Kodak 7219, 5219, SO-219 User Manual

KODAK VISION3 500T Color
Negative Film 5219 / 7219 / SO-219

TECHNICAL DATA /

COLOR NEGATIVE FILM

The first in a new family of films, VISION3 500T Film gives
you more control and flexibility at every phase of the
filmmaking process—from capture through post, in both
digital and traditional workflows.

VISION3 500T Film retains the overall look and image
structure of KODAK VISION2 Films—then adds technical
innovations that provide improved exposure latitude—at
both ends of the curve. Proprietary, advanced Dye Layering
Technology (DLT) gives you noticeably reduced grain in
shadows, so you can shoot at higher speeds, with less light,
in darker corners, and know you can capture an amazing
amount of shadow detail with noticeably lower grain.

VISION3 500T Film also features extended highlight
latitude, so you can follow the action into bright light-in a
single shot-without worrying about blown-out details.
When the film is scanned and digitized, you'll find you can
recover two stops of highlight detail. This technology is
enabled by the use of sub-micron imaging sensors.

VISION3 500T Film fits seamlessly into your digital
workflow. And when scanning low-light scenes, VISION3
500T Film yields higher signal-to-noise ratios for
unprecedented image quality.

BASE

KODAK VISION3 500T Color Negative Films 5219 and
7219 have an acetate safety base with rem-jet backing.

KODAK VISION3 500T Color Negative Film SO-219 has
an ESTAR Safety Base with rem-jet backing

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.

November 2007 • H-1-5219t

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

Tungsten (3000 K) WRATTEN Gelatin No.

Tungsten (3200 K) None 500

Tungsten photoflood
(3400 K)

Daylight (5500 K) WRATTEN Gelatin No. 85 320

White-Flame Arcs WRATTEN Gelatin No.

Yellow-Flame Arcs Color Compensating 20Y 320

OPTIMA 32 None 500

VITALITE WRATTEN Gelatin No. 85 320

Fluorescent, Cool

†

White

Fluorescent, Deluxe
Cool White

Metal Halide WRATTEN Gelatin No. 85 320

*

These are approximate corrections only. Make final corrections during

printing.

†

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.

†

KODAK Filters

on Camera

WRATTEN Gelatin No. 85

+ 10M

WRATTEN Gelatin No.

85C + 10R

*

82B

None 500

85B

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

1. With a KODAK WRATTEN Gelatin Filter No. 85.

Exposure

Index

320

200

200

320

©Eastman Kodak Company, 2007

DARKROOM RECOMMENDATIONS

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

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

510204080160320640

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 of a second
to 1 second. In the 10-second range, increase exposure 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 available online at http://
www.kodak.com/US/plugins/acrobat/en/motion/
support/processing/h247/h2407.pdf, 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 KODAK ECN-2 Kit
Chemicals, check Kodak's Motion Picture Films for
Professional Use price catalog.

IDENTIFICATION

After processing, the product code numbers 5219 (35
mm), 7219 (16 mm), or SO-219 (16, 35, and 65 mm;
edgeprint shows 0219) emulsion, roll, and strip number
identification, KEYKODE Numbers, and manufacturer/film

identification code (EJ) are visible along the length of the
film.

LABORATORY AIM DENSITIES (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, available online at
http://www.kodak.com/US/en/motion/support/
lad.jhtml.

FILM-TO-TAPE TRANSFERS

When you transfer the film directly to tape, you can set up
the telecine using KODAK Telecine Analysis Film (TAF)

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.

2 KODAK VISION3 500T Color Negative Film 5219 / 7219 / SO-219 • H-1-5219t