioxide, hydrogen sulfide, ammonia, coal gas, and automobile engine exhaust. 5. Do not store processed film above the rec recommended 2 1 °C (7 (7 0°F) 0°F),, 20 2 0 to 50 5 0 perce per cent nt RH for acetat cetate e or for polyester, if extended life expectancy is to be maintained. 16
6. Wind films emulsion in and store flat in untaped cans under the above conditions.
S ho ot ing for Te le v is io n The television industry is changing. New, advanced standards for high-definition television (HDTV) will put more demands on the cinematographer. Despite all the uncertainties associated with the new standards, indications are that film remains the ideal, independent origination format. With film, you have the ability to transfer to any electronic for f orma mat, t, withou wit houtt convers onversii ons prob pro blems. Film origination format and aspect ratio are more important than ever before. Film choices for origination include 16 mm, super 16 mm, and 35 mm. When cinematographers and producers compose the image, they need to decide whether to use the current 4:3 aspect ratio or 16:9 for HDTV. Some are shooting 4:3 and protecting the edges for 16: 16 :9 . The most widely used films in the television industry ar e KODA K ODAK K V ISION Color Nega Negative tive and EA EA ST MAN MA N EXR Films. In all likelihood, your film will still end up on a video forma matt for f or broad broadcas casting. ing. An import impor tant pa parr t of this t his pro pr ocess is the telecine transfer. This critical proc pro cedure must be p erf or med wi witth the h ighe ghes st qua qualilitty standards be beca cau use, after all, the video output of the telecine is only as good as the film transfer input. So, no matter what format or aspect ratio you choose, the best television images start with the best practices in cinematography. In general, photography expressly for television rel release sho hou uld avoid avoi d high-con high-contr tra ast scene enes s and sc scene enes s with wit h imp i mpor or-tant details in dark shadows or against very bright backgrounds. The recommendations below should help you get the best possible results. 1. Al A l ways ways ha h ave a wh whit ite e r efer ence ence (som (some eth thin ing g brig bri ght hte er than a face) in every shot. 2. The T he whit whi t e r ef erence rence should n ot be more mor e th tha an 1 1 ⁄ 2 stops brighter than your subject’s face. 3. Keep your subjects away from windows or other highbrightness backgrounds, such as white walls or large large expanses of open sky, except for a desired effect.
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4. Don’t photograph dark-skinned people against very bright or very dark backgrounds. 5. Try to maintain a range of 5 to 6 stops from the brightest 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 ref referen rence relationship. For these scenes, use soft lighting, such as that produced by an overcast day or open shade. 7. Flat lighting will give very good results for television, but may not be acceptable if the film is later released for theater use.
Getting Ready Before you go out on a shoot, you should check over the equipment and accessories that you plan to use on location. Below are several lists of items judged necessary by several suppliers of motion picture equipment. The first list includes items that ought to be in the assistant’s ditty bag. The second list shows what tools the crew should have. Next is a list of camera accessories. Last is a list of the contents of a camera operator’s meter case. Ditty Bag
• Felt ma m arking pen • Ear syringe • Fla Flashlight hlight • L ens tissu issue e and and lens cleane cleanerr • Ma Magnifyi gnifying ng gla glas ss • Scissors ors • Masking tape • Tweez Tweezers • Ora Or ange sticks ti cks • A m erica erican n Cin Cin em atogra atograph ph er Man Man u al • Assorted 85 filters (85, 85B, 85C, etc.) • Pencils Pencils and ba ballpoi llpoint nt pe p ens • Scr ewd wdrr iver ivers • Paint brus br ush h (a (a 1-inch 1-inch si size w/ tapered tapered br br ist istles is very handy) • L eakproof precision oil can (the kind that looks like a fountain pen) • Rubber ubber bands 18
• Black cloth • Magaz Magazine bel beltt clips clips and pick pick • This copy of Cine Cinem m atog ato graph raph er’s er’s Fi Field Gu ide, KODAK KODA K Pub Publi cation No. H -2 . To o ls
• Longnose pliers • Diagonal cutters • Channel Lock pliers • Scr ewdrivers — Standard and Phillips • Jewele Jewelerr ’s screwdrive ewdriverr set • Allen wren wrenches • Ope Op en end end and box wrenc w rench h se sets • Files (for metal metal and wood woo d) • Pocket cket knife kni fe • “ C” clamps lamps 3 -in. (7 (7.5 cm) • Spring clamps • Scr iber iber • 1 ⁄ 4 x 20 screws 1- and 2 1 ⁄ 2-in. (2.5 and 6 cm) • 3 ⁄ 8 x 16 screws 1- and 2 1 ⁄ 2-in. (2.5 and 6 cm) • Was Washers • Tape Tape mea meas sure ure • Volt oltmeter meter (w/ ade dequa quate te rang range e to cover over volta volt age ges s like likely to be encountered on location assignments) • Electr lectrica icall ta tape • Ground adapters (both the 3-pin plug adapter and water pipe clamp types) • Elect lectric dr dr ill and and bi bi ts, ts, up to 3 ⁄ 8 -in. (0.7 0.75 5 cm) • Solder oldering ir i ron and solde solderr • Sma mallll and me medium Cre Crescent wre wr enches • Expansi xpansion bit (an and d bi bit br ace, if not electr lectric) ic) • Flas Flashli hlig ght C a m e r a Ac c e s s o r i es es
• 10 100 0 -ft (3 0 m) camera camera spool* pool* • 200-ft (61 m) camera spool* • Spare film core cores s • Spare 85 conv conve er sion filt filters • Assorted ND filters (at least 0.3, 0.6, and 0.9) • Black Black camera tap e • Gaffer tape *Load and unload all camera spools in total darkness.
