KODAK VISION3 250D色彩负片5207 7207产品说明说明书-USB迷|专注于互联网分享

2024年9月20日发(作者：昝灵萱)

KODAK VISION3 250D

COLOR NEGATIVE FILM 5207 / 7207

MARCH 2022 H-1-5207

TECHNICAL DATA / COLOR NEGATIVE FILM

KODAK VISION3 250D Color Negative Film 5207/7207 is a

medium-speed daylight-balanced emulsion.

VISION3 250D Film has outstanding skin tones and color

reproduction, while adding technical innovations that

improve product performance and increase product

versatility. The proprietary, advanced Dye Layering

Technology (DLT) provides noticeably reduced grain in

shadows, allowing you to pull out an amazing amount of

shadow detail. The proprietary Sub-Micron Technology

enables 2 stops of extended highlight latitude, so you can

follow the action into bright light-in a single shot-without

worrying about blown-out details.

VISION3 250D Film is designed to extend the capabilities of

the DI (digital intermediate) process. The improved grain

provides better to signal to noise capabilities allowing the

colorist to provide greater detail in shadows, while the

extended highlight latitude enables improved digital

"dodging and burning" to provide more details in highlights.

Warm-up Times

To prevent film telescoping, moisture condensation, and

spotting, allow your film to warm to room temperature

(21C/70F) before use:

Recommended Warm-up Time (Hours)

Film Package

16 mm

35 mm

8C (15F) Rise

39C (70F) Rise

1 ½

For more information about film storage and handling, see

ANSI/PIMA ISO-18911, SMPTE RP131-2002, and

KODAK Publication No. H-845, The Essential Reference

Guide for Filmmakers, available online at

/go/referenceguide.

Darkroom Recommendations

Do not use a safelight. Handle unprocessed film in total

darkness.

Base

KODAK VISION3 250D Color Negative Films 5207 and 7207

have an acetate safety base with rem-jet backing.

Exposure

Exposure Indexes

Daylight (5500K): 250

Tungsten (3200K): 64 (with 80A filter)

Use these indexes with incident or reflected light exposure

meters and cameras marked for ISO or ASA speeds or

exposure indexes. These indexes apply for meter readings

of average subjects made from the camera position or for

readings made from a gray card of 18 percent reflectance

held close to and in front of the subject. For unusually light

or dark colored subjects, decrease or increase the

exposure indicated by the meter accordingly.

Storage

Store unexposed film at 13C (55F) or lower. For extended

storage, store at -18C (0F) or lower. Process exposed film

promptly.

Store processed film according to the recommendations in

ISO 18911:2010, Imaging Materials - Processed Safety

Photographic Films - Storage Practices.

Short Term

(less than 6 months)

Unexposed film

in original, sealed

package

Exposed film,

unprocessed

Process film

13C (55F)

RH below 60%

-18C

(0 F)

RH below 20%

21C (70F)

RH 20 to 50%

Long Term

(more than 6

months)

-18C

(0F)

RH below 50%

Not recommended.

Process film

promptly.

2C (36F)

RH 20 to 30%

Color Balance

These films are balanced for exposure with daylight

illumination (5500K). For other light sources, use the

correction filters in the table that follows.

This relates to optimized film handling rather than

preservation; static, dust-attraction and curl-related

problems are generally minimized at the higher relative

humidity. After usage, the film should be returned to the

appropriate medium- or long-term storage conditions as

soon as possible.

KODAK VISION3 250D Color Negative Film 5207 / 7207

Daylight (5500 K)

Metal Halide

H.M.I.

KINO FLO 55

Tungsten (3000 K)

Tungsten (3200 K)

KINO FLO 29

KINO FLO 32

Fluorescent, Warm

White

†

Fluorescent, Cool

White

†

None

WRATTEN 2 Optical

Filter / 80A

WRATTEN 2 Optical

Filter / 80A

WRATTEN 2 Optical

Filter / 80A

Color Compensating

CC20M + CC05R

Color Compensating

CC40B

250

125

100

Identification

After processing, the product code numbers 5207, or 7207

emulsion, roll, and strip number identification, KEYKODE

Numbers, and manufacturer/film identification code (EN)

are visible along the length of the film.

Post-Production

Scanning

The wider exposure latitude in KODAK VISION3 Films

differentiate film capture from the limited dynamic range

of digital capture. Digital "dodging and burning," a very

powerful tool in the colorists' toolkit, is now even more

powerful—up to two stops more image information can

be extracted from scene highlights in VISION3 Films.

If traditional 10-bit scanner data encoding schemes are

used to digitize films having this extended density

range, highlight information captured on these films

could be lost. Kodak has recommendations for

extracting the full density range stored on high

dynamic range films in a technical document titled

Scanning Recommendations for Extended Dynamic

Range Camera Films, available online at

/go/scanning.

* These are approximate corrections only. Make final corrections during printing.

† These are starting-point recommendations for trial exposures. If the kind of lamp is unknown, a KODAK

Color Compensating Filter CC20M + CC10B can be used with an exposure index (EI) of 125.

Note: Consult the manufacturer of high-intensity ultraviolet

lamps for safety information on ultraviolet radiation and

ozone generation.

Exposure Table-Daylight Illumination

At 24 frames per second (fps), 180-degree shutter

opening, use this table for average subjects that contain a

combination of light, medium, and dark colors:

Lens Aperture

Footcandles

Required

f/1.4

f/2

f/2.8

f/4

f/5.6

160

f/8

320

f/11

640

f/16

1250

Reciprocity Characteristics

You do not need to make any filter corrections or exposure

adjustments for exposure times from 1/1000 of a second

to 1 second.

