TECHNICAL DATA /
COLOR PRINT FILM
K OD AK VISION Premier
September 1998 • H-1-2393t
Color Print Film / 2393
RICHER COLORS ON THE SCREEN
Now, there’s a new choice in motion picture print films—
KODAK VISIONPremier Color Print Film. Afilm with a
different look. Richer blacks. More saturated colors.
Cleaner performance. A film worthy of the KODAK
VISION Film family name.
The upper tone scale of VISION Premier Film is
significantly higher in density than EASTMAN EXR
Color Print Film, so shadows are deeper, colors are more
vivid, and the image snaps and sizzles on the screen. The
toe areas of the sensitometric curves are matched more
closely, producing more neutral highlights on projection.
Cinematographers can be more creative with lighting and
exposure, and still see remarkable results.
BENEFITS FOR LABS
• 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)
• Protectionfromstaticmarks
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
soundtrack area
• Improved fades and
dissolves, and less
propensity to safelight fog
• Extremely rich blacks,
higher color saturation, and
more neutral highlights on
projection
• Improved laser subtitling
BENEFITS FOR
DISTRIBUTORS/
EXHIBITORS
• Polyester base allows
cleaner, more durable
prints
• No colored fringes in
titles, and improved
safelight edgefog
protection for digital
soundtrack
• Improved fades and
dissolves, and less
propensity to safelight fog
• Extremely rich blacks,
higher color saturation,
and more neutral
highlights on projection
• Improved laser subtitling
™
Likeits counterpart KODAK VISION ColorPrintFilm,
VISION Premier Film is coated on a polyester base
without rem-jet, for a cleaner process and cleaner screen
images. We’ve incorporated a processing-surviving,
anti-static layer to reduce dirt attraction, and a
scratch-resistant backing layer to improve projection life.
And there are no color shifts during fades and dissolves.
So, from set tolab to screen, day to day, you’ll have more
consistent performance.
These are not incremental improvements. They are
quantum leaps forward in film technology. And with
VISION Premier Film, you’ll have the finest motion
picture color print film Kodak has ever made.
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)orlowerwhen
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 Premier Color Print Film / 2393 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)ifthere is a longdelaybetween 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 more information on long-term storage, see
KODAK Publication No. H-23, The Book of Film Care.
For extended-term storage (for preservation of material
having permanent value),store at 2˚C (36˚F)or lower, ata
relativehumidity of 20to30percent. Molecular Sieves*in
a sealed can will provide additional benefit.
©Eastman Kodak Company, 1998
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.
dyes, which give the raw stock emulsion its familiar
purple-blue color, are washed out during processing.
EXPOSING LIGHT
COLOR BALANCE
Color print film is balanced to be printed from a color
negative,duplicate negative, 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 Premier Color Print Film / 2393 is
coated on an 120 micrometre (0.0047-inch) ESTARBase
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,
cinchmarks, and abrasionofbothraw 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
reflectedbackfrom the support surfaces, minimizing color
fringing in criticalsceneslike white titlesand night scenes
with automobile headlights. The antihalation layer also
provides improved resistanceto safelight edgefog,since it
is coated between thesupportand the emulsion layers,and
absorbs any support light-piping from the edge of the roll.
The imaging layersare coated ontop of theantihalation
layer and theycontain new patented emulsion andcoupler
technology.The bottom layerissensitiveto blue light,and
produces the yellow dye image. An interlayer controls
diffusion of developer and development by-products. The
next layer is sensitizedtored light, andyieldsthe 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. Theverythin topmost layer(SOC)
provides protection from scratches. Process-surviving
lubricant and matte are used in the SOC to optimize
windingand transport characteristics. Theemulsionlayers
also contain absorber dyes to precisely control film speed
and reduce intragrain light scatter, increasing sharpness
and further reducing halation. These soluble absorber
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 Premier Color Print Film / 2393 raw
stock has the typical blue-purple emulsion color of print
film.Slightbatch-to-batch variationsinrawstockcolor 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, “2393 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 efficiency 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.
* Available from FPC, 6677 Santa Monica Boulevard,
Hollywood, California 90038, 213-468-5774.
2 KODAK VISION Premier Color Print Film / 2393™• H-1-2393t
PROCESSING
Processthis film in Process ECP-2B.Nochangeinprocess
sequence is required.
Becausethere is norem-jettoremove, VISION Premier
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 oftotal process effluentfrom the
laboratory, which may have regulatory implications. For
further assistance, contact your Kodak engineering
representative.
The antihalation dyes used in VISION Premier Color
Print Film are decolorized and removed during
processing. Although most of the dye is removed in the
developer,complete removal isalsodependenton 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, Manualfor Processing KODAK Motion Picture
Films, Process ECP-2B Specifications, Module 9.
LABORATORY AIM DENSITY (LAD) CONTROL METHOD
To 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 ControlFilm 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:
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.
