Kodak MOTION PICTURE CAMERA FILMS User Manual

C i n e m a t o g r a p h e r’s

Field Guide

KODAK

MOTION
PICTURE

CAMERA
FILMS

Cinematographer’s

Field Guide

Seventh Edition, November 2000

© Eastman Kodak Company, 2000

ISBN 0-87985-749-8

Library of Congress Catalog Card No. 97-77797

C O N T E N T S

I N T R O D U C T I O N. . . . . . . . . . . . . . . . . . . . . . . . . . . . i v

K O D A K MOTION PICTURE

CAMERA FILMS . . . . . . . . . . . . . . . . . . . . . . . M P F - 1

I n t ro d u c t i o n. . . . . . . . . . . . . . . . . . . . . . . . . . . . . M P F - 1

Color Te m p e r a t u re . . . . . . . . . . . . . . . . . . . . . . . M P F - 2

KODAK Motion Picture Camera Films. . . . . . . . M P F - 4

Film Data (for each camera film). . . . . . . . . . . . . M P F - 6

Incident-Light Illumination Table (footcandles) . M P F - 4 4

F I LTER INFORMAT I O N. . . . . . . . . . . . . . . . . . . . . . . 1

I n t ro d u c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Types of Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Filters for Black-and-White Films . . . . . . . . . . . . . . . . . 1

Color Compensating Filters. . . . . . . . . . . . . . . . . . . . . 3

Conversion Filters for Color Films. . . . . . . . . . . . . . . . 4

K O D A K Light Balancing Filters. . . . . . . . . . . . . . . . . . 5

Neutral Density Filters . . . . . . . . . . . . . . . . . . . . . . . . . 6

A p p roximate Correlated Color Te m p e r a t u re for

Various Light Sourc e s . . . . . . . . . . . . . . . . . . . . . . . 7

TIPS AND TECHNIQUES . . . . . . . . . . . . . . . . . . . . .9

I n t ro d u c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Aspect Ratios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

F o rce (Push) Pro c e s s i n g. . . . . . . . . . . . . . . . . . . . . . . 1 1

Storage and Care of Motion Picture Films . . . . . . . . 1 1

Filmmaker’s Flow Chart . . . . . . . . . . . . . . . . . . . . . . 1 2

Shooting for Te l e v i s i o n . . . . . . . . . . . . . . . . . . . . . . .1 7

Getting Ready . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8

Flashing Camera Films to Lower Contrast . . . . . . . . 2 1

Exposed Film—What Now? . . . . . . . . . . . . . . . . . . . 2 1

F O R M ATS AND PA C K A G I N G . . . . . . . . . . . . . . . . 2 3

I n t ro d u c t i o n. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 3

Specification Numbers for Camera Films . . . . . . . . .2 3

How to Read a Film Can Label. . . . . . . . . . . . . . . . . 2 4

C o res and Spools . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 5

Winding Designations . . . . . . . . . . . . . . . . . . . . . . . . 2 7

P e rforation Ty p e s . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7

Q u a n t i t i es—S t a n d a rd Packages . . . . . . . . . . . . . . . . 2 8

ORDERING RAW STOCK . . . . . . . . . . . . . . . . . . . 2 9

I n t ro d u c t i o n. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 9

How to Ord e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 9

The Catalog Number (CAT No.) . . . . . . . . . . . . . . . . 2 9

P roduct and Technical Inform a t i o n . . . . . . . . . . . . . . 3 0

Limitation of Liability on Sensitized Goods . . . . . . . . 3 9

Motion Picture Film Updates. . . . . . . . . . . . . . . . . . . 4 0

Page No.

9/98 iii

I N T R O D U C T I O N

This pocket-sized publication provides up-to-date and easy­to-use information about all K O D A K Motion Picture
Camera Films and several important related subjects. We
designed the book to help you choose and order the right
films for your needs, and to help you use the films most
e ffectively. The guide is divided into five major sections for
easy re f e re n c e :

Motion Picture Camera Films
Filter Inform a t i o n
Tips and Te c h n i q u e s
F o rmats and Packaging
O rdering Raw Stock

Brief but comprehensive descriptions of each black-and­white and color camera film appear in the section
“KODAK Motion Picture Camera Films.” The section
“Filter Information” contains charts for color conversion,
neutral density, color balancing, filter factors, and color
t e m p e r a t u re. The section “Tips and Techniques” covers
film storage and care, shooting for television, must items
for your on-location ditty bag, survival tools, flashing tech­niques, force processing, a filmmaker’s flowchart, and
m o re. The section “Formats and Packaging” clears up
any questions you might have concerning “spec” numbers,
“iden” numbers, film can label terms and numbers, and
packaging information. The last section, “Ordering Raw
S t o c k,” tells you how to order film and lists names,
a d d resses, and telephone numbers of Kodak people world­wide who can answer all of your questions about film and
film ord e r s .

This edition includes the new KODAK VISION C o l o r
Negative Films, the highest quality camera films available
f rom Kodak. KODAK VISION Films, which offer superior
technology for image capture, intercut seamlessly with
E A S T M A N EXR Color Negative Films, which are also
available. These films are based on emulsion chemistry
that uses KODAK T- G R A I N®Emulsions and advanced
dye-coupler technology. This gives the films incre a s e d

iv 9/98

u n d e re x p o s u re latitude, wider speed ranges, and impro v e­ments in grain structure, sharpness, continuous-tone
re p roduction, and color saturation.

An edge-numbering system for all K O D A K M o t i o n
P i c t u re Camera Films features both electronic- and
o p e r a t o r- read characters. The digital numbers, called
EASTMAN KEYKODE Numbers, are in the form of a
m a c h i n e - readable barcode. This feature opens up the
potential for automated film handling. All K O D A KM o t i o n
P i c t u re Color Negative Camera Films as well as most
Black-and-White Camera Films have K E Y K O D EN u m b e r s .

N o t e : The Kodak filter materials, as well as other brand
name products we describe in this publication, are available
f rom dealers in photographic supplies. You can use equiv­alent materials, if desire d .

Need Another H-2?

You can purchase extra copies of Publication No. H-2
f rom the nearest Kodak company or distributor in your
country. U.S. residents can order directly from Eastman
Kodak Company, Department 412L, 343 State Stre e t ,
R o c h e s t e r, NY 14650-0532. Be sure to include the title
Cinematographer’s Field Guide and the code number
H-2 in your ord e r.

You can also find information on KODAK Motion
P i c t u re Films on the Web. Visit our website at:
w w w . k o d a k . c o m / g o / m o t i o n.

9/98 v

K O D A K MOTION PICTURE
CAMERA FILMS

I n t ro d u c t i o n

This section provides pertinent information about all
c u r rently available K O D A K Motion Picture Camera Films.
For information on future film updates, see page 40.

A quick re f e rence chart of all the films is on page
MPF-4. Page re f e rences for the individual fil m - i n f o rm a t i o n
sheets as they appear in this guide are included at the right
of the chart. The detailed descriptions for each film begin
on page MPF-6 and include the following inform a t i o n :

Film code number and film name

•

E x p o s u re indexes and fil t e r s

•

Uses and general pro p e r t i e s

•

Trial exposure settings

•

Illumination table and light-contrast suggestions

•

Filter factors

•

R e c i p rocity characteristics

•

H a n d l i n g

•

Av a i l a b i l i t y

•

C a u t i o n : Load and unload all camera spools in total
darkness to prevent edge fog on the fil m .

H-1 Data Sheets Av a i l a b l e

You can get detailed data sheets for all K O D A K M o t i o n
P i c t u re Camera Films. To obtain a single free copy of
any data sheet, write to Eastman Kodak Company,
Dept. 412L, Rochester, NY 14650-0532. In countries
outside the U.S., contact one of the facilities listed in
the back of this book. Be sure to include the name
and code number for each film data sheet you re q u e s t .
(For example: EASTMAN EXR 50D Color Negative
Film 5245™[35 mm] and 7245™[16 m m ] , K O D A K
Publication No. H-1-5245.)

You can also find data sheets on the Kodak
Entertainment Imaging website at:
w w w . k o d a k . c o m / g o / m o t i o n.

9/98 MPF-1

Technical Inform a t i o n

For technical information in the United States, call
the Kodak Information Center (KIC), 9:00 a.m. to
7:00 p.m. (Eastern time), Monday through Friday, at
1 [phone]. In Canada, call 1 [phone],
Monday through Friday, from 8:30 a.m. to 5:00 p.m.
( E a s t e rn time). Outside the United States and Canada,
contact Kodak or a distributor in your country.

A Note on T-Stops and F-Stops

When discussing lens aperture size, cinematographers tradi­tionally refer to t-stops while still photographers refer to
f-stops. A t-stop is a measure of actual light transmission by
the lens. An f-stop is the theoretical ratio of the lens’ focal
length to the diameter of its entrance pupil (appro x i m a t e l y
the aperture diaphragm size in a symmetrical lens). What
relates the two is the lens’ efficiency in transmitting light; if
the lens could transmit all the light entering it, its t-stop and

f-stop would be the same (ANSI PH 22.90-1987, A p e r t u re
Calibration of Motion Picture Lenses, Method for Deter­m i n i n g , gives full details).

Color Te m p e r a t u re

The color quality of some light sources can be stated in
t e rms of color temperature ,and is a measure that defin e s
the color of a light source relative to the visual appearance
and expressed in degrees Kelvin (K). There are at least two
important points to keep in mind when using color temper­a t u re values. F i r s t , color temperature refers only to the
visual appearance of a light source and does not neces­sarily describe its photographic effect. S e c o n d , c o l o r
t e m p e r a t u re does not take into account the spectral distri­bution of a light source. Unless the light source has a
continuous spectral distribution, its effective color temper­a t u re alone may not be reliable as a means of selecting a
suitable correction fil t e r. For example, flu o rescent lamps do
not have the continuous smooth spectral-distribution curve
that is characteristic of a tungsten-filament sourc e .

It is possible for two or more light sources to be described
as having the same color temperature, but the photographic
results obtained with each may be quite diff e rent. Only a

MPF-2 9/98

wavelength-by-wavelength comparison of film sensitivity
and spectral output of the lamp can determine the exact
filters re q u i red to balance the light to the film re s p o n s e .
K O D A K Motion Picture Films have a photographic
latitude that makes it unnecessary to use unusual fil t r a t i o n ,
except for special visual effects. Filter recommendations in
this publication, for most normal photography, are
capable of producing excellent-quality pictures with the
p roducts described.

All light sources, whether daylight, tungsten, or flu o re s­cent, emit energy at a precise color temperature at a given
moment and may not remain consistent at all times. Some
factors that will affect color temperature are sun angle,
conditions of sky (clouds, dust, haze), age of lamps, voltage,
re flectors, etc. Deviations from the expected light sourc e
color temperature will cause an overall color shift in the
finished product. While this diff e rence may be color
c o r rected in printing, there could be some unfore s e e n
m i red shifts. The light source color temperature should be
m o n i t o red with a color temperature meter and corrected as
necessary, at the source, camera, or both.

Only recommended conversion filters (e.g. daylight to
a r t i ficial light) that are placed on the camera are listed in this
publication. Since they may not be consistent with pre v i o u s
recommendations, use the current recommendations for
e x p o s u res and testing. Light source filters (filters on lamps,
a rcs, etc.) are not listed because of the many
varieties and color temperatures of the sourc e s .

The manufacturers of these light sources should be con­tacted for filter recommendations. It is suggested that all
filter recommendations be tested before actual shooting.

