Kodak 2383, 3383 User Manual

TECHNICAL DATA / COLOR PRINT FILM

March 2005 • H-1-2383t

KODAK VISION Color Print Film / 2383, 3383

Clear, rich images on the theatre screen.

The colors you love, the rich blacks, and the "look" you’re used to. . . That’s KODAK 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
			DISTRIBUTORS/EXHIBITORS
•	Polyester base provides	• Polyester base allows cleaner,
	greater tear strength,		more durable prints
	durability, dimensional	• No colored fringes in titles, and
	stability, and archival		improved safelight edgefog
	keeping		protection for digital sound
•	Elimination of rem-jet (no		track
	carbon black or prebath-	• Improved fades and dissolves,
	soluble binder)		and less propensity to safelight
•	Potential for reduced		fog
	chemical and water usage	•	Improved blacks, and more
	in processing		neutral highlights on projection
•	Improved cleanliness on	•	Improved laser subtitling
	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

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 Sieves1 in a sealed 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.

©Eastman Kodak Company, 2004

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 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 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.

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)

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 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:

	R	G	B
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	TAPE
		Filter
Red	14	0.40	25
Green	14	0.50	25
Blue	11	0.60	25

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. 2B2 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.

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.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.

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

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