Exposuretimes may range from1/10of a second toalmost
1/3000 of a second, with little or no change in tone scale.
For printers that change exposure time during printing,
newspeed reciprocity correctionshould be used.KODAK
VISION Premier Color Print Film / 2393 has improved
fadeand dissolve characteristics. Printers withmechanical
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 fadeanddissolve algorithm inthe 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 CONDITIONS
Pictorial Printing
The printer setup for KODAK VISION Premier Color
Print Film / 2393 is similar to EASTMAN Color Print
Film 2386 / E / 3386 / E, with little or no change required.
For example, if youuseanadditive-type printer, suchas
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 Filter TAPE
Red 14 0.40 25
Green 14 0.50 25
Blue 11 0.60 25
You can also exposethis filmwith asubtractive 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).
RGB
Density 1.09 1.06 1.03
For more information, see KODAK Publication No.
H-61, LAD—Laboratory Aim Density.
KODAK VISION Premier Color Print Film / 2393™• H-1-2393t 3
Sound-Track Printing
Analog and digital sound-track printer setup and control
procedures for KODAK VISION Premier Color Print
Film / 2393 are similar to Film 2386 / E / 3386 / E, with
little or no change required.
Analogvariable area positive soundtracksofsilver plus
dye usually restrict the exposure to the top two emulsion
layers by inserting KODAK WRATTEN Gelatin Filters
No. 12 and No. 2B* in the light beam. The optimum
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.
Note: With the same soundtrack negative, the print
density of VISION Premier Color Print Film / 2393 is
about .1 higher than VISION Color Print Film / 2383.
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
inserting KODAK WRATTEN Gelatin Filter No.12 and
KODAK Color CompensatingFilter 110 Cyanin the light
beam. The optimum variable-area sound-track density for
the print is between 0.8 and 1.1 (read at 800 nm). This
print density will provide a good compromise between
signal-to-noise ratio and frequency response.
Use cross-modulation test procedures to determine the
density of the sound-track negative required to produce
minimum cross-modulation distortion at the optimum
print density.
Digital sound-on-film soundtracks (e.g., Dolby Digital
and Sony SDDS) are dye only. Consultthe systemvendor
for performance recommendations.
SPLICING
Use tape splices for this film. Since ESTAR Base is
imperviousto most solvents, cementspliceswillnot work.
Keep the knife on the tape splicer sharp and properly
aligned with the splicer platen. As the knife is lowered to
cut the film, slight leftward pressure will help ensure a
tight mesh of the cutting edges to give a clean cut. Taping
bothsides of thefilmisrecommended to minimizefold-up
or stretching. An ultrasonic weld splicer (Metric splicer)
also may be used.
You can use tape splices to intercut triacetate and
ESTAR Base film.However, because ESTARBase prints
are 20 micrometres thinner, there may be a slight focus
difference when projecting on a large screen. To assure
compatibility, order the same type of film stock for all
prints used in a production.
STANDARD PRODUCTS AVAILABLE
Format
35 mm SP666 2000 (610) KS-1870
35 mm SP779 4000 (1220) KS-1870
35 mm SP789 6000 (1829) KS-1870
Length in Feet
(Metres)
Note: For availability of non-standard products, contact
your Kodak location.
Perforation
Pitch
IMAGE STRUCTURE
This film’s excellent sharpness captures the detail in the
printing negative for projection onto the largest of theatre
screens. Fine-grained emulsions, an ultra-thin layer
structure, intragrain absorbing dyes, and superior halation
protection contribute to its performance.
MODULATION-TRANSFER CURVE
This graph showsameasure of thevisual sharpness ofthis
film. The x-axis, “SpatialFrequency,” refers tothenumber
of sine waves per millimetre that can be resolved. The
y-axis, “Response,” corresponds to film sharpness. The
longer and flatter the line, the more sine waves per
millimetre that can be resolved with a high degree of
sharpness — and, the sharper the film.
Modulation-Transfer Curves
200
100
70
50
30
20
10
7
5
RESPONSE (%)
3
2
1
F010_0058AC
SPATIAL FREQUENCY (cycles/mm)
G
R
B
1001 2 3 4 5 10 20 50 200 600
* You can omit the No. 2B Filter without affecting the sound quality.
Using this filter is an operational convenience to
conform with printer setup for other products that require it.
4 KODAK VISION Premier Color Print Film / 2393™• H-1-2393t
SENSITOMETRIC CURVES
The curves describe this film’s responseto red,green, and
blue light. Sensitometric curves determine the change in
density on the film for a given change in log exposure.
Sensitometric Curves
6.0
5.0
4.0
3.0
DENSITY
2.0
1.0
0.0
1.0
F010_0057AC
Exposure:
Process:
Densitometry:
1/500 sec Tungsten plus KODAK
Heat Absorbing Glass, No. 2043
(plus Series 1700 Filter)
ECP-2B
Status A
B
0.0
LOG EXPOSURE (lux-seconds)
1.0
2.0
G
R
3.0
SPECTRAL-SENSITIVITY CURVES
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.