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• Insert Insert slate • L og shee sheets ts • Dental mirror mirror • Ma Mag gnifier ifier • “ D ust Off” Of f” (or equ quiva ivale len n t canne canned d air) air) • Bla Black fe f elt ma marr ker ker (Sharpie harp ie)) • L ens clean cleaner and lens t iss issue • L ens brus brush h • Cotton swa wab bs • Syringe • Spot remover mover or aer osol osol solve solvent nt • Penlight • Cub Cube e taps (2 or or 3 ) • Dulling spray • Fus Fuses • Mag hea head d cleaner cleaner C a m e r a O p e r a t o r ’s ’s Me Me t e r C a s e
• Favorite filt filters • Di Difffusio usion n (gauz (gauze es or discs) cs) • Two exposu exposure met meter s • Color meter • Viewing Viewing fi lters • Ca Calc lcu ulator lators s • H and andboo book k (t (this his one fits fits nic nicely in almos almost any any mete meterr case ase) You may also want a copy of the ASC Manual. • Magni Magnifying fying glas glass • Sma mallll ha hand nd mirro mirr or • Aspirin tablets Some items on these lists you may not use often — the key is the word often — but even if you need an item only once and have it among your photo gear, you will be thankful that you (or an assistant) rem remembered to bring it along. Of course, these lists were developed by other people. You can customize them to fit your specific needs.
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F la sh in g Cam era F ilms to Lo we r Co C o n tr a st st “ Flas Flashing” hing” me means ans to delibera deliberatt ely fog fog film by giving it it a uniform exposure before processing. The amount and type typ e of exposu exposure will var var y with wit h the t he “ look” lo ok” de des sire ir ed. This Th is slight exposure lowers the film’s contrast (to some extent), primarily in the upper scale (shadow) areas, and allows for more detail in the shadows. The results are similar whether the film is pre- or post-flashed in a laboratory or on the camera (equipment supplied by camera manufacturers). Flashing is often done to establish a closer match between films of diffe diff eren entt contras cont rastt cha harr acteris cteristics that will wi ll be i ntercut. ntercut . O ther r easons asons fo forr flashi flashing ng are to creat e pastels from more saturated colors — enhancing shadow details that have less fill light, etc. Effects such as changing the color of shadows can be made by selective filt filtering (non-neutral light source source). The amount of flash will affect the result, but flas flashing intensi intensity has its it s limits, li mits, and and too t oo much will wi ll dist distort ort the imag image e. Flashing is often measured in percentages by the cinematographers and laboratory personnel. There is no absolute consensus about what these percentages mean. This is usually perceived through past experience, and as with most other creative techniques, it is important to work closely with the laboratory and gain experience through contacts and testing.
Exp Exp o se d Fil Fi lm — What Now? A Fina l Tho ugh t Abo Abo ut La La bo ra to ries ries
Perhaps now is a good time to draw on the experiences of a lot of professional cinematographers that may offe off er a f ew hints hi nts abou boutt de dealing aling with wi th the la laborator or atoriies wh whe er e you take your films for processing and duplicating. You need to estab ablis lish h a goo good d line lin e of communications communicatio ns with your lab. lab. Doing so will help this step of your production go smoothly. K n o w y o u r n e e d s — Know what you need from a lab
and then talk about those needs with several labs before you make a choice. Consider such things as editing, dubbing, special effects, animation, etc., so the lab can help you accomplish these tasks the best way possible. 21
G e t a c q u a i n t e d — Once you have made your choice of
labs, get to know the people who will do your work. Tel Tell them as much as you can about yourself, your needs and your style. The more you communicate with them about yourself and your production, the better they can serve you. Get it In writing — Face-to-face discussions and tele-
phone calls are necessary for efficient work flow; but when it comes to specifying what you want, when you want it, and how much it will cost, a carefully written document — the purchase orde order — is a must.
