Kodak 2383, 3383 User Manual

TECHNICAL DATA /

COLOR PRINT FILM

K OD AK VISION Color Print Film /
2383, 3383

March 2005 • H-1-2383t

Clear, rich images on the theatre screen.

The colors you love, the rich blacks, and the "look" you’re
used to. . . That’s K OD AK VISION Color Print Film / 2383,

3383.
The VISION Color Print Film from Kodak has the great

look you associate with Kodak films, with rich blacks and
neutral highlights. The film is durable and resistant to
scratches and dirt. This color print film is worthy of the
KODAK VISION Film family name.

With the excellent tonal scale, cinematographers can be

more creative with lighting and exposure, and still see
excellent results.

BENEFITS FOR LABS BENEFITS FOR

• Polyester base provides
greater tear strength,
durability, dimensional
stability, and archival
keeping

• Elimination of rem-jet (no
carbon black or prebath­soluble binder)

• Potential for reduced
chemical and water usage
in processing

• Improved cleanliness on
high-speed printers (less
white dirt)

• Protection from static
marks prior to printing

• Reduced dirt attraction to
processed prints and
static protection prior to
processing

• Better transport
characteristics for
processed film

• Superior halation
protection (no colored
fringes in titles)

• Improved safelight
edgefog protection for
digital sound track area

• Improved fades and
dissolves, and less
propensity to safelight fog

• Improved blacks and
more neutral highlights on
projection

• Improved laser subtitling

Like its counterpart KODAK VISION Premier Color
Print Film, VISION Color Print Film is coated on a polyester
base without rem-jet, for a cleaner process and cleaner
screen images. We’ve incorporated a process-surviving,
antistatic layer to reduce dirt attraction, and a
scratch-resistant backing layer for long projection life. And
there are no color shifts during fades and dissolves. So from

DISTRIBUTORS/EXHIBITORS

• Polyester base allows cleaner,
more durable prints

• No colored fringes in titles, and
improved safelight edgefog
protection for digital sound
track

• Improved fades and dissolves,
and less propensity to safelight
fog

• Improved blacks, and more
neutral highlights on projection

• Improved laser subtitling

set to lab to screen, day to day, you’ll have more consistent
performance.

With VISION Color Print Film, you’ll have the high
quality motion picture color print film you expect from
Kodak.

STORAGE

Unexposed print film is not adversely affected by short-term
storage at room temperature (less than 25°C (77°F). Store
unexposed film at 13°C (55°F) or lower when storage
exceeds 1 month. If refrigerated, allow the sealed can or foil
bag to equilibrate to room temperature before opening to
avoid condensation. Rebag unused raw stock and seal it in
film cans before returning it to refrigeration.

Process exposed film promptly. This film exhibits
excellent latent image keeping. When exposed film must be
kept several days before processing, the tone scale of
VISION Color Print Film / 2383, 3383 shows little change.
Depending on the storage temperature, labs can compensate
for the small latent image speed loss by increasing printer
TRIMS slightly (a neutral increase of 1 to 2 printer points) if
there is a long delay between printing and processing. You
can slow changes in latent image by storing exposed film at
lower temperatures. For critical applications, such as
sensitometric exposures used for process control, keep
exposed film strips at 0°C (32°F) or lower.

For short-term “active” storage and projection of
processed prints (e.g., commercial film exchanges and
theatres), store at room temperature of 20 to 25°C (68 to
77°F) at 50 to 60 percent relative humidity. Avoid prolonged
unconditioned storage at high temperatures or excessive
humidity. For medium-term storage, 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 (36°F) or lower, at a relative
humidity of 20 to 30 percent. Molecular Sieves
can will provide additional benefit. For more information on
long-term storage, see KODAK Publication No. H-23, The

Book of Film Care.

Processed prints made on this film will show less than
10-percent image dye loss, even after several decades of
storage at room temperature and 50-percent relative
humidity.

1.Available from FPC, 6677 Santa Monica Boulevard, Hollywood,

California 90038, 218-468-5774.

1

in a sealed

©Eastman Kodak Company, 2004

COLOR BALANCE

Color print film is balanced to be printed from a color
negative, duplicate negati ve, or internegative, using either an
additive or subtractive printer. Black-and-white (silver
image) negatives can be printed to yield a fairly neutral
image, although slight coloration may be seen in highlights
or shadows.