9/98 MPF-3

KODAK Motion Picture Camera Films

Film Name

EASTMAN EXR 50D 5245 7245 — Color Negative 50 (18) KODAK WRATTEN MPF-6

EASTMAN EXR 100T 5248 7248 — Color Negative KODAK WRATTEN 100 (21) MPF-8

KODAK VISION 200T 5274 7274 — Color Negative KODAK WRATTEN 200 (24) MPF-10

EASTMAN EXR 200T 5293 7293 — Color Negative KODAK WRATTEN 200 (24) MPF-12

KODAK SFX 200T — — — Color Negative KODAK WRATTEN 200 (24) MPF-14

KODAK VISION 250D 5246 7246 — Color Negative 250 (25) KODAK WRATTEN MPF-16

KODAK VISION 320T 5277 7277 — Color Negative KODAK WRATTEN 320 (26) MPF-18

KODAK VISION 500T 5279 7279 — Color Negative KODAK WRATTEN 500 (28) MPF-20

EASTMAN EXR 500T 5298 — — Color Negative KODAK WRATTEN 500 (28) MPF-22

KODAK VISION 800T 5289 — — Color Negative KODAK WRATTEN 800 (30) MPF-24

KODAK EKTACHROME 100D 5285 — — Color Reversal 100 (21) KODAK WRATTEN MPF-26

EASTMAN EKTACHROME — 7240 7240 Color Reversal KODAK WRATTEN 125 (22) MPF-28

Code No. Exposure Index (DIN)

35 mm 16 mm super 8

EASTMAN EKTACHROME — 7239 — Color Reversal 160 (23) KODAK WRATTEN MPF-30

EASTMAN EKTACHROME
High Speed

EASTMAN EKTACHROME
High Speed Daylight

EASTMAN PLUS-X Negative 5231 7231 — B&W Negative 80 (20) 64 (19) MPF-36
EASTMAN DOUBLE-X Negative 5222 7222 — B&W Negative 250 (25) 200 (24) MPF-38

EASTMAN PLUS-X Reversal — 7276 7276 B&W Reversal 50 (18) 40 (17) MPF-40
EASTMAN TRI-X Reversal — 7278 7278 B&W Reversal 200 (24) 160 (23) MPF-42

— 7250 — Color Reversal KODAK WRATTEN 400 (27) MPF-32

— 7251 — Color Reversal 400 (27) KODAK WRATTEN MPF-34

MPF-4 6/00

Type Daylight

64 (19) with

Gelatin Filter No. 85

125 (22) with

Gelatin Filter No. 85

125 (22) with

Gelatin Filter No. 85

125 with

Gelatin Filter No. 85

200 (24) with

Gelatin Filter No. 85

320 (26) with

Gelatin Filter No. 85

320 (26) with

Gelatin Filter No. 85

500 (28) with

Gelatin Filter No. 85

80 (20) with

Gelatin Filter No. 85B

250 (25) with

Gelatin Filter No. 85B

Tungsten

(3200 K)

12 (12) with

Gelatin Filter No. 80A

64 (19) with

Gelatin Filter No. 80A

25 (15) with

Gelatin Filter No. 80A

40 (17) with

Gelatin Filter No. 85B

100 (21) with

Gelatin Filter No. 80A

See

Page

6/00 MPF-5

COLOR NEGATIVE FILM

50D

5 2 4 5™/7 2 4 5™(35 mm, 65 mm/16 mm)
EASTMAN EXR 50D Fi l m

Daylight EI 50 (18)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 12 (12)

Tungsten 3200 K W R A T T E NG e l a t i n 12 (12)

Tungsten Photoflood 3400 K WRATTEN Gelatin 12 (12)

Daylight 5500 K No n e 50 (18)
Metal Halide H.M.I. No n e 50 (18)

Yellow-Flame Arcs WRATTEN Gelatin 20 (14)

White-Flame Arcs Color Compensating 32 (16)

Optima 32 WRATTEN Gelatin 12 (12)

V i t a l i t e N o n e 50 (18)

F l u o r e s c e n t *
Cool White

F l u o r e s c e n t *
Deluxe Cool White

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC20M filter with an index exposure of 20 (14) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 80A

No. 80A

No. 80A

No. 80C

WRATTEN Gelatin/

20Y + 10C

No. 80A

WRATTEN Gelatin/

Co l o rCo m p e n s a t i n g 32 (16)

20M + 10B

WRATTEN Gelatin/

Co l o rCo m p e n s a t i n g 20 (14)

30B + 10C

MPF-6 9/98

5 2 45/7 2 4 5

Process: ECN-2
U s e : E A S T M A N EXR 50D Film 5245/7245 is a camera

film intended for general motion picture production.
The wide exposure latitude of this negative film makes
it especially suitable for outdoor photography under
normal daylight conditions.

General Pro p e r t i e s : EASTMAN EXR 50D Film
5 2 4 5/7245 is balanced for daylight. The emulsion
contains a colored-coupler mask to achieve excellent
color re p roduction in prints from E A S T M A N C o l o r
Release Print Film. This film is characterized by very high
sharpness, micro - fine grain, excellent color rendition, and
underexposure latitude.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0 3 2 0 0 6 4 0 0

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 50 (18 ) : No exposure
or filter compensation is re q u i red for exposure times fro m
1/1000 second to 1 second.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in
your country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-7

COLOR NEGATIVE FILM

100T

5 2 4 8™/7 2 4 8™(35 mm, 65 mm/16 mm)
E A S T M A N EXR 100T Film

Tungsten EI 100 (21)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 64 (19)

Tungsten 3200 K N o n e 100 (21)
Tungsten Photoflood 3400 K N o n e 100 (21)

Daylight 5500 K W R A T T E NG e l a t i n 64 (19)

Metal Halide H.M.I. W R A T T E NG e l a t i n 64 (19)

Yellow-Flame Arcs W R A T T E NG e l a t i n 80 (20)

White-Flame Arcs Color Compensating 40 (17)

Optima 32 N o n e 100 (21)
V i t a l i t e W R A T T E NG e l a t i n 64 (19)

F l u o r e s c e n t * W R A T T E NG e l a t i n 40 (17)
Cool White No. 81B +4 0 R

F l u o r e s c e n t *
Deluxe Cool White

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an exposure index of 50 (18) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

No. 81C

WRATTEN Gelatin/

20R +5 0 Y

No. 85

WRATTEN Gelatin/

Color Compensating 64 (19)

2 0 R

MPF-8 9/98

5248/7248

P rocess: E C N - 2
Use: EA S T M A N EXR 100T Film 5248/7248 is

intended for general motion picture production. The wide
e x p o s u re latitude of this negative film makes it especially
suitable for indoor and outdoor photography under a
wide variety of conditions.

General Properties: EA S T M A N EXR 100T Film
5248/7248 is a medium-speed film balanced for tungsten
light and for daylight with appropriate filters. The
emulsion contains a colored-coupler mask to achieve
superior color re p roduction in prints from EA S T M A N
Color Release Print Film. This film is characterized by
very high sharpness, micro-fine grain, high re s o l v i n g
power and undere x p o s u re latitude.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 2 5 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0 3 2 0 0

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 100 (21):You do not
need to make any exposure or filter adjustments for
e x p o s u re times from 1/1000 to 1/10 second. At an expo­s u re time of 1 second, increase exposure by 1⁄3 s t o p .

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in
your country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-9

COLOR NEGATIVE FILM

VISION 200T

5 2 7 4™/7 2 7 4™(35 mm, 65 mm/16 mm)
KODAK VISION 200T Color Negative Film

Tungsten EI 200 (24)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 125 (22)

Tungsten 3200 K N o n e 200 (24)
Tungsten Photoflood 3400 K N o n e 200 (24)

Daylight 5500 K W R A T T E NG e l a t i n 125 (22)

Metal Halide H.M.I. W R A T T E NG e l a t i n 125 (22)

White-Flame Arcs W R A T T E NG e l a t i n 125 (22)

Optima 32 N o n e 200 (24)
V i t a l i t e W R A T T E NG e l a t i n 125 (22)

F l u o r e s c e n t * W R A T T E NG e l a t i n 80 (20)
Cool White No. 85 +1 0 M

F l u o r e s c e n t * W R A T T E NG e l a t i n 125 (22)
Deluxe Cool White No. 85C +1 0 R

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

No. 85B

No. 85

MPF-10 9/98

5274/7274

P rocess: E C N - 2
Use: KODAK VISION 200T Color Negative Film

5 2 7 4/7274 features very high sharpness, fine grain,
accurate flesh-to-neutral re p roduction, and wide under­and over- e x p o s u re latitude for indoor or outdoor photog­raphy. Enhanced shadow detail provides crisp, rich blacks.

General Properties: KODAK VISION 200T Color
Negative Film 5274/7274 is a medium-speed film
balanced for tungsten light. It cuts seamlessly with other
Kodak color negative motion picture films. VISION Film
sets new standards for consistency—emulsion to emul­sion, roll to roll, batch to batch.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 1 2 . 5 2 5 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, this
film takes on a “special look.”

R e c i p rocity Characteristics EI 200 (24): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second.
If your exposure is in the 10-second range, increase your
e x p o s u re 2⁄3 stop and use a KODAK Color Compensating
Filter CC10Y.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion ImagingP r i c e
C a t a l o g , or contact a Kodak sales representative in your

country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-11

COLOR NEGATIVE FILM

200T

5 2 9 3™/7 2 9 3™(35 mm, 65 mm/16 mm)
E A S T M A N EXR 200T Film

Tungsten EI 200 (24)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 125 (22)

Tungsten 3200 K N o n e 200 (24)
Tungsten Photoflood 3400 K N o n e 200 (24)

Daylight 5500 K W R A T T E NG e l a t i n 125 (22)

Metal Halide H.M.I. W R A T T E NG e l a t i n 125 (22)

Yellow-Flame Arcs W R A T T E NG e l a t i n 125 (22)

White-Flame Arcs W R A T T E NG e l a t i n 100 (21)

Optima 32 N o n e 200 (24)
V i t a l i t e W R A T T E NG e l a t i n 125 (22)

F l u o r e s c e n t * W R A T T E NG e l a t i n 64 (19)
Cool White C C 4 0 R

F l u o r e s c e n t * W R A T T E NG e l a t i n 125 (22)
Deluxe Cool White No. 85C

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an exposure index of 100 (21) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

No. 81D

No. 85C +C C 5 0 Y

No. 85

MPF-12 9/98

5293/7293

Use: EASTMAN EXR 200T Color Negative Film
5 2 9 3/7293 is intended for general motion picture
p roduction. The wide exposure latitude of this negative
film makes it especially suitable for indoor and outdoor
photography under a wide variety of conditions.

General Properties: EASTMAN EXR 200T Color
Negative Film 5293/7293 is a medium-speed film
balanced for tungsten light and for daylight with appro­priate filters. The emulsion contains a colore d - c o u p l e r
mask to achieve superior color re p roduction in prints
f rom EASTMAN Color Release Print Film. This film is
characterized by very high sharpness, micro - fine grain,
high resolving power and undere x p o s u re latitude.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 1 2 . 5 2 5 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0

R e c i p rocity Characteristics EI 200 (24): You do not
need to make any filter adjustments for exposure times
f rom 1/1000 to 1/10 second. At an exposure time of 1
second, increase exposure by 1⁄3 s t o p .

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion Imaging Price
C a t a l o g, or contact a Kodak sales representative in your

country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-13

COLOR NEGATIVE FILM

SFX 200T

(35 mm)

KODAK SFX 200T Color Negative Film

Tungsten EI 200 (24)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 125 (22)

Tungsten 3200 K N o n e 200 (24)
Tungsten Photoflood 3400 K N o n e 200 (24)

Daylight 5500 K W R A T T E NG e l a t i n 125 (22)

Metal Halide H.M.I. W R A T T E NG e l a t i n 125 (22)

Yellow-Flame Arcs WRATTEN Gelatin 125 (22)

White-Flame Arcs WRATTEN Gelatin 100 (21)

Optima 32 No n e 200 (24)
V i t a l i t e WRATTEN Gelatin 125 (22)

F l u o r e s c e n t , WRATTEN Gelatin 64 (19 )

Cool White C C 4 0 R

F l u o r e s c e n t , W R A T T E NG e l a t i n 125 (22)

Deluxe Cool White No. 85C

*I M P O R T A N T : These are approximate filter requirements. Make final corrections during

printing. When you don’t know the kind of lamp, use a CC40R filter with an index expo­sure of 100 (21) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s * Index (DIN)

No. 82B

No. 85

No. 85

No. 81D

No. 85C + 50Y

No. 85

MPF-14 9/98

SFX

P rocess: E C N - 2
U s e : KODAK SFX 200T Color Negative Film is opti-

mized for traveling matte shots, so fore g round action
photographed against a blue or green screen can be sepa­rated more cleanly from the background when it’s
scanned into the digital format. In complex composite
shots, this film can save time in postproduction.

General Pro p e r t i e s : KODAK SFX 200T Color
Negative Film is a medium speed film balanced for tung­sten light. It intercuts seamlessly with other KODAK Color
Negative Films used to re c o rd live action footage. This
film features micro fine grain, unprecedented sharpness,
high resolving power, wide exposure latitude and accurate
tone re p roduction for the most difficult compositing
a p p l i c a t i o n s .

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 1 2 . 5 2 5 5 0 1 0 0 2 0 0 4 0 0 8 0 0 16 0 0

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill-light is 2:1, 3:1, or 4:1. At a 4:1 ratio, this
film takes on a “special look.”

R e c i p rocity Characteristics EI 200 (24): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1/10 second.

Handling: Total darkness.
Available Roll Lengths: SFX 200T Film is a special

o rder product from Kodak. For information on film ro l l
lengths, contact a Kodak sales re p resentative in your
c o u n t r y .

