Kodak 5212, 7212 User Manual

100T

5212 / 7212

The big picture and all the fine details.

KODAK VISION2 100T Color Negative Film 5212 / 7212
is the sharpest color negative motion picture film.
With excellent flexibility and extremely fine grain,
VISION2 100T Film offers clean and crisp images. And
now, 100T Film also includes superior VFX
capabilities. So you can shoot all your scenes for
digital compositing on the same stock.

The VISION2 Film family is the first line of products
created specifically for both film and digital
postproduction. What's more, all VISION2 Films
provide excellent tone scale and flesh-to-neutral
reproduction. With superior shadow and highlight
detail and very fine grain. VISION2 Films also maintain
neutrality through the full range of exposure. So you
can convey exactly the look you intended all the way
from capture to post.

KODAK VISION2 100T Film. Tell your story from the
beginning to the very last detail.

KODAK VISION2 100T

Color Negative Film

5212 / 7212

www.kodak.com/go/motion

3

Original Negative
E

XPOSURE DATA

Lens: 20 mm ZEISS Ultra Prime
Filter: 85
Aperture: T2.8
Incident Light Levels

Key = 160fc

Color temperature = 5630K

Fill = 32fc

Stop notations listed on the photo
are reflected light readings.

1

-2.0 Stops -.8 Stops -.2 Stops +0 Stops +.3 Stops +.5 Stops +.9 Stops +3.3 Stops

Base

Acetate safety base with rem-jet
backing.

Darkroom Recommendations

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

Processing

ECN-2

Storage

Store unexposed film at 13°C (55°F) or
lower. For storage of
longer than 6 months, store at –18°C
(0°F). Process film promptly.

Exposure Index

Tungsten (3200 K)—100; Daylight—64
(with KODAK WRATTEN Gelatin
Filter No. 85)

Laboratory Aim Density

Time negative originals relative to
Laboratory Aim Density (LAD)
Control Film supplied by
Eastman Kodak Company.

2

unexposed

3

film

7

1

5

2

8

4

5

Color Balance

This film is balanced for exposure with
tungsten illumination (3200 K). You
can also expose it with tungsten lamps

6

7

8

Postproduction information

When you transfer this film directly to
video, set up the telecine using

negative Telecine Analysis Film (TAF).
that have slightly higher or lower color
temperatures (± 150 K) 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* EXPOSURE INDEX

Tungsten (3000 K) WRATTEN Gelatin No. 82B 64

Tungsten (3200 K) None 100

Tungsten Photoflood (3400 K) None 100

Daylight (5500 K) WRATTEN Gelatin No. 85 64

White-Flame Arcs WRATTEN Gelatin No. 85B 40

Yellow-Flame Arcs Color Compensating 20Y 64

OPTIMA 32 None 100

VITALITE WRATTEN Gelatin No. 85 64

Fluorescent, Cool White† WRATTEN Gelatin No. 85 + 10M 40

Fluorescent, Deluxe Cool White† WRATTEN Gelatin 85C + 10R 64

Metal Halide H.M.I. WRATTEN Gelatin No. 85 64

4

6

*These are approximate corrections only. Make final corrections during printing.
†These are starting-point recommendations for trial exposures. When you don’t know the type of fluorescent lamp,

use a KODAK Color Compensating Filter CC40R with an exposure index (EI) of 50.