Color Negative Films 

KODAK VISION2 200T Color Negative Film 7217

Technical Data

KODAK VISION2 200T Color Negative Film 7217 is highly versatile and reliable. Offering excellent image structure under a wide variety of lighting conditions. And now 200T Film also enables you to shoot all scenes for digital compositing on the same stock. Giving you pristine edges and making VFX easier and more seamless than ever.

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Contents


Description

KODAK VISION2 200T Color Negative Film 5217 (35 mm), 7217 (16 mm) is highly versatile and reliable medium-speed, tungsten-balanced color negative film. This film delivers superior performance for visual effects and digital compositing. Now you can shoot all scenes for digital compositing on one stock. The toe speed has been optimized to give enhanced shadow detail and improved shadow neutrality. It delivers true, natural color over a wide range of exposures. The curve shape of this film is very linear contributing to the overall neutrality and flesh-to-neutral tone reproduction. The neutral tone scale provides easier color timing and grading in postproduction. KODAK VISION2 200T Color Negative Film. Tell your whole story seamlessly.


Base

KODAK VISION2 200T Color Negative Film 5217 / 7217 has an acetate safety base with rem-jet backing.


Darkroom Recommendations

Do not use a safelight. Handle unprocessed film in total darkness.


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 ANSI/PIMA IT9.11-1998: for medium-term storage (minimum of ten years), store at 10°C (50°F) or lower at a relative humidity of 20 to 30 percent; for extended-term storage (for preservation of material having permanent value), store at 2°C (35°F) or lower at a relative humidity of 20 to 30 percent. For active use, store at 25°C (77°F) or lower, at a relative humidity of 50 +/- 5 percent. 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.

For more information about medium- and long-term storage, see ANSI/PIMA IT9.11-1998, SMPTE RP131-2002, and KODAK Publications No. H-1, KODAK Motion Picture Film, and No. H-23, The Book of Film Care.


Exposure Indexes

Tungsten (3200K) - 200 Daylight1 - 125

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.


Color Balance

These films are balanced for exposure with tungsten illumination (3200K). You can also expose them with tungsten lamps that have slightly higher or lower color temperatures (+/- 150K) without correction filters, since final color balancing can be done in printing. For other light sources, use the correction filters in the table below.

Light Source

KODAK Filters on Camera[1]

Exposure Index

Tungsten (3000 K)

WRATTEN Gelatin No. 82B

125

Tungsten (3200 K)

None

200

Tungsten photoflood (3400 K)

None

200

Daylight (5500 K)

WRATTEN Gelatin No. 85

125

White-Flame Arcs

WRATTEN Gelatin No. 85B

80

Yellow-Flame Arcs

Color Compensating 20Y

125

OPTIMA 32

None

200

VITALITE

WRATTEN Gelatin No. 85

125

Fluorescent, Cool White [2]

WRATTEN Gelatin No. 81B + 40R

64

Fluorescent, Deluxe Cool White [2]

WRATTEN Gelatin No. 20R

125

Metal Halide

WRATTEN Gelatin No. 85

125

[1] These are approximate corrections only. Make final corrections during printing. 
[2] These are starting-point recommendations for trial exposures. If the kind of lamp is unknown, a KODAK Color Compensating Filter 40R can be used with an exposure index (EI) of 100.

Note: Consult the manufacturer of high-intensity ultraviolet lamps for safety information on ultraviolet radiation and ozone generation.


Exposure Table-Tungsten Light

At 24 frames per second (fps), 170-degree shutter opening:

Lens Aperture

f / 1.4

f / 2

f / 2.8

f / 4

f / 5.6

f / 8

f / 11

f / 16

Footcandles Required

12.5

25

50

100

200

400

800

1600

Use this table for average subjects that contain a combination of light, medium, and dark colors. When a subject includes only pastels, use at least 1/2 stop less exposure; dark colors require 1/2 stop more exposure.

Lighting Contrast -

The recommended ratio of key-light-plus-fill-light to fill light is 2:1 or 3:1. However, you may use 4:1 or greater when a particular look is desired.


Reciprocity Characteristics

You do not need to make any filter or exposure adjustments for exposure times from 1/1000 to 1/10 of a second. If your exposure is in the 1 second range, it is recommended that you increase your exposure by 2/3 stop and use a KODAK Color Compensating Filter CC 10R. If your exposure is in the 10 second range, it is recommended that you increase your exposure by 1 stop and use a KODAK Color Compensating Filter CC 10R.


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, 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 EASTMAN ECN-2 Kit Chemicals, check Kodak's Motion Picture Films for Professional Use price catalog.


Identification

After processing, the product code numbers 5217 (35 mm) or 7217 (16 mm), emulsion, roll, and strip number identification, KEYKODE Numbers, and manufacturer/film identification code (EL) are visible along the length of the film.