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-15

COLOR NEGATIVE FILM

VISION 250D

5 2 4 6™/7 2 4 6™(35 mm, 65 mm/16 mm)

KODAK VISION250D Color Negative Film

Daylight EI 250 (25)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 64 (19)

Tungsten 3200 K No. 80A 64 (19)

Tungsten Photoflood 3400 K No. 80A 64 (19)

Daylight 5500 K N o n e 250 (25)
Metal Halide H.M.I. No n e 250 (25)

White-Flame Arcs Color Compensating 160 (23)

Optima 32 W R A T T E NG e l a t i n 64 (19)

V i t a l i t e No n e 250 (25)

F l u o r e s c e n t *

Cool White

F l u o r e s c e n t * W R A T T E NG e l a t i n 200 (24)

Deluxe Cool White No. 82C

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 80A

WRATTEN Gelatin/

20Y + 10C

No. 80A

WRATTEN Gelatin/

Color Compensating 200 (24)

2 0 M

MPF-16 9/98

5246/7246

P rocess: E C N - 2
Use: KODAK VISION 250D Color Negative Film

5 2 4 6/7246 features very high sharpness, fine grain,
accurate flesh-to-neutral re p roduction, and wide under­and over- e x p o s u re latitude for daylight or mixed light
photography. Enhanced shadow detail provides crisp,
rich blacks.

General Properties: KODAK VISION 250D Color
Negative Film 5246/7246 is a medium-speed film
balanced for daylight. It cuts seamlessly with other Kodak
color negative motion picture films. VISION Film sets
new standards for consistency—emulsion to emulsion,
roll to roll, batch to batch.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 1 0 2 0 4 0 8 0 1 6 0 3 2 0 6 4 0 1 2 5 0

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, this
film takes on a “special look.”

R e c i p rocity Characteristics EI 250 (25): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second.
If your exposure is in the 10-second range, increase your
e x p o s u re 2⁄3 stop and use a KODAK WRAT T E N
F i l t er/Color Compensating 10Y.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ sP rofessional Motion ImagingP r i c e
C a t a l o g , or contact a Kodak sales representative in your

country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-17

COLOR NEGATIVE FILM

VISION 320T

5 2 7 7™/7 2 7 7™(35 mm, 65 mm/16 mm)
KODAK VISION 320T Color Negative Film

Tungsten EI 320 (26)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 200 (24)

Tungsten 3200 K N o n e 320 (26)
Tungsten Photoflood 3400 K N o n e 320 (26)

Daylight 5500 K W R A T T E NG e l a t i n 200 (24)

Metal Halide H.M.I. W R A T T E NG e l a t i n 200 (24)

White-Flame Arcs W R A T T E NG e l a t i n 125 (22)

Optima 32 N o n e 320 (26)
V i t a l i t e W R A T T E NG e l a t i n 200 (24)

F l u o r e s c e n t * W R A T T E NG e l a t i n 125 (22)
Cool White No. 85 +1 0 M

F l u o r e s c e n t * W R A T T E NG e l a t i n 200 (24)
Deluxe Cool White No. 85C +1 0 R

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an index exposure of 100 (21) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

No. 85B

No. 85

MPF-18 9/98

5277/7277

P rocess: E C N - 2
Use: KODAK VISION 320T Color Negative Film

5 2 77/7277 lets you create a very diff e rent look—s o f t e r,
m o re pastel. This film has very wide exposure latitude that
allows you to pick up the detail in the shadows without
losing the highlights. Overexpose it a bit and maintain the
shadow detail, but the blacks get blacker. Underexpose it,
and the shadows open up. This film features fine grain,
high sharpness, and wide color re p roduction.

General Properties: KODAK VISION 320T Color
Negative Film 5277/7277 is a 320-speed film balanced
for tungsten light. You’ll get clean, white highlights,
accurate flesh-tone re p roduction, but with softer colors.
It cuts seamlessly with other Kodak color negative motion
p i c t u re films. VISION Film sets new standards for consis­t e n cy—emulsion to emulsion, roll to roll, batch to batch.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 8 1 6 3 2 6 4 1 2 5 2 5 0 5 0 0 1 0 0 0

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1, 3:1, or 4:1.

R e c i p rocity Characteristics EI 320 (26): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second.
If your exposure is in the 10-second range, increase your
e x p o s u re 2⁄3 stop and use a KODAK WRAT T E N
F i l t er/Color Compensating 10Y.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion ImagingP r i c e
C a t a l o g , or contact a Kodak sales representative.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-19

COLOR NEGATIVE FILM

VISION 500T

5 2 7 9™/7 2 7 9™(35 mm, 65 mm/16 mm)
KODAK VISION 500T Color Negative Film

Tungsten EI 500 (28)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 320 (26)

Tungsten 3200 K N o n e 500 (28)
Tungsten Photoflood 3400 K N o n e 500 (28)

Daylight 5500 K W R A T T E NG e l a t i n 320 (26)

Metal Halide H.M.I. W R A T T E NG e l a t i n 320 (26)

White-Flame Arcs W R A T T E NG e l a t i n 200 (24)

Yellow-Flame Arcs Color Compensating 320 (26)

Optima 32 No n e 500 (28)

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

No. 85B

WRATTEN Gelatin/

2 0 Y

V i t a l i t e WRATTEN Ge l a t i n 320 (26)

F l u o r e s c e n t * WRATTEN Gelatin 200 (24)
Cool White No. 85 + 10M

F l u o r e s c e n t * W R A T T E NG e l a t i n 320 (26)
Deluxe Cool White No. 85C + 10R

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an index exposure of 250 (25) for a trial exposure.

No. 85

MPF-20 9/98

5279/7279

P rocess: E C N - 2
Use: KODAK VISION 500T Color Negative Film

5 2 7 9/7279 features very high sharpness, fine grain,
accurate flesh-to-neutral re p roduction, and wide under­and over- e x p o s u re latitude for indoor or outdoor photog­raphy. Enhanced shadow detail provides crisp, rich blacks.

General Properties: KODAK VISION 500T Color
Negative Film 5279/7279 is a high-speed film balanced
for tungsten light. It cuts seamlessly with other Kodak
color negative motion picture films. VISION Film sets
new standards for consistency—emulsion to emulsion,
roll to roll, batch to batch.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 5 1 0 2 0 4 0 8 0 1 6 0 3 2 0 6 4 0

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1, 3:1, or 4:1. At a 4:1 ratio, this
film takes on a “special look.”

R e c i p rocity Characteristics EI 500 (28): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second.
If your exposure is in the 10-second range, increase your
e x p o s u re 2⁄3 stop and use a KODAK WRAT T E N
F i l t er/Color Compensating 10Y.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion ImagingP r i c e
C a t a l o g , or contact a Kodak sales representative in your

country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9 / 9 8 M P F - 2 1

COLOR NEGATIVE FILM

500T

5 2 9 8™(35 mm, 65 mm)
E A S T M A N EXR 500T Film

Tungsten EI 500 (28)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 320 (26)

Tungsten 3200 K N o n e 500 (28)
Tungsten Photoflood 3400 K N o n e 500 (28)

Daylight 5500 K W R A T T E NG e l a t i n 320 (26)

Metal Halide H.M.I. W R A T T E NG e l a t i n 320 (26)

Yellow-Flame Arcs Color Compensating 320 (26)

White-Flame Arcs W R A T T E NG e l a t i n 200 (24)

Optima 32 N o n e 500 (28)
V i t a l i t e W R A T T E NG e l a t i n 320 (26)

F l u o r e s c e n t * W R A T T E NG e l a t i n 200 (24)
Cool White No. 85 +1 0 M

F l u o r e s c e n t * W R A T T E NG e l a t i n 320 (26)
Deluxe Cool White No. 85C +1 0 R

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an exposure index of 250 (25) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 85

No. 85

WRATTEN Gelatin/

2 0 Y

No. 85B

No. 85

MPF-22 9/98

5298

P rocess: E C N - 2
Use: EA S T M A N EXR 500T Film 5298 is a camera fil m

intended for general motion picture production. The wide
e x p o s u re latitude of this film makes it especially suitable
for indoor and outdoor photography under low-level illu­mination. The film offers the highest quality telecine
transfers and is an excellent choice for blue-screen special
e ff e c t s .

General Properties: EA S T M A NEXR 500T Film 5298
is a high-speed film balanced for tungsten light. Enhanced
shadow detail provides crisp, rich blacks and clean, white
highlights. The emulsion contains a colored-coupler mask
to achieve superior color re p roduction when printed onto
E A S T M A N Color Release Print Film. This film is charac­terized by micro-fine grain, very high sharpness, high
resolving power, and wide under- and over- e x p o s u re
l a t i t u d e .

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16
F o o t c a n d l e s 5 1 0 2 0 4 0 8 0 1 6 0 3 2 0 6 4 0

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 500 (28): You do not
need to make any filter corrections or exposure
adjustments for exposure times from 1/1000 to 1 second.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion Imaging
Price Catalog,or contact a Kodak sales re p resentative in
your country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/98 MPF-23

COLOR NEGATIVE FILM

VISION 800T

5 2 8 9™/ 7 2 8 9™(35 mm/16 mm)
KODAK VISION 800T Color Negative Film

Tungsten EI 800 (30)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 500 (28)

Tungsten 3200 K N o n e 800 (30)
Tungsten Photoflood 3400 K N o n e 800 (30)

Daylight 5500 K W R A T T E NG e l a t i n 500 (28)

Metal Halide H.M.I. W R A T T E NG e l a t i n 500 (28)

Yellow-Flame Arcs WRATTEN Gelatin/ 500 (28)

White-Flame Arcs W R A T T E NG e l a t i n 320 (26)

Optima 32 N o n e 800 (30)
V i t a l i t e W R A T T E NG e l a t i n 500 (28)

F l u o r e s c e n t , * W R A T T E NG e l a t i n 320 (26)
Cool White No. 85 +1 0 M

F l u o r e s c e n t , * W R A T T E NG e l a t i n 500 (28)
Deluxe Cool White No. 85C +1 0 R

*I M P O R T A N T : These are approximate corrections only. Make final corrections during

printing. When you don’t know the kind of lamp, use a CC40R filter with an index expo­sure of 400 (27) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s * Index (DIN)

No. 82B

No. 85

No. 85

Color Compensating 20Y

No. 85B

No. 85

MPF-24 6/00

5289/7289

P rocess: E C N - 2
U s e : KODAK VISION 800T Color Negative

Film / 5289/7289 offers excellent image quality and the
highest capture speed available in motion picture films.
It delivers the speed and latitude you need in low light, fast
action, and other filming conditions where film speed
is vitally important.

General Pro p e r t i e s :

Negative Film / 5289/7289 is a very high-speed fil m
balanced for tungsten light. This film features a wide
u n d e r- and overe x p o s u re latitude, and accurate color and
flesh-to-neutral balance. It intercuts with other Kodak color
negative motion picture films. KODAK VISION Film sets
new standards for consistency—emulsion to emulsion,
roll to roll, batch to batch.

Illumination (Incident Light) Table for Tungsten
Light (24 frames per second, 170° shutter opening)

Lens Aperture f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Footcandles 3 6 12.5 25 50 100 200 400

Use this table for average subjects. When a subject
includes only pastels, use at least 1⁄2 stop less exposure ;
dark colors re q u i re 1⁄2 stop more exposure .

Lighting Contrast: The suggested ratio of key-light-plus­fill-light to fill-light is 2:1 or 3:1.

R e c i p rocity Characteristics El 800 (30): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second. If
your exposure is in the 10-second range, increase expo­s u re by 2⁄3 s t o p .

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak’s P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a product-code number and
an internal product-code symbol.

KODAK VISION 800T Color

6/00 MPF-25

COLOR REVERSAL FILM

EKTACHROME 100D

5 2 8 5™(35 mm)
KODAK E K TA C H R O M E100D Color Reversal Film

Daylight EI 100 (21)

E x p o s u re Indexes and Filters

Light Source

Daylight 5500 K N o n e 100 (21)

Metal Halide H.M.I. No n e 100 (21)
Tungsten 3000 K W R A T T E NG e l a t i n 25 (15)

Tungsten 3200 K No. 80A 25 (15)

Tungsten Photoflood 3400 K No. 80A 25 (15)

White-Flame Arcs Color Compensating 64 (19)

Optima 32 W R A T T E NG e l a t i n 25 (15)

V i t a l i t e No n e 100 (21)

F l u o r e s c e n t *
Cool White

F l u o r e s c e n t * W R A T T E NG e l a t i n 80 (20)
Deluxe Cool White No. 85C

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an index exposure of 100 (21) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 80A

WRATTEN Gelatin/

20Y + 10C

No. 80A

WRATTEN Gelatin/

Color Compensating 80 (20)

2 0 M

MPF-26 9/00

5285

P rocess: E-6, cine machine
Use: KODAK EKTACHROME 100D Color Reversal

Film / 5285 is a 100-speed, high-color reversal motion
p i c t u re camera film intended for photography under
daylight illumination (5500 K).

General Properties: KODAK E K TA C H R O M E 1 0 0 D
Color Reversal Film / 5285 offers strikingly saturated
color perf o rmance while maintaining a neutral gray scale
and accurate flesh re p roduction. It has exceptional sharp­ness that is unsurpassed by any other 100-speed reversal
technology, and its grain perf o rmance is excellent.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11
F o o t c a n d l e s 2 5 5 0 1 0 0 2 0 0 4 0 0 8 0 0 1 6 0 0

R e c i p rocity Characteristics EI 100 (21): You do not
need to make any filter corrections or exposure adjust­ments for exposure times from 1/1000 to 1 second.