Overall filtration should include a UV-absorbing filter,

such as a KODAK WRATTEN Gelatin Filter No. 2B.

FILM STRUCTURE

KODAK VISION Color Print Film / 2383, 3383 is coated on
a 120 micrometre (0.0047-inch) ESTAR Base featuring a
proprietary electrically conductive anti-static layer, a
polymeric scratch-resistant backing layer, and a
process-surviving backside lubricant. Unlike rem-jet, the
anti-static layer remains with the film after processing,
eliminating the electrostatic attraction of dirt particles to the
processed print, even at very low relative humidity. A very
thin polymeric backing layer coated on top of the anti-static
layer provides superior resistance to scratches, cinch marks,
and abrasion of both raw stock and processed film. The
backing layer also contains process-surviving lubricant and
matte to optimize winding and transport characteristics.

An antihalation layer containing proprietary solid particle
dyes is coated under the normal emulsion. These dyes offer
superior protection against exposure by light reflected back
from the support surfaces, minimizing color fringing in
critical scenes like white titles and night scenes with
automobile headlights. The antihalation layer also provides
improved resistance to safelight edgefog, since it is coated
between the support and the emulsion layers, and absorbs
any support light-piping from the edge of the roll.

The imaging layers are coated on top of the antihalation
layer and they contain new patented emulsion and coupler
technology. The bottom layer is sensitive to blue light, and
produces the yellow dye image. An interlayer controls
diffusion of developer and development by-products. The
next layer is sensitized to red light, and yields the cyan dye
image. Another interlayer is coated on top of it. The top
image-forming layer is sensitized to green light, and
produces magenta dye. The very thin topmost layer (SOC)
provides protection from scratches. Process-surviving
lubricant and matte are used in the SOC to optimize winding
and transport characteristics. The emulsion layers also
contain absorber dyes to precisely control film speed and
reduce intragrain light scatter, increasing sharpness and
further reducing halation. These soluble absorber dyes,
which give the raw stock emulsion its familiar purple-blue
color, are washed out during processing.

EXPOSING LIGHT

Gel Protective Coat (SOC)
Green-Sensitive Emulsion
Clear Gelatin Interlayer

Red-Sensitive Emulsion
Clear Gelatin Interlayer

Blue-Sensitive Emulsion
Anti-Halation Dye Layer

Subbing Layer
U-Coat

Safety Film Base

4.7 Mil ESTAR Base
U-Coat

Conductive Anti-Static Layer
Scratch Resistant T-Coat W/Lube

This drawing illustrates only the relative layer arrangement of the
film and is not drawn to scale.

F002_0698AC

IDENTIFICATION

KODAK VISION Color Print Film / 2383, 3383 raw stock
has the typical blue-purple emulsion color of print film.
Slight batch-to-batch variations in raw stock color are
normal. The back side of the raw stock has no rem-jet,
appears dark blue to slate-gray, and has a slight iridescence.

This film has slightly less surface gloss than processed
2386 / E / 3386 / E Film. When viewed by reflected light, the
back side exhibits a slight iridescence, with subtle color
bands due to the dichroic nature of the very thin back-side
coatings.

After processing, “2383 KODAK” or “3383 KODAK” is
visible along the length of the film, along with strip number
and date codes.

This film is available on ESTAR Base only. Most 35 mm
applications use KS-1870 (ISO type “P”) print perforations.

DARKROOM RECOMMENDATIONS

You can use sodium-vapor lamps with a KODAK No. 8
Safelight Filter / dark yellow in safelights providing general
darkroom illumination. The filtered sodium-vapor lamp
provides the best visual eff iciency with the least visual effect
on the film.

If you are using a low-wattage tungsten bulb for
task-lighting, filter it with a KODAK 8 Safelight Filter / dark
yellow. You can use amber Light Emitting Diodes (LEDs)
(590 nm peak wavelength) for minimal task or path lighting;
however, do not use them for prolonged or general darkroom
illumination.

2 KODAK VISION Color Print Film / 2383, 3383 • H-1-2383t

PROCESSING CONDITIONS

Process this film in Process ECP-2D. No change in process
sequence is required.

Because there is no rem-jet to remove, VISION Color
Print Film offers the potential for eliminating the current
prebath chemicals and reducing water usage. However,
exercise care if the rem-jet removal steps are eliminated, as
replenishment rates will change dramatically if dry film
enters the developer directly. Soluble dye buildup in the
seasoned developer will also increase. Greatly reducing
water flow will lead to increased concentrations of total
process effluent from the laboratory, which may have
regulatory implications. For further assistance, contact your
Kodak engineering representative.