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Winding Designations In the sketches below, the film is wound on cores and the emulsion side of the film faces the center of the roll. All 35 mm camera films and many 16 mm camera films have perforations on both edges — 2R in the sketch. All oneedge perforated 16 mm camera films are Winding B.
2R
1R–WINDING B
1R–WINDING A
P e r fo ra tio ti o n Ty p e s 3 5 m m a n d 6 5 m m E n d Us Us e 1 . BH -18 187 7 0 — 35 mm Bell & Howell negative perfo perf ora-
tions with a pitch measurement of 0.187 0.18 7 0 (4 7 5 0 ), long pitch, (A (A NS NSI/ I/ SMPT MPT E 9 3 -1996) 1996 ) 2 . BH -18 1866 66 — 3 5 mm Bell Bell & H owe owellll nega negati tiv ve per per f orations with a pitch measurement of 0.186 0.18 6 6 (4 7 4 0 ), short pitch, pitch, (A (A NS NSI/ I/ SM PTE 9 3 -19 199 96) 3. K S-18 6 6 — 35 mm and 65 mm Kodak Standard Positive perforations with a pitch measurement of 0 . 1 86 8 6 6 (474 4740) 0),, sho hort rt pitch, pitch, (ANSI/ ANSI/ SMPTE 13 9 1996; 1996 ; ANS A NSI/ I/ SMPT MPT E 14 145 5 -1993) 4 . DH -18 187 7 0 — 35 mm Du D ubray bray-Howe -Ho wellll per per fo fora rati tions ons with wit h a pitch measurement of 0.187 0.18 7 0 (4750), 4750), long long pitc pitch, (A NS NSII/ SMPTE MPTE 237-1 23 7-1993 993)) 5. K S-18 -18 7 0 — 70 mm film perforated 65 mm Kodak Standard Positive perforations with a pitch measurement of 0.187 0.18 7 0 (4750) 4750 ), lon long g pitch, pitch, (ANSI ANSI/ SMPTE MPTE 119 19-1993) -1993)
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1 6 m m E n d Us Us e 6 . 2R 2 R-2 9 94 — 16 mm film perforated two edges with a
p erforation rforation pitch pitch of 0 .29 299 9 4 (76 7605) 05),, sho hort rt pitc pitch, (A NS NSI/ I/ SMPTE 10 109-1996)
7 . 2 R-3 0 00 — 16 mm film perforated two edges with a p erforation rforation pitch pitch of o f 0. 0.3000 3000 (762 0), 0), lon long pitc pitch h, (A NS NSI/ I/ SMPTE 10 109 -1996) 8. 1 R-2 9 94 — Same as No.6 except perforated one edg dge e (A NS NSI/ I/ SMPTE 109 10 9 -1996) 9 . 3 R-2 9 94 — 35 mm film perforated 16 mm with a p erforation rforation pitch pitch of 0.299 0.29 9 4 (76 760 0 5), 5), sho hort rt pitch, pitch, (A NS NSI/ I/ SMPTE 17 1711-1 19 96 96)) 10. 1R 1 R-3 000 — Same as No.7 except perforated one edge (A NS NSI/ I/ SMPTE 10 109 9 -1 996) 11. 3R 3 R-3 0 00 — Same as No. 9 except with a perfo perforation pitch pitch of 0.3000 0.3 000 (7620) 7620 ), long long pitch, pitch, (ANS (ANSII/ SMPTE MPTE 171-1996 17 1-1996)) N o t e : For other perforation types or formats, consult your
Professional Motion Imaging office.
Q u a n t it ie s — S t a n d a r d P a c ka ka g e s For faster service and easier handling, you should orde order case-lot quantities whenever possible. Rol l Length
Case Quanti ty
Approx. Case Wei ght
35 mm Camera Films (Color/B /B& &W)
100 ft (30 m) 200 ft (61 m) 400 ft (122 m) 1000 ft (305 m)
50 20 10 5
35 lb (16 kg) 28 lb (13 kg) 25 lb (11 kg) 30 lb (14 kg)
16 mm
100 ft (30 m) 200 ft (61 m) 400 ft (122 m) 800 ft (244 m) 1200 ft (366 m)
50 30 30 12 15
22 lb (10 kg) 30 lb (14 kg) 30 lb (14 kg) 37 lb (17 kg) 57 lb (25 kg)
Fi l m Wi dth
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Fi l m Type
Camera Films (Color/B&W)
ORDERING RAW STOCK In t r o d u c t io n All of the information presented in this field guide is intended to help you determi determ ine —
• • •
the right film (perfo (performance characteristics), in the r ight quant quantiti ities es (shooti hooting time/ ratio) rati o),, and the right format (width, perforations, winding, packaging, etc.).
How to Or der In this section, we briefly explain how to write (or phone) an order so you can get the film you need to begin or continue onti nue prod pro ducti uction on on sch e d u le . After you place an orde order with a Kodak company or distributor in your country, they’ll arrange for all the other particulars of your orde order, such as product availability, terms of payment, applicable taxes, transportation, and ret returns rns.