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ s P rofessional Motion ImagingP r i c e
C a t a l o g , or contact a Kodak sales representative in your

country.

All rolls are identified with a product-code number and an
i n t e rnal product-code symbol.

9/00 MPF-27

EKTACHROME FILM

7 2 4 0™(16 mm, Super 8)
E A S T M A N E K TACHROME Film

Tungsten EI 125* (22)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 80 (20)

Tungsten 3200 K No n e 125 (22)
Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 100 (21)

Daylight 5500 K WRATTEN Gelatin 80 (20)

Metal Halide H.M.I. WRATTEN Gelatin 80 (20)

Yellow-Flame Arcs No n e 125 (22)
White-Flame Arcs WRATTEN Gelatin 80 (20)

Optima 32 No n e 125 (22)
V i t a l i t e WRATTEN Gelatin 80 (20)

F l u o r e s c e n t * *
Cool White

F l u o r e s c e n t * *
Deluxe Cool White

*When exposed in Super 8 cameras through KODAK WRATTEN Filter No. 85, the effec-

tive speed is reduced to 80 for Daylight. In automatic cameras, due to the cartridge speed
and filter notching system, the film will be exposed as follows:

Daylight (with fil t e r ) 8 0
Tungsten (without fil t e r ) 1 2 5

* *I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an exposure index of 64 (19) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 81A

No. 85B

No. 85B

No. 85B

No. 85B

WRATTEN Gelatin/

Color Compensating 32 (16)

60R + 10Y

WRATTEN Gelatin/

Color Compensating 64 (19)

20R + 20Y

MPF-28 9/98

7 2 4 0

P ro c e s s : VNF-1 or RV N P. Force processing: 1 stop
with some loss in quality; up to 2 stops with noticeable
quality loss.

Use: EASTMAN EKTACHROME Film 7240 is a high­speed, color reversal camera film balanced for tungsten
light and for daylight with an appropriate fil t e r. You can
use it for color news photography, nighttime sporting
events, industrial photography with existing light, and for
high-speed photography. The processed original film is
balanced for projection at 5400 K.

The processed camera original is meant for dire c t
p rojection; however, you can make color duplicates on
EASTMAN EKTACHROME VN Print Film 7399
( P rocess VNF-1). Use shortened first developer time.

Illumination (Incident Light) Table for Tu n g s t e n
Light (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11
F o o t c a n d l e s 1 6 3 2 6 4 1 2 8 2 5 6 5 1 2 1 0 2 4

Lighting Contrast: The suggested ratio of key-light­plus fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 125 (22): For expo­s u re times ranging from 1 to 1/10,000 second, no
compensation is needed for either exposure level or
color balance.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a film emulsion letter code.

9/98 MPF-29

EKTACHROME FILM

7 2 3 9™(35 mm/16 mm)
E A S T M A N E K TACHROME Film

Daylight EI 160 (23)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 40 (17)

Tungsten 3200 K W R A T T E NG e l a t i n 40 (17)

Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 50 (18)

Daylight 5500 K No n e 160 (23)
Metal Halide H.M.I. No n e 160 (23)

Yellow-Flame Arcs W R A T T E NG e l a t i n 40 (17)

White-Flame Arcs No n e 160 (23)
Optima 32 W R A T T E NG e l a t i n 40 (17)

V i t a l i t e No n e 160 (23)

F l u o r e s c e n t *
Cool White

F l u o r e s c e n t *
Deluxe Cool White

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC20M filter with an exposure index of 100 (21) for a trial exposure.

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 80A

No. 80A

No. 80B

No. 80A

No. 80A

No. 85B

WRATTEN Gelatin/

Color Compensating 100 (21)

3 0 M

WRATTEN Gelatin/

Color Compensating 100 (21)

2 0 B

MPF-30 9/98

P ro c e s s : VNF-1 or RV N P.

7239

F o rce processing: 1 stop with some loss in quality; up to
2 stops with noticeable quality loss.

U s e : This high-speed color reversal camera film is
intended for photography under low-level daylight illumi­nation. It can be used for news photography, sporting
events, and high speed photography. It is a companion
film to EASTMAN EKTACHROME Film 7251. The
p rocessed original camera film is balanced for pro j e c t i o n
at 5400 K.

The processed camera original of EASTMAN
E K TACHROME High Speed Film 7239 is meant for
d i rect projection; however, color duplicates can be made
on EASTMAN EKTACHROME VN Print Film 7399
( P rocess VNF-1). Use recommended shortened first devel­oper time.

N O T E : Operation at a lens opening larger than f/32 is
possible by making the exposure through a neutral density
fil t e r, such as a KODAK WRATTEN Neutral Density Filter
No. 96. For example, when a filter with a density of 0.9
is used, the lens can be opened 3 full stops.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11
F o o t c a n d l e s 1 6 3 2 6 4 1 2 8 2 5 6 5 1 2 1 0 2 4

Lighting Contrast: The suggested ratio of key-light-plus
fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 160 (23): For expo­s u re times ranging from 1 to 1/10,000 second, no
compensation is needed for either exposure level or
color balance.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak’s P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a film emulsion letter code.

9/98 MPF-31

EKTACHROME FILM

7 2 5 0™(16 mm)

E A S T M A N E K TACHROME High Speed Film

Tungsten EI 400 (27)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 250 (25)

Tungsten 3200 K No n e 400 (27)

Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 320 (26)

Daylight 5500 K W R A T T E NG e l a t i n 250 (25)

Metal Halide H.M.I. W R A T T E NG e l a t i n 250 (25)

Yellow-Flame Arcs No n e 400 (27)
White-Flame Arcs W R A T T E NG e l a t i n 250 (25)

Optima 32 N o n e 400 (27)

V i t a l i t e W R A T T E NG e l a t i n 250 (25)

F l u o r e s c e n t *
Cool White

F l u o r e s c e n t *
Deluxe Cool White

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC40R filter with an exposure index of 200 (24) for a trial exposure.

Note: Filters judged acceptable for use with EASTMAN
E K TACHROME Film 7240 (Tungsten) should pro v i d e
equal compensation when you use them with this fil m .

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 82B

No. 81A

No. 85B

No. 85B

No. 85B

No. 85B

WRATTEN Gelatin/

Color Compensating 100 (21)

60R + 10Y

WRATTEN Gelatin/

Color Compensating 200 (24)

20R + 20Y

MPF-32 9/98

7250

P rocess: VNF-1 or RV N P.
F o rce processing: 1 stop with some loss in quality; up to

2 stops with noticeable quality loss.
Use: The very high speed of this color reversal camera

film makes photography possible with very low-light illu­mination. It can be used for color news photography,
nighttime sporting events, and high-speed photography by
both daylight and artificial light. The processed original
film is balanced for projection at 5400 K.

The processed camera original of High Speed Film
7250 is meant for direct projection; however, you can
make color duplicates on EASTMAN EKTA C H R O M E
VN Print Film 7399 (Process VNF-1). Use re c o m m e n d e d
shortened first developer time.

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16 f/ 2 2
F o o t c a n d l e s 6 . 3 1 2 . 5 2 5 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0

Lighting Contrast: The suggested ratio of key-light­p l u s - fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 400 (27): For expo­s u re times ranging from 1/1000 to 1/10 second, no
compensation is needed for either exposure level or color
balance. At 1/10,000 second, increase exposure by 1⁄3
stop. At 1 second, increase exposure by 1⁄2 s t o p .

Handling: Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check K o d a k ’ sP rofessional Motion Imaging Price
C a t a l o g, or contact a Kodak sales representative in your

country.

All rolls are identified with a film emulsion letter code.

9/98 MPF-33

EKTACHROME FILM

7 2 5 1™ (16 mm)

E A S T M A N E K TACHROME High Speed Film

Daylight EI 400 (27)

E x p o s u re Indexes and Filters

Light Source

Tungsten 3000 K W R A T T E NG e l a t i n 100 (21)

Tungsten 3200 K W R A T T E NG e l a t i n 100 (21)

Tungsten Photoflood 3400 K W R A T T E NG e l a t i n 125 (22)

Daylight 5500 K No n e 400 (27)
Metal Halide H.M.I. No n e 400 (27)
Yellow-Flame Arcs W R A T T E NG e l a t i n 100 (21)

White-Flame Arcs No n e 400 (27)
Optima 32 W R A T T E NG e l a t i n 100 (21)

V i t a l i t e No n e 400 (27)

F l u o r e s c e n t *
Cool White

F l u o r e s c e n t *

Deluxe Cool White

*I M P O R T A N T : These are approximate filter requirements. When you don’t know the

kind of lamp, use a CC20M filter with an exposure index of 250 (25) for a trial exposure.

Note: Filters judged acceptable for use with EASTMAN
E K TACHROME Film 7239 should provide equal com­pensation when used with this fil m .

K O D A KC a m e r a E x p o s u r e

F i l t e r s Index (DIN)

No. 80A

No. 80A

No. 80B

No. 80A

No. 80A

WRATTEN Gelatin/

Color Compensating 250 (25)

3 0 M

WRATTEN Gelatin/

Color Compensating 250 (25)

2 0 B

MPF-34 9/98

7 2 5 1

P ro c e s s : VNF-1 or RV N P.
F o rce processing: 1 stop with some loss in quality; up to
2 stops with noticeable quality loss.

U s e : EASTMAN EKTACHROME High Speed Film is a
very high-speed color reversal camera film that makes
photography possible in very low-light illumination. Yo u
can use it for industrial photography, instrumentation
studies, sporting events, and high-speed photography by
both daylight and artificial light with filters. The pro c e s s e d
original camera film is balanced for projection at 5400 K.
The processed camera original of EASTMAN
E K TACHROME High Speed Film 7251 is meant for
d i rect projection; however, color duplicates can be made
on EASTMAN EKTACHROME VN Print Film 7399
( P rocess VNF-1) using recommended shortened first
developer time.

Illumination (Incident Light) Table for Daylight

(24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11 f/16 f/ 2 2
F o o t c a n d l e s 6 . 3 1 2 . 5 2 5 5 0 10 0 2 0 0 4 0 0 8 0 0 16 0 0

Lighting Contrast: The suggested ratio of key-light-plus
fill-light to fill light is 2:1 or 3:1.

R e c i p rocity Characteristics EI 400 (27): You do not
need to make any exposure or filter adjustment for expo­s u re times from 1/1000 to 1/10 second. At an exposure
time of 1/10,000 second, increase exposure by 1⁄3 s t o p .
At an exposure time of 1 second, increase exposure by

1

⁄2 stop.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a film emulsion letter code.

9/98 MPF-35

PLUS-X NEGATIVE FILM

5231™/7231™ (35 mm/16 mm)
EASTMAN PLUS-X Negative Film

E x p o s u re Indexes: (For development to gamma of 0.65)

D a y l i g ht–80 (20) Tu n g s t en–64 (19)

P ro c e s s : Black and white with KODAK Developer D-96.
F o rce Processing: 1 stop (or more) with some loss in
q u a l i ty–check with your processing laboratory.

U s e : The speed and grain characteristics of EASTMAN
PLUS-X Negative Film make it well suited for general
motion picture production. These film characteristics
p rovide an excellent balance between the maximum desir­able speed for general production work and the fine grain.

General Pro p e r t i e s : The medium speed of EASTMAN
PLUS-X Negative Film 5231 and 7231 permits the use
of relatively small apertures in daylight (thus allowing good
depth of field). The film is widely used for making
composite projection background scenes.

Illumination (Incident Light) Table for Tu n g s t e n
Light (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11
F o o t c a n d l e s 4 0 8 0 1 6 0 3 2 0 6 4 0 1 2 8 0 2 5 6 0

KODAK Filter Factors
WRATTEN
Filter No. 3 8 12 15 21 23A 8N5 25 29 96*

D a y l i g h t
Filter Factor

*For use in bright sunlight to reduce the exposure without modifying color rendering

or depth of field. This neutral-density filter in a density of 0.90 provides a reduction
equivalent to 3 full stops.

1 . 5 2 2 . 5 3 3 . 5 5 5 8 2 5 8

MPF-36 9/98

5 2 3 1 / 7 2 3 1

R e c i p rocity Characteristics: You do not need to make
any exposure or filter adjustment for exposure times
f rom 1/10,000 to 1/10 second. At an exposure time of
1 second, increase exposure by 1⁄2 stop.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a product-code number
and an internal product-code symbol.

9/98 MPF-37

DOUBLE-X NEGATIVE FILM

5222™/7222™ (35 mm/16 mm)
EASTMAN DOUBLE-X Negative Film

E x p o s u re Indexes: (For development to gamma of 0.65)

D a y l i g ht–250 (25) Tu n g s t en–200 (24)

P ro c e s s : Black and white with KODAK Developer D-96.
F o rce Processing: 1 stop (or more) with some loss in
q u a l i ty–check with your processing laboratory.