Spectral-Sensitivity Curves
1.0
Effective Exposure:
Process:
Density:
0.0
*
1.0
LOG SENSITIVITY
2.0
ECP-2B
1.0
Tungsten exp. 1/50 sec
Yellow-
Forming
Layer
Magenta-
Forming
Layer
Cyan-
Forming
Layer
DIFFUSE RMS GRANULARITY CURVES
The emulsion granularity of this film is similar to Film
2386 / E / 3386 / E. VISION Premier Color Print
Film / 2393 does have a higher level of very small matte.
The matte particles may be visible at extremely close
viewingdistance to the screen, especiallyin clear (D-min)
areas of the print.
To find the rms granularity value for a given density,
find the density on the left vertical scale and follow
horizontally to the sensitometric 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.
Diffuse RMS Granularity Curves
4.0
Process:
3.8
Densitometry:
3.6
3.4
3.2
3.0
2.8
2.6
2.4
2.2
2.0
1.8
DENSITY
1.6
1.4
1.2
1.0
0.8
0.6
0.4
0.2
0.0
0.0 1.0
F010_0061AC
1.4
1.2
1.0
0.8
ECP-2B
Status A
LOG EXPOSURE (lux-seconds)
B
G
R
B
R
G
Spectral-Dye-Density Curves
Typical densities for a midscale neutral subject
and D-min.
Process:
ECP-2B
Visual Neutral
Cyan
.100
.050
.040
.030
.020
.010
.009
.008
.007
.005
.004
.003
.002
.001
3.02.0
GRANULARITY SIGMA D
400
Yellow
WAVELENGTH (nm)
Magenta
700
750
650600550500450
3.0
700 750650600550500450400350300250
WAVELENGTH (nm)
*Sensitivity = reciprocal of exposure (ergs/cm ) required
to produce specified density
F010_0059AC
2
The spectral sensitivity of VISION Premier Color Print
Film / 2393 morecloselymatches EASTMAN EXR Color
Intermediate Film 5244, 2244. This gives a better match
0.6
0.4
DIFFUSE SPECTRAL DENSITY
0.2
0.0
350
F010_0060AC
between directprints and prints from a duplicate negative
produced on EASTMAN EXR Color Intermediate Film.
KODAK VISION Premier Color Print Film / 2393™• H-1-2393t 5
KODAK VISION Premier Color Print Film / 2393
ADDITIONAL INFORMATION
For assistance, call the Kodak Information Center in the
U.S. at 1-800-242-2424 between 8 a.m. and 8 p.m.
(Eastern time), Monday–Friday; or in Canada at
1-800-465-6325 between 8:30 a.m. and 5 p.m. (Eastern
time).
KODAK LOCATIONS
FOR DIRECT ORDERING IN THE UNITED STATES:
1-800-621-FILM
FOR DIRECT ORDERING IN CANADA:
1-800-621-FILM
™
ATLANTA, GEORGIA
4 Concourse Parkway
Suite 300
Atlanta, Georgia 30328-5379
Information: 800-800-8398
CHICAGO, ILLINOIS
815 West Van Buren, Suite 320
Chicago, Illinois 60607
Information: 312-492-1423
DALLAS, TEXAS
11337 Indian Trail
Dallas, Texas 75229
Information: 972-481-1150 or 312-492-1423
HOLLYWOOD, CALIFORNIA
6700 Santa Monica Boulevard
P. O. Box 38939
Hollywood, California 90038-1203
Information: 323-464-6131
NEW YORK, NEW YORK
360 West 31st Street
New York, New York 10001-2727
Information: 212-631-3450
LATIN AMERICAN REGIONAL OFFICE
8600 NW 17
Miami, Florida 33126
Information: 305-507-5656
th
Street, Suite 200
MONTREAL, CANADA
Kodak Canada Inc.
4 Place du Commerce
Ile des Soeurs
Verdun, Quebec, H3E 1J4, Canada
Information: 514-761-3481
TORONTO, CANADA
Kodak Canada Inc.
3500 Eglinton Avenue West
Toronto, Ontario, M6M 1V3, Canada
Information: 416-766-8233
VANCOUVER, CANADA
Kodak Canada Inc.
4185 Still Creek Drive
Burnaby, British Columbia, V5C 6G9, Canada
Information: 604-320-1777
KODAK On Line At:
http://www.kodak.com/go/motion
KODAK VISION Premier Color Print
Film / 2393
KODAK Publication No. H-1-2393t
CAT 118 6618
™
Professional
Motion Imaging
Kodak,Vision,Estar,Eastman,EXR,2244, 2386, 2393, 3386, 5244,
Keykode, and Wratten are trademarks.
New 9-98
Printed in U.S.A.
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