The Ca t a lo g Nu m b e r (CA (CAT T No.) No.) This number is perhaps the most important piece of i nf or matio mation n to know when when you you want want to buy film fi lm fro fr om Kodak. In brief, the CAT No. describes a particular kind of film, the size, length, perforation, pitch, and other format information to our Customer Relations Representatives. For example, the CAT No. for 100 ft (30 m) of EA EA STMA N EXR 100T 100T Film ilm 5248 524 8 (35 (35 mm), mm), BH-1886 (4740) perforation type, with a film identification number of EXM417, on a spool is 170 0434. That seven-digit CAT No. describes only one film package. To get your order as quickly as possible, give us the correct CAT No. listed in your Kodak price catalog. That simple seven-digit number is the key to your film order — all additional related numbers and descriptions verify the CAT No. and rule out the possibility that the number was recorded incorrectly. Once the CAT No. is written in our order sheet, we know the exact film you need, the length of one roll, the specific core or spool, the perfo perfor ation pitch, pi tch, the t he p rice, rice, and a multi multitud tude e of other other impor imp ortt ant detai details. ls.
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To illustrate our point, let’s look at one example: If you order a 400-ft (122 m) roll of 35 mm KODAK VISION 200T Color Negative Film 5274, the CAT No. is 171 6984. That number tells us exactly what you need. To verify that number you should include:
• • • •
the name of the film (5274) Iden No. (VXM718) (VXM718) roll leng length th (40 (400 0 ft [122 m]) m] ) on core core per foration foration pitch pitch (BH-1 (BH-18 8 66 [4740 47 40]] ).
P ro d uc t a n d Tech Tech n ical Inf nfor or m a t io n T h r oug ough h ou outt th the e world, wor ld, East ast man K oda odak k Co Company mpany provides the motion picture industry with a full range of quality products, supported by worldwide technical services and distribution. The goal is simple: to prov provide customers with products and services to achieve the best screen image possible. The vast majority of filmmakers choose KODAK Motion Picture Films to generate quality images. Cinematographers and laboratory professionals know they can count count on Eastm tma an Koda Kodak k Comp Co mpa any for f or fast, experience xperienced d technical assistance and a film-distribution network that reaches just about every corner of the globe. Our involvement extends to theaters where we assist exhibitors in providing first-class viewing environ environments. A worldwide network is available to supply you with K O D A K Moti Mo tion on Picture Pr oducts oducts and t o answe nswerr any any technical questions. For information, call Kodak in your area of operations listed on pages 31 through 39. For technical information in the United States, call the K o d a k I n f o r m a t i o n C e n t e r at 1 -8 0 0 -2 4 2 -2 4 2 4 , E x t . 1 6 , 9 a.m. to 7 p.m. (Eastern time), Monday through Friday. To place an order in the United States, call 1-800-621-FILM. Countries outside the U.S., contact Kodak in your country or the nearest distributor. Visit the Entertainment Imaging website at www.kodak. www.kodak.c com/ go/ mot motion ion for complete complete technica technicall da data sheets on KODAK Motion Picture Films, or call the Kodak Information Center (see phone information above).