U s e : EASTMAN DOUBLE-X Negative Film is suitable for
general photography and for photography under adverse
lighting conditions. It is useful in situations where gre a t
depth of field is desired without an increase in illumination.

General Pro p e r t i e s : EASTMAN DOUBLE-X Negative
Film 5222/7222 is a high-speed, panchromatic film that
has good image-structure characteristics and excellent
sharpness.

Illumination (Incident Light) Table for Tu n g s t e n
Light (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8 f/11
F o o t c a n d l e s 1 3 2 5 5 0 1 0 0 2 0 0 4 0 0 8 0 0

KODAK Filter Factors
WRATTEN
Filter No. 3 8 12 15 21 23A 25 29 96*

D a y l i g h t
Filter Factor

*For use in bright sunlight to reduce the exposure without modifying color rendering

or depth of field. This neutral-density filter in a density of 0.90 provides a reduction
equivalent to 3 full stops.

1 . 5 1 . 5 2 . 0 3 . 0 3 . 0 5 8 2 0 8

MPF-38 9/98

5 2 2 2 / 7 2 2 2

R e c i p rocity Characteristics: No exposure or filter
compensation is re q u i red for exposure times fro m
1/10,000 to 1 second.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a product-code number
and an internal product-code symbol.

9/98 MPF-39

PLUS-X REVERSAL FILM

7276™ (16 mm, Super 8)
EASTMAN PLUS-X Reversal Film

E x p o s u re Indexes*: (For recommended re v e r s a l
processing)

D a y l i g ht–50 (18 ) Tu n g s t en–40 (17 )

For negative processing in a typical negative motion
p i c t u re film developer, use the following exposure indexes:

D a y l i g ht–25 (15 ) Tu n g s t en–20 (14 )

P ro c e s s : KODAK Liquid Reversal Chemicals or from bulk.
F o rce Processing: 1 stop (or more) with some loss in
q u a l i ty–check with your processing laboratory.

U s e : EASTMAN PLUS-X Reversal Film 7276 is used
widely for general exterior photography and for indoor
photography where there is ample illumination.

General Pro p e r t i e s : EASTMAN PLUS-X Reversal Film
7276 is a medium-speed, panchromatic, reversal motion
p i c t u re film. It is characterized by a high degree of sharp­ness, good contrast, high resolving power, and excellent
tonal gradation.

When processed as a reversal film, the resulting positive
can be used for projection or for duplication. Processed as
a negative material by conventional methods, the film will
yield satisfactory results, although a print will be necessary.

*When exposed in Super 8 cameras through a KODAK WRATTEN Gelatin Filter No. 85, the

effective speed is reduced to 32 for daylight. In automatic cameras, due to the cartridge
speed and filter notching system, the film will be exposed as follows:

Daylight (no fil t e r ) 5 0
Daylight (with fil t e r ) 2 5
Tungsten (without fil t e r ) 4 0

MPF-40 9/98

7 2 7 6

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8
F o o t c a n d l e s 6 3 1 2 5 2 5 0 5 0 0 1 0 0 0 2 0 0 0

Lighting Contrast Ratios: The suggested ratio of key
l i g h t - p l u s - fill-light to fill light is 2:1 or 3:1 for normal use.

KODAK Filter Factors
WRATTEN
Filter No. 3 8 12 15 21 23A 25 29 96*

D a y l i g h t
Filter Factor

*For use in bright sunlight to reduce the exposure without modifying color rendering

or depth of field. This neutral-density filter in a density of 0.90 provides a reduction
equivalent to 3 full stops.

R e c i p rocity Characteristics:You do not need to make
any exposure or filter adjustment for exposure times fro m
1/1000 to 1 second. At an exposure time of 1/10,000
second, increase exposure by 1⁄2 stop.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a film emulsion letter code.

1 . 5 2 2 2 . 5 3 5 1 0 4 0 8

9/98 MPF-41

TRI-X REVERSAL FILM

7278™ (16 mm, super 8)
EASTMAN TRI-X Reversal Film

E x p o s u re Indexes: (For recommended re v e r s a l

processing)

D a y l i g ht–200* (24) Tu n g s t en–160 (23)

For negative processing in a typical motion picture nega­tive developer, use the following exposure indexes:

D a y l i g ht–100 (21)* Tu n g s t en–80 (20)

P ro c e s s : KODAK Liquid Reversal Chemicals or fro m
bulk. Force Processing: 1 stop (or more) with some loss
in quality–check with your processing laboratory.

U s e : The high speed of EASTMAN TRI-X Reversal Film
7278 makes it suitable for general interior photography
with artificial light. You can use it in daylight also, and it

is particularly useful for sports events taken at re g u l a r

speed or slow motion in weak light (overcast sky or sports
events at night).

General Pro p e r t i e s : EASTMAN TRI-X Reversal Film
7278 has high speed, excellent tonal gradation, and high
resolving power. An antihalation layer is incorporated in

the film structure.

When processed as a reversal film, you can use the
resulting positive for projection or for duplication.
P rocessed as a negative material by conventional
methods, the film yields satisfactory results, although a
print will be necessary.

*Super 8 automatic cameras will expose the film at ASA 160 due to the ANSI standard

cartridge notching system.

MPF-42 9/98

7 2 7 8

Illumination (Incident Light) Table for Tu n g s t e n
L i g h t (24 frames per second, 170° shutter opening)

Lens Aperture f/1. 4 f/ 2 f/ 2 . 8 f/ 4 f/ 5 . 6 f/ 8
F o o t c a n d l e s 1 6 3 2 6 4 1 2 8 2 5 6 5 1 2

KODAK Filter Factors
WRATTEN
Filter No. 3 8 12 15 21 23A 25 29 96*

D a y l i g h t
Filter Factor

*For use in bright sunlight to reduce the exposure without modifying color rendering

or depth of field. This neutral-density filter in a density of 0.90 provides a reduction
equivalent to 3 full stops.

R e c i p rocity Characteristics:You do not need to make
any exposure or filter adjustment for exposure times
f rom 1/10,000 to 1/10 second. At an exposure time of
1 second, increase exposure by 1⁄2 stop.

H a n d l i n g : Total darkness
Available Roll Lengths: For information on film ro l l

lengths, check Kodak's P rofessional Motion Imaging
Price Catalog, or contact a Kodak sales re p resentative in

your country.

All rolls are identified with a film emulsion letter code.

1 . 5 2 2 2 . 5 3 5 1 0 4 0 8

9/98 MPF-43

Incident-Light Illumination
(in footcandles)

(Frame rate: 24 frames/sec–approx1/50 sec)
NOTE: Data applies to both color and black-and-white films.

Exp Index Lens Opening
(Daylight
or Tungsten) f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11

12 200 400 800 1600 3200 6400 13000
16 160 320 640 1250 2500 5000 10000
20 125 250 500 1000 2000 4000 8000
25 100 200 400 800 1600 3200 6400
32 80 160 320 640 1250 2500 5000
40 64 125 250 500 1000 2000 4000
50 50 100 200 400 800 1600 3200
64 40 80 160 320 640 1250 2500

80 32 64 125 250 500 1000 2000
100 25 50 100 200 400 800 1600
125 20 40 80 160 320 640 1250
160 15 32 64 125 250 500 1000
200 12 25 50 100 200 400 800
250 10 20 40 80 160 320 640
320 8 15 32 64 125 250 500
400 6 12 25 50 100 200 400
500 5 10 20 40 80 160 320
640 4 8 15 32 64 125 250
800 3 6 12 25 50 100 200

1000 * 5 10 20 40 80 160
1250 * 4 8 15 32 64 125
1600 * 3 6 12 25 50 100
2000 * * 5 10 20 40 80

*Less than 3 footcandles

MPF-44 9/98

F I LTER INFORMAT I O N

I n t ro d u c t i o n

Use the filter and color temperature charts in this section
as a quick re f e rence and general guide. The values are
a p p roximate. They offer good starting points for trial
e x p o s u res in critical work. For less demanding work, the
recommendations may be adequate, but it is always best
to run tests before shooting final footage. For photog­raphy with flu o rescent lights, see the individual film’s fil t e r
i n f o rmation in the section“KODAK Motion Picture
Camera Films.”

Types of Filters

Optical filters may be solid, liquid, or gaseous; only solid
filters are discussed in this book. These consist mainly of
colorants dissolved in a gelatin or in cellulose acetate.
Each Kodak fil t e r, gelatin or acetate, is standardized for
spectral transmittance and total transmittance by special
instruments which apply an optical form of limit gauge to
these characteristics.

The dyes are obtained from a number of sources, and
many have been synthesized. Like other dyes, the dyes
used in filters may, in time, change under certain condi­tions of heat and light. In this publication, we will be
a d d ressing only fil t e r s for black-and-white films, color
compensating, conversion, light balancing, and neutral
density (No. 96).

Filters for Black-and-White Films

You can use a wide range of KODAK WRATTEN Filters
with black-and-white negative films for many purposes.
They vary the contrast and tonal rendering of the subject
in a photograph, either to correct to the normal visual
appearance or to accentuate special features. The total
photographic effect obtained with a particular filter
depends on four main factors: its spectral absorption
characteristics, the spectral sensitivity of the sensitized
material, the color of the subject to be photographed, and
the spectral quality of the illuminant.

1

Filter Factors* for KODAK Motion Picture Films

Negative Films Reversal Films

Filter PLUS-X DOUBLE-X PLUS-X TRI-X

No. 3 1.5 1.5 1.5 1.5
No. 8 (K2) 2.0 1.5 2.0 2.0
No. 12

(Minus Blue)
No. 15 (G) 3.0 3.0 2.5 2.5
No. 21 3.5 3.0 3.0 3.0
No. 23A 5 5 5 5
No. 8N5 5 5 6 6
No. 25 8 8 10 10
No. 29 25 20 40 40
No. 96 8 8 8 8

*All filters absorb part of the incident radiation, so their use usually requires some

increase in exposure over that required when no filter is used. The number of
times by which an exposure must be increased for a given filter with a given mate­rial is called the filter factor, or multiplying factor.

2.5 2.0 2.0 2.0

Filter factors published for Kodak products by

Kodak are intended only as approximate guides.

Published filter factors apply strictly to the particular light-

ing conditions used in the laboratory where the factors
w e re determined. For scientific applications, especially,
the quality of light can vary widely so that it may be desir-

able to determine the filter factor for actual working

conditions.

To determine a filter factor, choose a subject having a
neutral-gray area, or place an 18 - p e rcent gray card or a
photographic gray scale in the scene to be photographed.
Make one exposure without a fil t e r. Then, with the fil t e r
w h e re it will be for the exposure, and beginning with the
u n fil t e red exposure setting, make a series of exposure s .
I n c rease each in 1⁄2-stop increments through a 2- to 4-stop
g reater exposure (very dense filters may need more). After

p rocessing the negative, match densities of the unfil t e re d
e x p o s u re with the filter series either visually or with a

d e n s i t o m e t e r. Choose the fil t e red exposure that is closest
to the unfil t e red. Some additional exposure adjustments
may be necessary.

2

Below is a conversion table of filter factors to exposure

i n c rease in stops.

Filter + Filter + Filter +

Factor Stops Factor Stops Factor Stops

1 . 2 5

1.5
2 1 6 2

2.5 1
3 1

1

⁄2 4 2 12 32⁄3

2

⁄3 5 21⁄3 40 51⁄3

1

⁄2 8 3 1000 10

2

⁄3 10 31⁄3 – –

2

⁄3 100 62⁄3

Each time a filter factor is doubled, the exposure needs

to be increased by 1 stop. As an example, a filter factor
of 2 re q u i res a 1-stop exposure increase. A filter factor of
4 re q u i res a 2-stop exposure increase. Use this example

for filter factors not listed in the above table.

Color Compensating Filters

Color compensating filters control light by attenuating

principally the red, green, or blue part of the spectrum.

While controlling one color, the filter transmits one or

both of the other two colors. Thus, color compensating

filters can make changes to the color balance of picture s

re c o rded on color films, or compensate for deficiencies in
the spectral quality of a light source. For optimum re s u l t s ,
use the single recommended color compensating fil t e r

rather than combining filters (for example, CC20Y +
CC20M = 20R, so using 20R only is preferable). KODAK
W R ATTEN Gelatin Filters/Color Compensating Filters
have excellent optical quality and are suitable for image
f o rming optical systems—o v e r-the-camera lens, for

example. For less critical work, you may use KODAK
Color Printing Filters (acetate).

3

Conversion Filters for Color Films

These filters are intended for use whenever s i g n i fic a n t
changes in the color temperature of the illumination are
re q u i red (for example, daylight to artificial light). The fil t e r
may be positioned between the light source and other ele­ments of the system or over the camera lens in conven­tional photographic re c o rding.

Filter Filter Exposure Increase Conversion
Color Number In Stops* in Degrees K

80A 2 3200 to 5500

Blue

Amber

*These values are approximate. For critical work, check by accurate tests, especially

if you use more than one fil t e r .

