Color Negative Films 


Technical Data

After a century of R&D, we're still innovating. KODAK VISION2 500T Color Negative Film 7218 is the start of a new family of films for a new era of filmmaking. An era that demands perfection, but with more efficiency from capture to post. With proprietary new technology for superior image structure; more highlight and shadow detail; improved color and skintone reproduction; clean telecine transfers; and seamless special effects. KODAK VISION2 Film products offer the lowest grain available for clean, crisp images; improved neutral tone scale; and more flexibility in both film and digital postproduction. Yes, it takes film to a whole new level. And after all these years, this is just the beginning.

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KODAK VISION2 500T Color Negative Film 5218 / 7218 is a high-speed, tungsten-balanced color negative film with the finest grain available in a 500T product. 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. This film delivers improved performance for special effects and digital compositing. The neutral tone scale provides easier color timing and grading in postproduction. KODAK VISION2 500T Color Negative Film delivers clean, crisp images.


KODAK VISION2 500T Color Negative Film 5218 / 7218 has an acetate safety base with rem-jet backing.

Darkroom Recommendations

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


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) - 500 Daylight1 - 320

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 320
Tungsten (3200 K) None 500
Tungsten photoflood (3400 K) None 500
Daylight (5500 K) WRATTEN Gelatin No. 85 320
White-Flame Arcs WRATTEN Gelatin No. 85B 200
Yellow-Flame Arcs Color Compensating 20Y 320
OPTIMA 32 None 500
VITALITE WRATTEN Gelatin No. 85 320
Fluorescent, Cool White [2] WRATTEN Gelatin No. 85 + 10M 200
Fluorescent, Deluxe Cool White [2] WRATTEN Gelatin No. 85C + 10R 320
Metal Halide WRATTEN Gelatin No. 85 320

[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 CC 40R can be used with an exposure index (EI) of 250.

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 5 10 20 40 80 160 320 640

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 corrections 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.


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.


After processing, the product code numbers 5218 (35 mm) or 7218 (16 mm), emulsion, roll, and strip number identification, KEYKODE Numbers, and manufacturer/film identification code (EH) 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 5218 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


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.

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.


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.



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



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


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


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 special-effects work.

Spectral Dye Density


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


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 500T Color Negative Film 5218 / 7218 are available from dealers who supply Kodak products. You can use other materials, but you may not obtain similar results.

Printable Curves

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

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

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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.

TI2584 • Issued 8-02

©Eastman Kodak Company 2002