The antihalation dyes used in VISION Color Print Film
are decolorized and removed during processing. Although
most of the dye is removed in the developer, complete
removal is also dependent on the “tail end” solutions, such as
the bleach.

To prevent static during projection, maintain a relative
humidity of 50 to 60 percent in the projection room.

It is important that you maintain a “clean” process: proper
solution mix and storage procedures to minimize “tar”
formation, process machine and recirculation designed to
minimize aeration (e.g., submerged racks), periodic cleaning
of racks and tanks, proper maintenance of squeegees and
wiper blades, and efficient filtration.

For more information, see KODAK Publication No.
H-24.09, Manual for Processing KODAK Motion Picture
Films, Process ECP-2D Specifications, Module 9.

LABORATORY AIM DENSITIES (LAD)

T o control your process, use Process ECP-2 control strips for
this product available through your local sales
representative.

To aid in color timing and curve placement, negative
originals should be timed relative to the Laboratory Aim
Density (LAD) Control Film supplied by Eastman Kodak
Company. The LAD Control Film provides both objective
sensitometric control and subjective verification of the
duplicating procedures used by the laboratory.

For print films, the LAD patch is printed to a neutral gray
of 1.0 visual density (1.00 Equivalent Neutral Density) on
the processed print at the setup lights.

The Status A densities are:

RGB

Density 1.09 1.06 1.03

For more information, see KODAK Publication No. H-61,
LAD—Laboratory Aim Density.

RECIPROCITY

You can print this film on a variety of printers, ranging from
slow step-optical printers to very high-speed continuous
contact printers used for release printing. Exposure times

may range from 1/10 of a second to almost 1/3000 of a
second, with little or no change in tone scale. For printers
that change exposure time during printing, new speed
reciprocity correction should be used. KODAK VISION
Color Print Film / 2383, 3383 has improved fade and
dissolve characteristics. Printers with mechanical fader cams
will no longer need to use filter correction to achieve neutral
color balance with fades and dissolves. Printers with
programmable light valves will need to reprogram the fade
and dissolve algorithm in the printer to obtain neutral color
balance with fades and dissolves. Consult the printer
manufacturer for the proper test procedure to obtain the
appropriate corrections.

PRINTER RECOMMENDATIONS

Pictorial Printing

The printer setup for KODAK VISION Color Print
Film / 2383, 3383 is similar to EASTMAN Color Print Film
2386 / E / 3386 / E, with little or no change required.

For example, if you use an additive-type printer, such as a
Bell and Howell Printer, Model 6123, to print originals, you
can use a 90 V dc lamp, a KODAK WRATTEN Gelatin
Filter No. 2B, a KODAK Heat Absorbing Glass, No. 2043, a
printer speed of 240 feet per minute, and the printer settings
in the table below:

Beam TRIM Neutral-Density

Red 14 0.40 25

Green 14 0.50 25

Blue 11 0.60 25

Filter

You can also expose this film with a subtractive printer
with a KODAK WRATTEN Gelatin Filter No. 2B, a
KODAK Heat Absorbing Glass, No. 2043, and suitable
color-balancing filters (KODAK WRATTEN Color
Compensating Filters).

Sound-Track Printing

Analog and digital sound-track printer setup and control
procedures for KODAK VISION Color Print Film / 2383,
3383 are similar to Film 2386 / E / 3386 / E, with little or no
change required.

Analog variable area positive sound tracks of silver plus
dye usually restrict the exposure to the top two emulsion
layers by inserting KODAK WRATTEN Gelatin Filters
No. 12 and No. 2B
variable-area sound-track density for the print is between 1.1
and 1.8 (read at 800 nm). You can achieve excellent
frequency response and a high signal-to-noise ratio in this
density range.

For a variable area positive sound track of silver plus
magenta dye only, printed from a negative sound track,
restrict the exposure to the top two emulsion layers by

2. Y ou can omit the No . 2B Filter without affe cting the sound quality. Using

this filter is an operational convenience to
conform with printer setup for other products that require it.

2

in the light beam. The optimum

TAPE

KODAK VISION Color Print Film / 2383, 3383 • H-1-2383t 3