80B 1
80C 1 3800 to 5500
80D

85C

85
85N3 1
85N6 2
85N9 3

85B
85BN3 1
85BN6 2

2

/3 3400 to 5500

1

/3 4200 to 5500

1

/3 5500 to 3800

2

/3 5500 to 3400

2

/3 5500 to 3400

2

/3 5500 to 3400

2

/3 5500 to 3400

2

/3 5500 to 3200

2

/3 5500 to 3200

2

/3 5500 to 3200

4

KODAK Light Balancing Filters

Light-balancing filters enable the photographer to make
m i n o r adjustments in the color quality of illumination to
obtain cooler (bluer) or warmer (yellower) color re n d e r i n g .
One of the principle uses for KODAK Light Balancing
Filters is where light sources frequently exhibit color
t e m p e r a t u res diff e rent than that for which a color film is

balanced. When using a color temperature meter to deter-

mine the color temperature of prevailing light, you can use
the table below, which converts the prevailing temperature
to either 3200 K or 3400 K.

Filter Filter Increase 3200 K 3400 K
Color Number in Stops* from: from:

82C + 82C 1
82C + 82B 1
82C = 82A 1 2650 K 2780 K

Bluish

Yellowish

*These values are approximate. For critical work, check by accurate tests, especially

if you use more than one fil t e r .

82C + 82 1 2720 K 2870 K

82C
82B
82A

82

81
81A
81B
81C
81D
81EF

Exposure To Obtain To Obtain

1

/3 2490 K 2610 K

1

/3 2570 K 2700 K

2

/3 2800 K 2950 K

2

/3 2900 K 3060 K

1

/3 3000 K 3180 K

1

/3 3100 K 3290 K

1

/3 3300 K 3510 K

1

/3 3400 K 3630 K

1

/3 3500 K 3740 K

1

/3 3600 K 3850 K

2

/3 3700 K 3970 K

2

/3 3850 K 4140 K

5

Neutral Density Filters

In black-and-white and color photography, filters such as
the KODAK WRATTEN Neutral Density Filters No. 96
reduce the intensity of light reaching the film without
a ffecting the tonal rendition in the original scene. In
m o t i o n - p i c t u re work or other photography, neutral
density filters allow use of a large aperture to obtain diff e r­ential focusing. You can use them when filming in bright
sunlight or with very fast films. These filters control expo­s u re when the smallest aperture is still too large. Also
available are KODAK WRATTEN Gelatin Filters with
combinations of neutral density and color conversion
filters (for example, No. 85N3). These filters combine the
light-conversion characteristics of KODAK WRAT T E N
Gelatin Filter No. 85 with neutral densities.

KODAK WRATTEN Neutral Density Filters No. 96

Neutral Percent Filter Exposure Increase
Density Transmittance Factor in Stops*

0.1 80 1

0.2 63 1

0.3 50 2 1

0.4 40 2

0.5 32 3 1

0.6 25 4 2

0.7 20 5 2

0.8 16 6 2

0.9 13 8 3

1.0 10 10 3

2.0 1 100 6

3.0 0.1 1000 10

4.0 0.01 10,000 13

*These values are approximate. For critical work, check by accurate tests, especially

if you use more than one fil t e r .

1

/4

1

/2

1

/2 11/3

1

/3

2

/3

2

/3

2

/3

2

/3

1

/3

2

/3

2

/3

6

A p p roximate Correlated Color
Te m p e r a t u re for Various Light Sourc e s

Source Degrees Kelvin

Artificial Light

Match Flame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1700

Candle Flame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1850

40-Watt Incandescent Tungsten Lamp. . . . . . . . . . . . . . . . . . . . . . 2650

75-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . 2820

100-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . 2865

500-Watt Incandescent Tungsten Lamp. . . . . . . . . . . . . . . . . . . . . 2960

200-Watt Incandescent Tungsten Lamp. . . . . . . . . . . . . . . . . . . . . 2980

1000-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . 2990

3200-Degree Kelvin Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . . . 3200

Molarc “Brute” with Yellow Flame Carbons &

YF-101 Filter (approx.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3350

“C.P.” (Color Photography) Studio Tungsten Lamp . . . . . . . . . . . . 3350

Photoflood and Reflector Flood Lamp . . . . . . . . . . . . . . . . . . . . . . 3400

Daylight Blue Photoflood Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . 4800

White Flame Carbon Arc Lamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . 5000

High-Intensity Sun Arc Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5500

Xenon Arc Lamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6420

Daylight

Sunlight: Sunrise or Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2000

Sunlight: One Hour After Sunrise . . . . . . . . . . . . . . . . . . . . . . . . . . 3500

Sunlight: Early Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300

Sunlight: Late Afternoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300

Average Summer Sunlight at Noon (Washington, D.C.). . . . . . . . . 5400

Direct Mid-Summer Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5800

Overcast Sky. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6000

Average Summer Sunlight (plus blue skylight). . . . . . . . . . . . . . . . 6500

Light Summer Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7100

Average Summer Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8000

Summer Skylight Will Vary from . . . . . . . . . . . . . . . . . . . . . . 9500 to 30,000

N O T E : Sunlight is the light of the sun only. Daylight is a combination of sunlight plus
skylight. The values given are approximate because many factors affect color
temperature. OUTDOORS: the sun angle, and the conditions of the sky–c l o u d s ,
haze, dust particles–raise or lower the color temperature. INDOORS: lamp age (and
blackening), voltage, type of reflectors and diffusers affect tungsten bulbs–all of
these can influence the actual color temperature of the light. Usually a change of 1
volt equals 10 degrees Kelvin. But this is true only within a limited voltage range and
does not always apply to “booster voltage” operation, since certain bulbs will not
exceed a certain color temperature regardless of the increase in voltage.

7

TIPS AND TECHNIQUES

I n t ro d u c t i o n

This collection of ideas is provided by Kodak people and
others who work in the professional motion picture indus­try. The section covers topics from force processing, fla s h ­ing, and shooting for television to what you need in the
well-stocked ditty bag, and tools to survive. Also in this
section (on the double foldout pages), is a fil m m a k e r ’ s
flow chart that can help you through the tasks of pro d u c-

tion scheduling.

If you have further questions about our films or their
applications, please refer to the last few pages in this
guide for the names, addresses, and phone numbers of
Kodak people worldwide who can help.

Aspect Ratios

The aspect ratio is the relationship between the width and
height of an image. While the image dimensions may vary
in size according to projection re q u i rements, the aspect
ratio should comply with the cinematographic intent.

The industry standard for 35 mm theatrical motion
p i c t u res remained a constant 1.37:1 between the intro­duction of sound and the introduction of Cinemascope in
1953, when “wide-screen” presentations arrived. The

non-anamorphic or “flat” wide-screen presentations had
aspect ratios of 1.66:1, 1.75:1 and 1.85:1. Today 1.85:1

is the wide-screen (flat) presentation format of choice in
the USA, while in Europe 1.66:1 is used.

In the early 1950’s, television’s demand for feature fil m s
i n c reased. The typical television display provides a fix e d
aspect ratio of 1.33:1 (4 x 3) and many of the films shown
on television, to fill the picture height, lost a substantial
part of the image when this was “matted off” at the edges.

To rectify this incompatibility, the “Academy aperture ”

was introduced for flat (non-anamorphic) pre s e n t a t i o n s .

The Academy aperture produced an image of gre a t e r

height so that it would fill a television screen without

c o m p romising the width. The usual pro c e d u re when
filming productions for both theatrical release and conven­tional television transmission is called “shoot and pro t e c t.”
The camera viewfinder is “matted” to indicate 1.85:1 for

8/99 9

theatrical presentation and to keep all pertinent action
within this area. The cinematographer must make certain
no scene rigging, microphone booms, cables or lights are

included in the expanded area which will be transmitted

on television at 1.33:1. Subsequent interpositives, dupli-

cate negatives and prints contain sufficient frame height
to provide normal telecine transmission. In the theater, the
p rojectionist must use a 1.85:1 aperture plate and exer­cise some judgment in adjusting the projector framing.

Super 16 is a format that employs single-perforation
16 mm film stock and has two objectives. When Super 16
was introduced in the early 1970’s, it was to provide an
image suitable for enlargement to a 35 mm print for wide­s c reen presentation. The second is for origination that will

be displayed on wide-screen television (1.7 8:1=16 x 9 ) .
Super 16 and 3-perforation 35 mm are great fits for wide-

s c reen television. The Super 16 camera aperture extends

into the area used for a sound track on conventional
16 mm film providing more negative area to achieve a

1. 6 6:1 aspect ratio, with some loss of image height when
e n l a rged to wide-screen 35 mm film (1. 8 5:1) and to 1.7 8:1
(16 x9) for wide-screen television.

The Super 35, 4-perforation system utilizes the entire

width of the film and is used primarily to extract an

anamorphic print for theatrical release by optical re d u c­tion printing. This system is quite versatile: from a Super
35 negative, 70 mm blow-up prints can be produced, as
well as extractions for 16 x 9 (1.7 8:1 ) .

The Super 35, 3-perforation system is used for
extracting 16 x 9 (1.7 8:1) prints and for origination for
w i d e - s c reen television.

The 65 mm, 5-perforation system has a camera aper­t u re of 2.29:1. It is used primarily for special effects, but
when used in feature films, is projected on the scre e n
using 70 mm release prints having an aspect ratio of

2.20:1. In lieu of originating on 65 mm for theatrical

p resentation, productions shot on 35 mm film with an

anamorphic lens or in the Super 35 system are optically

e n l a rged onto 70 mm release prints.

Other formats employing 65 mm negatives include
8 - p e rforation (Iwerks 870), 10 - p e rforation and the Imax
15 - p e rforation (horizontal) format.

10 9/00

A m b i e n t - B a c k g round Radiation
( e ffects on raw stock)

Ambient gamma radiation is composed of two sources: a
l o w - e n e rgy component which arises from the decay of
radionuclides and a high-energy component which is the
p roduct of the interaction of cosmic rays with the earth’s
upper atmosphere. The radionuclides responsible for the
l o w - e n e rgy photons exist in soil and rock and are carried
into earth-derived building materials, such as concre t e .
Upon exposure to ambient-background radiation, photo­graphic negative materials can exhibit an increase in
minimum density, a loss in contrast and speed in the dark
a reas, and an increase in granularity. The changes in fil m
p e rf o rmance are determined by several factors, such as
the film speed and length of time exposed to the radiation
b e f o re the film is processed. A film with an exposure
index of 500 can exhibit about three times the change in
p e rf o rmance as a film with an index of 125. While this
e ffect on film raw stock is not immediate, it is one re a s o n
why we suggest exposing and processing film as soon as
possible after purchase. We recommend a period of no
m o re than six months from the time of film purc h a s e
b e f o re processing, provided it has been kept under spec­i fied conditions. Extended periods beyond six months may
a ffect faster speed films as noted above, even if kept
f rozen. The only way to determine the specific effect of
a m b i e n t - b a c k g round radiation is with actual testing or
m e a s u rements and placing a detector in the locations
w h e re the film was stored. The most obvious clue is the
observance of increased granularity, especially in the light
a reas of the scene.

P rotection from Physical Damage

Keep films away from heating pipes and direct sunlight,
even if the room is air-conditioned. Maintain uniform
room temperature throughout the storage area by means
of adequate air circulation. If the building is not fire p ro o f ,
install an automatic fire-extinguisher system. Design
storage rooms for motion picture raw stock so that film is
at least 6 in. (15 cm) off the flo o r.

15

U n p rocessed Film Before and After Exposure

Exposed film, particularly color, deteriorates more rapidly
than unexposed film. Process films as soon as possible
after exposure.

Do not keep film in the camera or magazine longer than
is necessary. If you load magazines a long time ahead of
use, protect them from excessive temperature and re l a t i v e
humidity until you need to load the camera.

Keep loaded cameras or magazines and carrying cases
out of closed spaces that can trap heat from the sun or
other sources such as closed automobiles, airplanes, or the
holds of ships.

Immediately after exposure, re t u rn the film to its can and
retape the can to help prevent any increase in moisture
content.

P rocessed Film Storage

The following suggestions apply to extended storage of all
motion picture films. Be aware that color dyes are more
p rone to change than are silver images over extended
periods, with heat and humidity being the chief factors.
B e f o re any extended storage (ten years or more), these
minimum guidelines should be followed:

1. Make sure the film was adequately washed to re m o v e

residual chemicals, and the residual hypo level does not
exceed the recommended maximum. ANSI PH 4.8­1985 describes a test method for residual hypo.

2. At present, only EASTMAN EKTACHROME Motion

P i c t u re Films re q u i re stabilization during processing for
dye stability. Be sure process specifications have been
strictly followed.

3. All film should be as clean as possible. Cleaning is best

done professionally. If you use a liquid cleaner, pro v i d e
adequate ventilation. Adhere to local municipal codes
in using and disposing of any solvents.