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Two internationally recognized sources of technical information for motion picture proc procedures and standards standards ar e the S oc ie ty of Mo tio tio n Pictu re a n d Te l e v i s i o n Engineers (SMPTE), located at 595 West Hartsdale Avenue, White Plains, New York 10607, 914914-7 6 1 -11 -11 0 0 , and the A m e r i c a n N a t i o n a l S t a n d a r d s I n s t i t u t e Mamarr onec oneck Ave., Ave., H ar rison, rison, New Yor k ( A N S I ), 5 50 Mama 10528, 2 1 2 -6 4 2 -4 9 0 0 . T he A m e ri r ic a n C in in e m a t o g ra ra p h e r Fi l m M a n u a l , from the American Society of Cinematographers, covers virtually every phase of motion picture photography. The seventh edition is available from A.S.C. Press, P. O. Box 2 230, 23 0, H olly ollywood wood,, Calif Califor orni nia a 9007 900 7 8. UNITED STATES OF AMERICA Professional Motion Imaging Eastman Kodak Company Chicago, Illinois 815 West Van Buren, Suite 320 Chicago, Illinois 60607
Phone: 312-492-1421 FAX: 312-492-1429
Dall al l as, Texas exas 11337 Indian Trail Dallas, Texas 75229
Phone: 972-481-1150 FAX: 972-481-1242
Holl oll ywoo ywood, d, Cali ali forni forni a 6700 Santa Monica Boulevard Hollywood, California 90038-1203
Phone: 323-464-6131 FAX: 323-468-1568 FAX: 323-468-2124
New York, New York 360 West 31st Street New York, New York 10001-2727
Phone: 212-631-3450 FAX: 212-631-3470
KODAK KODAK SHO SHOO OTSAVE TSAVER Express Film Delivery Ser vice
Phone: 800-404-2016
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INTERNATIONAL Kodak Locations and Distributors ARGENTINA El Business Center Bonpland 1930/32 CP B1667JUV Buenos Aires res, Argentina AUSTRALIA Kodak (Australasia) Pty., Ltd. 173 Elizabeth Street Coburg, Victoria, Australia 3058
Phone: 54-11-4448 3988 FAX: 54-11-4773 6105 Phone: 613-8371-8520 Toll free: 1300-139-795 FAX: 613-9355-2962 Toll Free: 1300-652-054 E-mail:mpfi
[email protected] E-mail:mpfi
[email protected]
AUSTRIA Kodak Ges.m.b.H Entertainment Imaging Albert-Schweitzer-Gasse 4 A-1148 Vienna, Austria
Phone: +43-1-97001-200 FAX: +43-1-97001-263 E-mail: www.kodak.com/go/motion
BELGIUM N.V. Kodak S.A. Entertainment Imaging Service Center Brussels Ikaroslaan 18 B-1930 Zaventem Belgium
Phone: 32-2-719-41-93 FAX: 32-2-719-41-99 E-mail: www.kodak.fr/go/cinema-benelux
BRAZIL Kodak Bras rasile ileira ira Com.Ind Ind.Ltda tda. Aveni venida da Mar Mari Coelho Aguiar guiar 215 Bloco E. 6o. andar 0580 05804-90 4-900 0 Sao Paulo, SP, Braz razil BULGARIA Boyana Film Company Kinocenter Boyana 1616 Sofia, Bulgaria CANADA Kodak Canada Inc. 3500 Eglinton Avenue West Tor onto, Ontario Canada anada M6M 1V3,
Phone Sao Paulo: lo:55-11 -11-96 -9689 4057 Phone Rio de Janer Janerio: 55-2155-21-9971 9971 3650 FAX: 55-1155-11-3748 3748 6175 or 55-21-58 55-21-580 0 0039 0039
Phone: +3592-596055 FAX: +3592-593115
Phone: 1-416-761-4922 1-800-621-FILM(3456) FAX AX:: 1-4161-416-761761-4948 4948
Kodak Canada Inc. 4 Place du Commerce, Suite 100 Ile des Soeurs Verdun Quebec Canada H3E 1J4 1J4
Phone: 514-761-7001 1-800-621-FILM(3456) FAX AX:: 514514-768768-1563 1563
Kodak Canada Inc. 4185 Still Creek Drive Suite C150 Burnaby, British Columbia Canada V5C 6G9 6G9
Phone: 604-570-3526 1-800-621-FILM(3456) FAX AX:: 604604-570 570--3528 3528
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CHILE Kodak Chi Chillena S. S.A.F. Av. Presidente Eduardo Frei M 99950 (Panamericana Nor te–Quilicura) Santiago, Chile
Phone: 56-2-530 8295 FAX: 56-2-747 1300
CHINA (Peoples Republic) Kodak (China) Ltd Beijing Liaison Office #1 Guanghua Road, Chaoyang District Kerry Center, 9th Floor Beijing 100020, China
Phone: 8610 6561 6561 FAX: 8610 6561 2199
Kodak (China) Ltd, Shanghai Liaison Office Floor 2-5, Novel Plaza 128 West Nam Jing Road Shanghai 200003, China
Phone: 8621 6350 0888 FAX: 8621 6350 0827
Kodak (China) Ltd, Guangzhou Liaison Office 6th Floor, East Tower GZ International Financial Building 197-199 Dong Feng Road W. Guangzhou 510180, China
Phone: 8620 8319 8888 FAX: 8620 8333 1810