Laboratory Aim Density (LAD)

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 supplied by Eastman Kodak Company.2 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,3 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.


Film-To-Video Transfers

When you transfer the film directly to video, you can set up the telecine using KODAK Telecine Analysis Film (TAF) supplied by Eastman Kodak Company. The TAF consists of a neutral density scale and an eight-bar color test pattern with a LAD gray surround.

The TAF gray scale provides the telecine operator (colorist) with an effective way to adjust subcarrier balance and to center the telecine controls before timing and transferring a film. The TAF color bars provide the utility of electronic color bars, even though they do not precisely match the electronically generated color bars. Using the TAF will help obtain optimum quality and consistency in the film-to-video transfer. For more information regarding TAF, see KODAK Publication No. H-9, TAF User's Guide.


Image Structure

The modulation-transfer and diffuse rms granularity curves were generated from samples of 5217 Film exposed with tungsten light and processed as recommended in Process ECN-2 chemicals. For more information on image-structure characteristics, see KODAK Publication No. H-1, KODAK Motion Picture Film.

MTF

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 charted in the Modulation Transfer Curve.

rms Granularity

Refer to curve.

Read with a microdensitometer, (red, green, blue) using a 48-micrometer aperture.

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. In VISION2 200T Color Negative Film, the measured granularity is very low.


Available Roll Lengths

For information on film roll lengths, check Kodak's Motion Picture Films product catalog or see a Kodak sales representative in your country.


Curves

These graphs are designed to be printed in landscape mode. They will print properly on most printers in their current page set-up of 100%. However, some printers may require adjustments to the browser page set-up in order to have the graph print on a single 8 1/2 x 11 inch sheet of paper.

Characteristic

Curve

Note: Sensitometric and Diffuse RMS Granularity curves are produced on different equipment. A slight variation in curve shape may be noticed.

MTF

Curve 

MTF curve - This graph shows a measure of the visual sharpness of the 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 high degree of sharpness, and the sharper the film is.

Note: These photographic modulation-transfer values were determined by using a method similar to the one described in ANSI/PIMA Standard IT9.39-1998. The film was exposed with the specified illuminant to spatially varying sinusoidal test patterns having an aerial image modulation of a nominal 60 percent at the image plane, with processing as indicated. In most cases, the photographic modulation-transfer values are influenced by development-adjacency effects and are not equivalent to the true optical modulation-transfer curve of the emulsion layer in the particular photographic product.

rms Granularity

Curve

Note: Sensitometric and Diffuse RMS Granularity curves are produced on different equipment. A slight variation in curve shape may be noticed.

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 techniques.

Spectral Sensitivity

Curve

Spectral Sensitivity curve - These curves depict the sensitivity of this film to the spectrum of light. They are useful for adjusting optical printers and film recorders, and for determining, modifying, and optimizing exposure for blue- and green-screen visual effects work.

Spectral Dye Density

Curve 

Processing exposed color film produces cyan, magenta, and yellow dye images in the three separate layers of the film. The spectral dye density curves indicate the total absorption by each color dye measured at a particular wavelength of light and the visual neutral density at (1.0) of the combined layers measured at the same wavelengths.

The wavelengths of light, expressed in nanometers (nm) are plotted on the x-axis, and the corresponding diffuse spectral densities are plotted on the y-axis.

Characteristic-Camera Stops

Curve

Note: Sensitometric and Diffuse RMS Granularity curves are produced on different equipment. A slight variation in curve shape may be noticed.

On the Characteristic-Camera Stop curve, the center point ("0") on the x-axis corresponds to a normal exposure of an 18-percent gray card in the red, green, and blue layers of this film. A white card is 2 1/3 stops higher than normal exposure. Anything more is overexposure latitude. A 3-percent black card is 2 2/3 stops below normal exposure. Anything less is underexposure latitude.

Note: The Kodak materials described in this publication for use with KODAK VISION2 200T Color Negative Film 5217 / 7217 are available from dealers who supply Kodak products. You can use other materials, but you may not obtain similar results.

The contents of this publication are subject to change without notice.

KODAK, Eastman, Keykode, VISION2, and Wratten are trademarks.

(Return to Table of Contents)


Footnotes\Notices

1 With a KODAK WRATTEN Gelatin Filter No. 85.
2 Direct any inquiries to one of the regional sales offices.
3 Use of the LAD Control Method is described in the paper, "A Simplified Motion-Picture Laboratory Control Method for Improved Color Duplication," by John P. Pytlak and Alfred W. Fleischer in the October 1976 SMPTE Journal.

NOTICE: The 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 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.

TI2625 • Issued 1-04