4. Keep film out of an atmosphere containing chemical

fumes, such as hydrogen sulfide, hydrogen pero x i d e ,
sulfur dioxide, hydrogen sulfide, ammonia, coal gas,
and automobile engine exhaust.

5. Do not store processed film above the re c o m m e n d e d

21°C (70°F), 20 to 50 percent RH for acetate or
for polyester, if extended life expectancy is to be
m a i n t a i n e d .

16

6. Wind films emulsion in and store flat in untaped cans
under the above conditions.

Shooting for Te l e v i s i o n

The television industry is changing. New, advanced stan­d a rds for high-definition television (HDTV) will put more
demands on the cinematographer. Despite all the uncer­tainties associated with the new standards, indications are
that film remains the ideal, independent origination
f o rmat. With film, you have the ability to transfer to any
e l e c t ronic format, without conversions pro b l e m s .

Film origination format and aspect ratio are more

important than ever before. Film choices for origination
include 16 mm, super 16 mm, and 35 mm. When cine­matographers and producers compose the image, they
need to decide whether to use the current 4:3 aspect
ratio or 16:9 for HDTV. Some are shooting 4:3 and
p rotecting the edges for 16 : 9 .

The most widely used films in the television industry

a re KODAK VISION Color Negative and EASTMAN
EXR Films.

In all likelihood, your film will still end up on a video

f o rmat for broadcasting. An important part of this pro c e s s
is the telecine transfer. This critical pro c e d u re must be
p e rf o rmed with the highest quality standards because,
after all, the video output of the telecine is only as good
as the film transfer input.

So, no matter what format or aspect ratio you choose,

the best television images start with the best practices in
c i n e m a t o g r a p h y .

In general, photography expressly for television re l e a s e

should avoid high-contrast scenes and scenes with impor­tant details in dark shadows or against very bright back­g rounds. The recommendations below should help you
get the best possible results.

1. Always have a white re f e rence (something brighter
than a face) in every shot.

2. The white re f e rence should not be more than 11⁄2
stops brighter than your subject’s face.

3. Keep your subjects away from windows or other high­brightness backgrounds, such as white walls or larg e
expanses of open sky, except for a desired effect.

17

4. Don’t photograph dark-skinned people against very
bright or very dark backgrounds.

5. Try to maintain a range of 5 to 6 stops from the
brightest to the darkest parts of the shot. A lighting
ratio of 2:1 is a good starting point.

6. If you must shoot white or extremely bright costumes,
try to maintain a good face-to-face white re f e re n c e
relationship. For these scenes, use soft lighting, such as
that produced by an overcast day or open shade.

7. Flat lighting will give very good results for television, but
may not be acceptable if the film is later released for
theater use.

Getting Ready

B e f o re you go out on a shoot, you should check over the
equipment and accessories that you plan to use on loca­tion. Below are several lists of items judged necessary by
several suppliers of motion picture equipment. The first list
includes items that ought to be in the assistant’s ditty bag.
The second list shows what tools the crew should have.
Next is a list of camera accessories. Last is a list of the
contents of a camera operator’s meter case.

Ditty Bag

• Felt marking pen

• Ear syringe

• Flashlight

• Lens tissue and lens cleaner

• Magnifying glass

• Scissors

• Masking tape

• Tweezers

• Orange sticks

• American Cinematographer Manual

• Assorted 85 filters (85, 85B, 85C, etc.)

• Pencils and ballpoint pens

• Screwdrivers

• Paint brush (a 1-inch size w/tapered bristles

is very handy)

• L e a k p roof precision oil can (the kind that looks

like a fountain pen)

• Rubber bands

18

• Black cloth

• Magazine belt clips and pick

• This copy of Cinematographer’s Field Guide,
KODAK Publication No. H-2.

To o l s

• Longnose pliers

• Diagonal cutters

• Channel Lock pliers

• Scre w d r i v e rs—S t a n d a rd and Phillips

• Jeweler’s screwdriver set

• Allen wre n c h e s

• Open end and box wrench sets

• Files (for metal and wood)

• Pocket knife

• “C” clamps 3-in. (7.5 cm)

• Spring clamps

• Scriber

• 1⁄4 x 20 screws 1- and 21⁄2-in. (2.5 and 6 cm)

• 3⁄8 x 16 screws 1- and 21⁄2-in. (2.5 and 6 cm)

• Wa s h e r s

• Tape measure

• Voltmeter (w/adequate range to cover voltages likely
to be encountered on location assignments)

• Electrical tape

• G round adapters (both the 3-pin plug adapter
and water pipe clamp types)

• Electric drill and bits, up to 3⁄8-in. (0.75 cm)

• Soldering iron and solder

• Small and medium Crescent wre n c h e s

• Expansion bit (and bit brace, if not electric)

• Flashlight

Camera Accessories

• 100-ft (30 m) camera spool*

• 200-ft (61 m) camera spool*

• Spare film core s

• Spare 85 conversion fil t e r s

• Assorted ND filters (at least 0.3, 0.6, and 0.9)

• Black camera tape

• Gaffer tape

*Load and unload all camera spools in total darkness.

19

• Insert slate

• Log sheets

• Dental mirro r

• Magnifie r

• “Dust Off” (or equivalent canned air)

• Black felt marker (Sharpie)

• Lens cleaner and lens tissue

• Lens brush

• Cotton swabs

• Syringe

• Spot remover or aerosol solvent

• Penlight

• Cube taps (2 or 3)

• Dulling spray

• Fuses

• Mag head cleaner

Camera Operator’s Meter Case

• Favorite fil t e r s

• Diffusion (gauzes or discs)

• Two exposure meters

• Color meter

• Viewing fil t e r s

• Calculators

• Handbook (this one fits nicely in almost any meter case)
You may also want a copy of the ASC Manual.

• Magnifying glass

• Small hand mirro r

• Aspirin tablets

Some items on these lists you may not use often—t h e
key is the word often—but even if you need an item only
once and have it among your photo gear, you will be
thankful that you (or an assistant) re m e m b e red to bring
it along.

Of course, these lists were developed by other people.
You can customize them to fit your specific needs.

20

Flashing Camera Films to
Lower Contrast

“Flashing” means to deliberately fog film by giving it a
u n i f o rm exposure before processing. The amount and
type of exposure will vary with the “look” desired. This
slight exposure lowers the film’s contrast (to some extent),
primarily in the upper scale (shadow) areas, and allows
for more detail in the shadows. The results are similar
whether the film is pre- or post-flashed in a laboratory
or on the camera (equipment supplied by camera
m a n u f a c t u rers).

Flashing is often done to establish a closer match
between films of diff e rent contrast characteristics that will
be intercut. Other reasons for flashing are to cre a t e
pastels from more saturated colors—enhancing shadow
details that have less fill light, etc. Effects such as changing
the color of shadows can be made by selective fil t e r i n g
(non-neutral light sourc e ) .

The amount of flash will affect the result, but fla s h i n g
intensity has its limits, and too much will distort the image.
Flashing is often measured in percentages by the cine­matographers and laboratory personnel. There is no
absolute consensus about what these percentages mean.
This is usually perceived through past experience, and as
with most other creative techniques, it is important to
work closely with the laboratory and gain experience
t h rough contacts and testing.

Exposed Film—What Now?

A Final Thought About Laboratories

P e rhaps now is a good time to draw on the experiences
of a lot of professional cinematographers that may off e r
a few hints about dealing with the laboratories where you
take your films for processing and duplicating. You need
to establish a good line of communications with your lab.
Doing so will help this step of your production go
smoothly.

Know your needs—Know what you need from a lab

and then talk about those needs with several labs before
you make a choice. Consider such things as editing,
dubbing, special effects, animation, etc., so the lab can
help you accomplish these tasks the best way possible.

21

Get acquainted—Once you have made your choice of

labs, get to know the people who will do your work. Te l l
them as much as you can about yourself, your needs and
your style. The more you communicate with them about
yourself and your production, the better they can serve
you.

Get it In writing—Face-to-face discussions and tele-

phone calls are necessary for efficient work flow; but
when it comes to specifying what you want, when you
want it, and how much it will cost, a carefully written
d o c u m e nt—the purchase ord er—is a must.

22

Winding Designations

In the sketches below, the film is wound on cores and the
emulsion side of the film faces the center of the roll. All

35 mm camera films and many 16 mm camera films have

p e rforations on both edges—2R in the sketch. All one­edge perforated 16 mm camera films are Winding B.

2R 1R–WINDING B 1R–WINDING A

P e rforation Ty p e s

35 mm and 65 mm End Use

1. B H -18 70—35 mm Bell & Howell negative perf o r a­tions with a pitch measurement of 0.18 7 0 ( 4 7 5 0 ) ,
long pitch, (ANSI/SMPTE 93-1996)

2. B H -18 66—35 mm Bell & Howell negative perf o r a­tions with a pitch measurement of 0.18 6 6 ( 4 7 4 0 ) ,
short pitch, (ANSI/SMPTE 93-1996)

3. K S -18 66—35 mm and 65 mm Kodak Standard
Positive perforations with a pitch measurement of
0 . 1 8 6 6 (4740), short pitch, (ANSI/SMPTE 13 9 ­1996; ANSI/SMPTE 14 5 -1993)

4. D H -18 70—35 mm Dubray-Howell perforations with
a pitch measurement of 0.18 7 0 (4750), long pitch,
(ANSI/SMPTE 237-1993)

5. K S -18 70—70 mm film perforated 65 mm Kodak
S t a n d a rd Positive perforations with a pitch measure­ment of 0.18 7 0 (4750), long pitch, (ANSI/SMPTE
119 -1993)

27

16 mm End Use

6. 2 R - 2 9 94—16 mm film perforated two edges with a
p e rforation pitch of 0.2994 (7605), short pitch,
(ANSI/SMPTE 10 9-1996)

7. 2 R - 3 0 00—16 mm film perforated two edges with a
p e rforation pitch of 0.3000 (7620), long pitch,
(ANSI/SMPTE 10 9 -1996)

8. 1 R - 2 9 94—Same as No.6 except perforated one
edge (ANSI/SMPTE 10 9 -1996)

9. 3 R - 2 9 94—35 mm film perforated 16 mm with a
p e rforation pitch of 0.2994 (7605), short pitch,
(ANSI/SMPTE 171-1996)

10. 1 R - 3 0 00—Same as No.7 except perforated one edge
(ANSI/SMPTE 10 9-1 996)

11. 3 R - 3 0 00—Same as No. 9 except with a perf o r a t i o n
pitch of 0.3000 (7620), long pitch, (ANSI/SMPTE
17 1-1996 )

N o t e : For other perforation types or formats, consult your
P rofessional Motion Imaging office.

Q u a n t i t i es—S t a n d a rd Packages

For faster service and easier handling, you should ord e r
case-lot quantities whenever possible.

Film Roll Case Case

Width Film Type Length Quantity Weight

35 mm Camera Films (Color/B&W) 100 ft (30 m) 50 35 lb (16 kg)

16 mm Camera Films (Color/B&W) 100 ft (30 m) 50 22 lb (10 kg)

200 ft (61 m) 20 28 lb (13 kg)
400 ft (122 m) 10 25 lb (11 kg)

1000 ft (305 m) 5 30 lb (14 kg)

200 ft (61 m) 30 30 lb (14 kg)
400 ft (122 m) 30 30 lb (14 kg)

800 ft (244 m) 12 37 lb (17 kg)

1200 ft (366 m) 15 57 lb (25 kg)

Approx.

28

ORDERING RAW STOCK

I n t ro d u c t i o n

All of the information presented in this field guide is
intended to help you determ i ne

the right film (perf o rmance characteristics), in

•

the right quantities (shooting time/ratio), and

•

the right format (width, perforations, winding,

•

p a c k a g i n g

, etc.).

How to Ord e r

In this section, we briefly explain how to write (or phone)
an order so you can get the film you need to begin or
continue production on s c h e d u l e. After you place an ord e r
with a Kodak company or distributor in your country,
they’ll arrange for all the other particulars of your ord e r,
such as product availability, terms of payment, applicable
taxes, transportation, and re t u rn s .

The Catalog Number (CAT No.)

This number is perhaps the most important piece of
i n f o rmation to know when you want to buy film fro m
Kodak. In brief, the CAT No. describes a particular
kind of film, the size, length, perforation, pitch, and
other format information to our Customer Relations
R e p resentatives. For example, the CAT No. for 100 ft
(30 m) of E A S T M A N EXR 100T Film 5248 (35 mm),
BH-1886 (4740) perforation type, with a film identifica­tion number of EXM417, on a spool is 170 0434. That
seven-digit CAT No. describes only one film package.

To get your order as quickly as possible, give us the
correct CAT No. listed in your Kodak price catalog. That
simple seven-digit number is the key to your film order
all additional related numbers and descriptions verify the
CAT No. and rule out the possibility that the number was
recorded incorrectly. Once the CAT No. is written in our
order sheet, we know the exact film you need, the length
of one roll, the specific core or spool, the perf o r a t i o n
pitch, the price, and a multitude of other important details.