COLOMBIA Kodak América, Ltda. Calle 12C No. 76-49 Entrada 2 Parque Industrial Alsacia Santa Fé de Bogota, Columbia CZECH REPUBLI PUBLIC Kodak Ltd. Entertainment Imaging Americká 17 120 22 Praha 2 Czech Republic DENMARK Kodak A/S Stationsparken 24 2600 Glostrup, Denmark Contact: Tommy Jensen
EGYPT Kodak (Egypt) S.A.E. 20 Adly Street Cairo Egypt EUROPEAN AFME AFME REG REGION Entertainment Imaging Kodak House Station Raod Hemel Hempstead Herts, HP1 1JU England
Phone: 57-1-412.5550 ext. 377 FAX: 57-1-629.0675 Phone: ++420 2 2251 9837 ++420 2 2252 0627 FAX: ++420 2 2251 5846 E-mai mail: kodakl
[email protected] ogin.cz E-mail: www.kodak.com/go/motion Phone: +45-70 15 70 00 FAX: +45-70 15 71 00 Mobile: +45-40 33 63 91 E-mail:
[email protected]
Phone: 20 2 394 2200 FAX: 20 2 393 1199
Phone: 44 1442 844106 FAX: 44 1442 844072
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FINLAND Kodak OY P.O. Box 49 Mäkelänka Mäkelänkattu 91 00611 Helsingfors, Finland Contact: Kari Nordberg
Phone: +358-087+358-087-071 071 FAX: +358-087-01352 Mobile: +358-400 451215
FRANCE Kodak Pathé Division Cinéma et Télévision 26, rue Villiot 75012 Paris France
Phone: 01 40 01 30 00 FAX: 01 40 01 34 63 E-mail:
[email protected] E-mail: www.kodak.fr/go/cinema
GERMANY Kodak GMBH Entertainment Imaging Hedelfinger Strasse 60 70327 Stuttgart, Germany
Phone: +49 711 406-5107/-5596 FAX: +49 711-406-2614 E-mail: www.kodak.de/go/motion
GREECE Kodak (Near East) Inc. 10-12 Himaras Street 151 25 Maroussi, Athens Greece
Phone: 30 1 6189 261 FAX: 30 1 689 207 E-mail:
[email protected]
HONG KONG Kodak (Far East) Ltd. Kodak House I 321 Java Road North Point Hong Kong HUNGARY Kodak Hungary Kft. Ente ntertainment nment Imagi maging ng Timár u. 20. 1034 Budapest Hu Hungary ICELAND KODAK Sverige Hans Petersen HF Sudurlandsbraut 4 Box 8580 128 Reykjavik Iceland
Phone: 852 2564 9352 FAX: 852 2811 3489
Phone: hone: +36 1 387 9117 EI ext.: xt.: 123 FAX: +36 1 387 9113 E-mail:
[email protected]
Phone: 354-570-7500 FAX: 354-570-7510
INDIA Kodak India Ltd. Vinay Bhavya Complex, 6th floor 159-A, CST Road, B Wing, Kalina India Santacruz (East), Mumbai 400 098
Phone: 91 22 652 6826 FAX: 91 22 652 8985
INDONESIA Kodak (Singapore) PTE. Ltd. Jakarta Representative Office 17th Floor, Chase Plaza Tower JI. Jend. Sudirman Kav. 21 Jakarta 12920 Indonesia
Phone: 62 21 570 5212 FAX: 62 21 570 5214
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IRAN Kodak (Iran) P.J.S.C. Co. Dowlatshad Bldg, Apt 2 Box No. 154-2 Tehran 19395, Iran
Phone: 98-21-227-6000 FAX: 98-21-808-7266
IRELAND Kodak Ltd, Kodak House P.O. Box 66, Station Road Hemel Hempstead Herts, HP1 1JU England
Phone: +44 1442 845945 FAX: +44 1442 844458
ISRAEL Delta Film Israel 16 Hagalim Ave., Ind. Zone Herzlia B 46103 Isra srael
Phone: 972-9-9521888 / 834 (direct line) FAX: 972-9-9521889 E-mai mail:
[email protected]
ITAL TALY Kodak Spa EI Offi ffice Phone for informa nformattion & Order ders: +39-02+39-02-66.02.85.11 66.02.85.11 V.le Matteotti 62 FAX: +39-02-66.02.84.06 20092 Cinis inise ello llo Balsa lsamo Mila ilan Italy taly E-m -ma ail: il: grim rimoldi@
[email protected]
Kodak Spa EI Offi ff ice Phone for informa nfor mattion & Order rders: +39-06+39-06-88.172.212 88.172.212 Via Sambuca Pistoiese 55 FAX: +39-06-88.00.713 00138 Roma Italy E-mail:
[email protected] JAPAN Kodak Japan Ltd. Yamaman Building 6-1 6-1 Koami oamicho, Nihonbashi, honbashi, Chuo-ku, Tokyo 103-8540, Japan KENYA Kodak (Kenya) Limited Funzi Road P.O. Box 18210 Nairobi, Kenya
Phone: 813 5644 5348 FAX: 813 5644 5095 E-mail:
[email protected]
Phone: (254) (2) 530 164 FAX: (254) (2) 530 171
KOREA Kodak Korea Ltd. 7th floor, Yonkang Bldg. #270, Yonji-dong, Chongr o-ku Seoul 110-470, Korea
Phone: 822 708 5561 FAX: 822 762 8313