Processing

Process in Process ECN-2.

Most commercial motion-picture laboratories provide a

processing service for these films. See KODAK Publication

No. H-24.07, Processing KODAK Color Negative Motion

Picture Films, Module 7 available online at

/go/h24

, for more information on the

solution formulas and the procedure for machine

processing these films. There are also pre-packaged kits

available for preparing the processing solutions. For more

information on the KODAK ECN-2 Kit Chemicals, check

Using KODAK Kit Chemicals in Motion Picture Film

Laboratories KODAK Publication No. H-333, available

online at

/go/h333

To maintain optimum quality and consistency in the final prints, the

laboratory must carefully control the color

timing, printing, and

duplicating procedures. To aid in color timing and curve placement,

negative originals should be timed relative to Laboratory Aim Density

(LAD) Control Film. The LAD Control Film provides both objective

sensitometric control and subjective verification of the duplicating

procedures used by the laboratory.

In the LAD Control Method, the electronic color analyzer used for color

timing is set-up with the LAD Control Film to produce a gray video

display of the LAD patch, corresponding to 1.0 neutral density (gray) on

the print. The negative printing original is then scene-to-scene timed.

There are specific LAD values for each type of print or duplicating film

that the original can be printed on. For print films, the LAD patch is

printed to a neutral gray of 1.0 visual density. For duplicating films, the

specified aims are at the center of the usable straight-line portion of

the sensitometric curve of the film.

Due to normal variations in exposure and processing of color negative

films, particular scenes may not print exactly at the same printer lights

as the LAD Control Film. The LAD Control Film is intended as a set-up

tool for electronic color analyzers and printers. It is NOT a reference

that every scene must match. Normal film-to-film and scene-to-scene

exposure variability is accommodated by the color timing (grading)

process, on an electronic color analyzer set up with the LAD Control

Film. Normally exposed and processed color negatives will typically

print well within the range of an additive printer setup with the LAD

Control Film, although SIGNIFICANT or UNEXPECTED departures from

this center point balance may indicate an exposure/filtration problem

with the cinematography or with the process control. Some

specialized films and/or specialized negative processing techniques

(push-processing, pull-processing, "skip-bleach" processing, etc.) may

require more extreme adjustment from the LAD printing condition to

attain desired results.

More information is contained in KODAK Publication H-61,

Laboratory Aim Density, available online at /go/lad

Laboratory Aim Densities (LAD)

KODAK VISION3 250D Color Negative Film 5207 / 7207

Image Structure

For more information on image-structure characteristics, see

KODAK Publication No. H-845, The Essential Reference

Guide for Filmmakers available online at

/go/referenceguide

rms Granularity

The “perception” of the graininess of any film is highly

dependent on scene content, complexity, color, and

density. Other factors, such as film age, processing,

exposure conditions, and telecine transfer may also have

significant effects.

Modulation Transfer Function

The "perceived" sharpness of any film depends on various

components of the motion picture production system. The

camera and projector lenses and film printers, among other

factors, all play a role. But the specific sharpness of a film can

be measured and is charted in the Modulation Transfer

Function Curve.

Read with a microdensitometer, using a 48-micrometre aperture.

To find the rms Granularity value for a given density, find the

density on the left vertical scale and follow horizontally to the

characteristic curve and then go vertically (up or down) to the

granularity curve. At that point, follow horizontally to the

Granularity Sigma D scale on the right. Read the number and

multiply by 1000 for the rms value.

Note:

This curve represents granularity based on modified measuring

This graph shows a measure of the visual sharpness of this film.

The x-axis, “Spatial Frequency,” refers to the number of sine waves

per millimeter that can be resolved. The y-axis, “Response,”

corresponds to film sharpness. The longer and flatter the line, the

more sine waves per millimeter that can be resolved with a high

degree of sharpness — and the sharper the film.

techniques. Sensitometric and Diffuse RMS Granularity curves are produced

on different equipment. A slight variation in curve shape may be noticed.

Sensitometry

The curves describe this film's response to red, green, and

blue light. Sensitometric curves determine the change in

density on the film for a given change in log exposure.

KODAK VISION3 250D Color Negative Film 5207 / 7207

Spectral Sensitivity

These curves depict the sensitivity of this film to the

spectrum of light. They are useful for determining,

modifying, and optimizing exposure for blue- and green-

screen special-effects work.

Spectral Dye-Density Curves

These curves depict the spectral absorption of the dyes

formed when the film is processed. They are useful for

adjusting or optimizing any device that scans or prints the

film.

Note: Cyan, Magenta, and Yellow Dye Curves are peak-normalized.

Note: The sensitometric curves and data in this publication represent product tested under the conditions of exposure and processing specified. They are representative of production coatings,

and therefore do not apply directly to a particular box or roll of photographic material. They do not represent standards or specifications that must be met by Eastman Kodak Company. The

company reserves the right to change and improve product characteristics at any time.

Available Roll Lengths and Formats

See Kodak Motion Picture Products Catalog at /go/mpcatalog

To order film in the United States and Canada, call 1- 800-356-3259, prompt 3.

Worldwide customers can find the nearest sales office at /go/salesoffices

KODAK Publication No. H-1-5207

KODAK VISION3 250D Color Negative Film 5207 / 7207

Kodak, Keykode, Vision, and Wratten and the Kodak logo are trademarks.

Revised 3-22