LATIN LATIN AME AMERIC RICAN REG REGIONAL OFFI FFIC CE Eastman Kodak Company Entertainment Imaging 8600 NW 17th Street - Suite 200 Miami, Florida 33126-1006 USA
Phone: 305-507-5146 FAX: 305-507-5065
LATVIA Kodak Baltic Rusina iela 1 LV-1003 Riga, Latvia
Phone: +371-750 3004 FAX: +371-583 3325 Contact: Liene Ziemele
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LUXEMBORG N. V. Kodak S.A. Entertainment Imaging Service Center Brussels Ikaroslaan 18 B-19 -1930 Zaventem tem Belgiu lgium m MALAYSIA Kodak Malaysia Sdn Bhd Jalan Kemajuan 13-1 46200 Petaling Jaya Selangor, Malaysia MEXICO Kodak de Mexico S.A. de C.V Camino a Santa Teresa 1040 Planta Baja Col. Jardines en la Montaña C.P. 14210, 14210, Mexico Mexico D.F., Mexico Mexico NETHERLANDS Kodak Nederland BV Entertainment Imaging Service Center Amsterdam Kuiperbergweg 35, NL-1101 AE Amsterdam The Netherlands NEW NEW ZEALAND ZEALAND Kodak New Zealand Ltd. 70 Stanley Street Parnell arnell, Auckland, uckland, New Zealand NORWAY Kodak Norge AS Lienga 7 1410 Kolbotn, Norway Contact: ontact: Tore ore Kopseng
Phone: 32-2-719-41-93 FAX: 32-2-719-41-99 E-m -ma ail: www.kodak.fr/g fr/go/cin /cine ema-be -benelux lux
Phone: 603 757 2722 FAX: 603 755 5919
Phone: 52-5-449.4520 / 449.4522 / 449.4489 / 449.4521 FAX AX:: 57-157-1-629 629 0675 0675
Phone: 31 20 45 29 333 Phone: 31 20 69 10903 E-mail: www.kodak.fr/go/cinema-benelux
Phone: 649 302 8665 FAX: 649 302 8639 Phone: +47-66 81 81 81 FAX: +47-66 80 06 12 Mobile: +47-90 53 52 95 E-mail: mail : kopseng@
[email protected] kodak.com
PAKISTAN Kodak Ltd. P.O. Box 4956 4th Floor Baharia Complex Maulvi lvi Tamizu izuddin Khan Road Karachi, Pakistan
Phone: 92 21 561 0150 & 561 1402 FAX: 92 21 561 0776
PANAMA Kodak Panama Ltd. Edificio Plaza Bancomer Calle 50 y 53 este Piso 9 Panama, Republic of Panama
Phone: 50-7-263-6077 FAX: 50-7-263-5804
PARAGUAY
Phone: 57 1 637 0308 FAX: 57 1 637 0308
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PERU Kodak Américas, Ltda. Av Nicolás Arriole 480 Santa Catalina, La Victoria Lima Peru
Phone: 51-1-224 8610 FAX: 51-1-224 7826
PHILIPPINES Kodak Philippines, Ltd. 2247 Chino Roces Avenue Makati Makati City Philippines 1299
Phone: 632 810 0331 (trunkline) 632 813 7916 (direct line) FAX: 632 840 1956 E-mail:
[email protected]
POLAND Kodak Polska EI Office Chelmska str. 21 00-724 Warszawa, Poland
Phone: +48 22 8511759 FAX: +48 22 851-1760
PORTUGAL Kodak Portuguesa Ltd. Rua Alexandre Herculano 2795-010 Linda-a-Velha, Portugal ROMANIA Kodak Cinelabs Romania 170, Bucurestii Noi Blvd., Sector 1 Bucharest Romania RUSSIA Kodak AO Mosfilmovskaya 1, Bldg. 3 Moscow, Russia SING SINGAPORE APORE Kodak (Singapore) Pte. Limited 305 Alexandra Road Singapore, 159942 SLO SLOVAK REPUBLI REPUBLIC C Kodak Ltd. Entertainment Imaging Kollárovo námestie 19 811 06 Bratis ratisla lavva Slov lovak Republic
Phone: 351 1 414 7600 FAX: 351 1 414 7750
Phone: +40 1 223 37 53 FAX: +40 1 223 37 52 E-mail: www.kodakcinelabs.ro
Phone: 7-095-929-9166 FAX: 7-095-705-9034
Phone: 65 476 9688 FAX: 65 479 8397 Phone: ++421 7 5293 2998 FAX: ++421 7 5293 2996 E-mail:
[email protected] E-m -ma ail: ww www.ko .kodak.co .com/go /go/mo /motion tion
SOUTH AFRIC AFRICA Kodak South Africa (Pty.) Ltd. PO Box 1695 Gallo Manor 9052, South Africa
(Courier Deliveries) Kodak South Africa (Pty) Ltd. Lincoln Wood, Block D Woodlands Drive Woodmead Ext. 16, 2148
Phone: 2711 804 2852 FAX: 2711 802 6985 Mobile: 270 823 728 037
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SPAIN Kodak SA Carretera Nacional VI, Km 23 28230 28230 Las Rozas ozas (Madrid) Spain SWEDEN Kodak Nordic AB Nettovagen 2 SE-175 85 Jarfalla, Sweden
SWITZERLAND Kodak Societe Anonyme Entertainment Imaging 50, Avenue de Rhodanie 1007 Lausanne Switze Switzerrland TAIW AIWAN Kodak Taiwan Ltd. 35, Sec 2, Chung Yang South Road Pei Tou, Taipei. Taiwan Republic of China
Phone: 34 1 626 7155 FAX: 34 1 626 7369 Phone: +46-8-580 235 00 FAX: +46-8-580 236 05 Contact: Iréne Sandström Phone: +46-8-580 236 07 E-mail:
[email protected] Contact: Karl-Henrik Rassmo Mobile: +46-70-58 236 09 E-mail:
[email protected]
Phone: +41 21 619 71 71 FAX AX:: +41 21 619 74 92
Phone: 8862 2893 8282 8862 2893 8121 FAX: 8862 2895 1069
THAILAND Kodak (Thailand) Ltd. 197 Vibhavadi Rangsit Road Bangkok 10400, Thailand
Phone: 662 271 3040 Ext. 310 FAX: 662 271 4384
TURKEY Kodak (Near East) Inc. Ali Nihat Tarlan Cad No 97 Ustbostanci Istanbul, Turkey
Phone: 216 362 8686 FAX: 216 362 9200
UKRAINE Kodak EE Ltd. 1 Vasylkivska Street, Bldg. 2/6 252040 Kiev Ukraine UNITE UNITED D ARAB EM EMIRATES TES Kodak (Near East) Inc. P.O. Box 11460 Dubai ubai United Arab Emirates, Arabian Gulf UNITE UNITED D KING KINGDOM Entertainment Imaging Kodak Ltd, Kodak House P.O. Box 66, Station Road Hemel emel Hempstea empstead d Herts, HP1 1JU England
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Phone: ++38 044 252 6300 FAX: ++38 044 252 6303
Phone: hone: 971-4971-4-444444-910 910 FAX: 971-4-447-059
Phone: +44 1442 845945 845945 FAX: +44 1442 844458
UNITED UNITED STATES Eastman Kodak Company 815 West Van Buren, Suite 320 Chicago, Illinois 60607 USA
Phone: 312-492-1421 FAX: 312-492-1429
11337 Indian Trail Dallas, Texas 75229 USA
Phone: 972-481-1150 FAX: 972-481-1242
6700 Santa Monica Boulevard Los Angeles, California 90038-1203 USA
Phone: 323-464-6131 FAX: 323-468-1568 323-468-2124
360 West 31st Street New York, New York 10001-2727 USA
Phone: 212-631-3450 FAX: 212-631-3470
URUGUAY
Phone: 56 2 530 8295 FAX: 56 9 220 5609
VENEZUELA Kodak Venezuela, S.A. Avenida Francisco Solano, entre Apamates y Negrin Centro Empresarial Sabana Grande Piso 14, Ofc. 3 y 4 Caracas, Venezuela
Phone: 58 2 707 1081 FAX: 58 2 707 1009
You can al so find fin d updated addres addresse ses s and ph p h on one e/ fax numbers on the Professional Motion Imaging website: w w w . k o k o d a k . k . c o m / g / g o / m / m o t io n .
Limitations of Liability on Se n siti sitizze d G o od s The sale, use, processing and handling of Kodak sensitized goods are subject to the applicable limitation of liability listed below: F ilm
Kodak films will be replaced if defective in manufacture, manufacture, labeling or packaging, or if damaged or lost by us or any subsidiary company. Except for such replacement, the sale, or or ot othe herr ha handli ndling ng of the t hes se fi lms i s wi witthout warra warr ant or liabilit liabil ity, y, even even though t hough defe defec ct , da damag mage, e, or los loss is caus caused ed by negligence or other fault. Since color dyes may in time change, color films will not be replaced for, or otherwise warranted against, any change in color.
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Mo tion tion P ictur e Fil Film Up d a te s Eastman Kodak Company offers updates of the film sect ion of t he Cinematographer’s Field Guide as new film films are introduced. The updates are free to owners of the Cinematographer’s Field Guide. To o bta in film up da tes, p lease fill fill in a nd re rett u r n th is f o r m t o :
Eastman Kodak Company Dept. 412L 412 L / / H H -2 343 State Stree Street Rochester, NY 146 146 5 0 -0 5 3 2 In countries outside the U.S., contact Kodak in your country.
Please send me, free of charge, the most recent set of updates for the Cinem atographe atograp her’ r’ss Field Field Guid Guid e , H -2. NA M E STREET CITY/ STA TE
ZIP
Enter tai nment Imagi ng Cinematographer’s Field Guide Revision ision 11/ 11 / 00 Printed in U.S.A. Kodak, Vision, Eastman, EXR, Keykode, Ektachrome, Primetime, Shootsaver, and Wratten are trademarks. KODAK Publication No. H -2
CAT 141 3871 40