—

—

29

To illustrate our point, let’s look at one example:

If you order a 400-ft (122 m) roll of 35 mm KODAK
VISION 200T Color Negative Film 5274, the CAT No. is
171 6984. That number tells us exactly what you need.

To verify that number you should include:

the name of the film (5274)

•

Iden No. (VXM718 )

•

roll length (400 ft [122 m]) on core

•

p e rforation pitch (BH-1866 [4740]) .

•

P roduct and Technical Inform a t i o n

T h roughout the world, Eastman Kodak Company
p rovides the motion picture industry with a full range of
quality products, supported by worldwide technical
services and distribution. The goal is simple: to pro v i d e
customers with products and services to achieve the best
s c reen image possible.

The vast majority of filmmakers choose KODAK
Motion Picture Films to generate quality images. Cinema­tographers and laboratory professionals know they can
count on Eastman Kodak Company for fast, experienced
technical assistance and a film-distribution network that
reaches just about every corner of the globe. Our involve­ment extends to theaters where we assist exhibitors in
p roviding first-class viewing enviro n m e n t s .

A worldwide network is available to supply you with
K O D A K Motion Picture Products and to answer any
technical questions.
a rea of operations listed on pages 31 through 39. For
technical information in the United States, call the

Kodak Information Center at 1 - 8 0 0 - 2 4 2 - 2 4 2 4 ,
Ext. 16 , 9 a.m. to 7 p.m. (Eastern time), Monday

t h rough Friday. To place an order in the United States,
call 1-800-621-FILM. Countries outside the U.S.,
contact Kodak in your country or the nearest distributor.

Visit the Entertainment Imaging website at
www.kodak.com/go/motion for complete technical data
sheets on KODAK Motion Picture Films, or call the Kodak
I n f o rmation Center (see phone information above).

For information, call Kodak in your

30

Two internationally recognized sources of technical
i n f o rmation for motion picture pro c e d u res and standard s
a re the Society of Motion Picture and Te l e v i s i o n
Engineers (SMPTE), located at 595 West Hartsdale
Avenue, White Plains, New York 10607, 914 - 7 6 1 -11 0 0 ,
and the

American National Standards Institute

( A N S I ) , 550 Mamaroneck Ave., Harrison, New Yo r k

10528,

2 1 2 - 6 4 2 - 4 9 0 0 .

The American Cinematographer Film Manual,
f rom the American Society of Cinematographers, covers
virtually every phase of motion picture photography. The
seventh edition is available from A.S.C. Press, P. O. Box
2230, Hollywood, California 90078.

UNITED STATES OF AMERICA
Professional Motion Imaging

Eastman Kodak Company

Chicago, Illinois

815 West Van Buren, Suite 320 Phone: [phone]
Chicago, Illinois 60607 FAX: [phone]

Dallas, Texas

11337 Indian Trail Phone: [phone]
Dallas, Texas 75229 FAX: [phone]

Hollywood, California

6700 Santa Monica Boulevard Phone: [phone]
Hollywood, California 90038-1203 FAX: [phone]

New York, New York

360 West 31st Street Phone: [phone]
New York, New York 10001-2727 FAX: [phone]

KODAK SHOOTSAVER Express

Film Delivery Service Phone: [phone]

FAX: [phone]

31

INTERNATIONAL

Kodak Locations and Distributors

ARGENTINA

El Business Center
Bonpland 1930/32 Phone: [phone]
CP B1667JUV Buenos Aires, Argentina FAX: [phone]

AUSTRALIA

Kodak (Australasia) Pty., Ltd. Phone: [phone]
173 Elizabeth Street Toll free: 1300-139-795
Coburg, Victoria, Australia 3058 FAX: [phone]

AUSTRIA

Kodak Ges.m.b.H
Entertainment Imaging Phone: [phone]
Albert-Schweitzer-Gasse 4 FAX: [phone]
A-1148 Vienna, Austria E-mail:

BELGIUM

N.V. Kodak S.A.
Entertainment Imaging
Service Center Brussels Phone: [phone]
Ikaroslaan 18 FAX: [phone]
B-1930 Zaventem Belgium E-mail:

BRAZIL

Kodak Brasileira Com.Ind.Ltda. Phone Sao Paulo:55-11-9689 4057
Avenida Mari Coelho Aguiar Phone Rio de Janerio: 55-21-9971 3650
215 Bloco E. 6o. andar FAX: [phone]
05804-900 Sao Paulo, SP, Brazil or 55-21-580 0039

BULGARIA

Boyana Film Company
Kinocenter Boyana Phone: [phone]
1616 Sofia, Bulgaria FAX: [phone]

CANADA

Kodak Canada Inc.
3500 Eglinton Avenue West Phone: [phone]
Toronto, Ontario 1-800-621-FILM(3456)
Canada M6M 1V3, FAX: [phone]

Kodak Canada Inc.
4 Place du Commerce, Suite 100
Ile des Soeurs Phone: [phone]
Verdun Quebec 1-800-621-FILM(3456)
Canada H3E 1J4 FAX: [phone]

Kodak Canada Inc.
4185 Still Creek Drive
Suite C150 Phone: [phone]
Burnaby, British Columbia 1-800-621-FILM(3456)
Canada V5C 6G9 FAX: [phone]

Toll Free: 1300-652-054

E-mail:

mpfi[e-mail]

www.kodak.com/go/motion

www.kodak.fr/go/cinema-benelux

32

CHILE

Kodak Chilena S.A.F.
Av. Presidente Eduardo Frei M 99950
(Panamericana Norte–Quilicura) Phone: [phone]
Santiago, Chile FAX: [phone]

CHINA (Peoples Republic)

Kodak (China) Ltd
Beijing Liaison Office
#1 Guanghua Road, Chaoyang District
Kerry Center, 9th Floor Phone: [phone]
Beijing 100020, China FAX: [phone]

Kodak (China) Ltd,
Shanghai Liaison Office
Floor 2-5, Novel Plaza
128 West Nam Jing Road Phone: [phone]
Shanghai 200003, China FAX: [phone]

Kodak (China) Ltd,
Guangzhou Liaison Office
6th Floor, East Tower
GZ International Financial Building
197-199 Dong Feng Road W. Phone: [phone]
Guangzhou 510180, China FAX: [phone]

COLOMBIA

Kodak América, Ltda.
Calle 12C No. 76-49 Entrada 2
Parque Industrial Alsacia Phone: [phone] ext. 377
Santa Fé de Bogota, Columbia FAX: [phone]

CZECH REPUBLIC

Kodak Ltd. Phone: ++420 2 2251 9837
Entertainment Imaging ++420 2 2252 0627
Americká 17 FAX: ++420 2 2251 5846
120 22 Praha 2 E-mail: [e-mail]
Czech Republic E-mail: www.kodak.com/go/motion

DENMARK

Kodak A/S Phone: [phone]
Stationsparken 24 FAX: [phone]
2600 Glostrup, Denmark Mobile: [phone]
Contact: Tommy Jensen E-mail: [e-mail]

EGYPT

Kodak (Egypt) S.A.E.
20 Adly Street Phone: [phone]
Cairo Egypt FAX: [phone]

EUROPEAN AFME REGION

Entertainment Imaging
Kodak House
Station Raod
Hemel Hempstead Phone: [phone]
Herts, HP1 1JU England FAX: [phone]

33

FINLAND

Kodak OY
P.O. Box 49
Mäkelänkatu 91 Phone: [phone]

00611 Helsingfors, Finland FAX: [phone]
Contact: Kari Nordberg Mobile: [phone]

FRANCE

Kodak Pathé Phone: [phone]
Division Cinéma et Télévision FAX: [phone]
26, rue Villiot E-mail: [e-mail]
75012 Paris France E-mail:

GERMANY

Kodak GMBH
Entertainment Imaging Phone: [phone]/-5596
Hedelfinger Strasse 60 FAX: [phone]
70327 Stuttgart, Germany E-mail: www.kodak.de/go/motion

GREECE

Kodak (Near East) Inc.
10-12 Himaras Street Phone: [phone]
151 25 Maroussi, FAX: [phone]
Athens Greece E-mail:

HONG KONG

Kodak (Far East) Ltd.
Kodak House I
321 Java Road Phone: [phone]
North Point Hong Kong FAX: [phone]

HUNGARY

Kodak Hungary Kft.
Entertainment Imaging Phone: [phone] EI ext.: 123
Timár u. 20. FAX: [phone]
1034 Budapest Hungary E-mail: [e-mail]

ICELAND

KODAK Sverige
Hans Petersen HF
Sudurlandsbraut 4
Box 8580 Phone: [phone]
128 Reykjavik Iceland FAX: [phone]

INDIA

Kodak India Ltd.
Vinay Bhavya Complex, 6th floor
159-A, CST Road, B Wing,
Kalina India Phone: [phone]
Santacruz (East), Mumbai 400 098 FAX: [phone]

INDONESIA

Kodak (Singapore) PTE. Ltd.
Jakarta Representative Office
17th Floor, Chase Plaza Tower
JI. Jend. Sudirman Kav. 21 Phone: [phone]
Jakarta 12920 Indonesia FAX: [phone]

www.kodak.fr/go/cinema

[e-mail]

34

IRAN

Kodak (Iran) P.J.S.C. Co.
Dowlatshad Bldg, Apt 2
Box No. 154-2 Phone: [phone]
Tehran 19395, Iran FAX: [phone]

IRELAND

Kodak Ltd, Kodak House
P.O. Box 66, Station Road
Hemel Hempstead Phone: [phone]
Herts, HP1 1JU England FAX: [phone]

ISRAEL

Delta Film Israel Phone: [phone] / 834 (direct line)

16 Hagalim Ave., Ind. Zone FAX: [phone]

Herzlia B 46103 Israel E-mail:

ITALY

Kodak Spa
EI Office Phone for information & Orders: +39-02-66.02.85.11
V.le Matteotti 62 FAX: [phone]
20092 Cinisello Balsamo Milan Italy E-mail:

Kodak Spa
EI Office Phone for information & Orders: +39-06-88.172.212
Via Sambuca Pistoiese 55 FAX: [phone]
00138 Roma Italy E-mail:

JAPAN

Kodak Japan Ltd.
Yamaman Building Phone: [phone]
6-1 Koamicho, Nihonbashi, FAX: [phone]
Chuo-ku, Tokyo 103-8540, Japan E-mail: [e-mail]

KENYA

Kodak (Kenya) Limited
Funzi Road
P.O. Box 18210 Phone: (254) (2) 530 164
Nairobi, Kenya FAX: (254) (2) 530 171

KOREA

Kodak Korea Ltd.
7th floor, Yonkang Bldg.
#270, Yonji-dong, Chongro-ku Phone: [phone]
Seoul 110-470, Korea FAX: [phone]

LATIN AMERICAN REGIONAL OFFICE

Eastman Kodak Company
Entertainment Imaging
8600 NW 17th Street - Suite 200 Phone: [phone]
Miami, Florida 33126-1006 USA FAX: [phone]

LATVIA

Kodak Baltic Phone: [phone]
Rusina iela 1 FAX: [phone]
LV-1003 Riga, Latvia Contact: Liene Ziemele

[e-mail]

[e-mail]

[e-mail]

35

LUXEMBORG

N. V. Kodak S.A.
Entertainment Imaging
Service Center Brussels Phone: [phone]
Ikaroslaan 18 FAX: [phone]
B-1930 Zaventem Belgium E-mail:

MALAYSIA

Kodak Malaysia Sdn Bhd
Jalan Kemajuan 13-1
46200 Petaling Jaya Phone: [phone]
Selangor, Malaysia FAX: [phone]

MEXICO

Kodak de Mexico S.A. de C.V
Camino a Santa Teresa 1040
Planta Baja Phone: [phone] /
Col. Jardines en la Montaña 449.4489 / 449.4521
C.P. 14210, Mexico D.F., Mexico FAX: [phone]

NETHERLANDS

Kodak Nederland BV
Entertainment Imaging
Service Center Amsterdam
Kuiperbergweg 35, Phone: [phone]
NL-1101 AE Amsterdam Phone: [phone]
The Netherlands E-mail:

NEW ZEALAND

Kodak New Zealand Ltd.
70 Stanley Street Phone: [phone]
Parnell, Auckland, New Zealand FAX: [phone]

NORWAY

Kodak Norge AS Phone: [phone]
Lienga 7 FAX: [phone]
1410 Kolbotn, Norway Mobile: [phone]
Contact: Tore Kopseng E-mail: [e-mail]

PAKISTAN

Kodak Ltd.
P.O. Box 4956
4th Floor Baharia Complex
Maulvi Tamizuddin Khan Road Phone: [phone] & 561 1402
Karachi, Pakistan FAX: [phone]

PANAMA

Kodak Panama Ltd.
Edificio Plaza Bancomer
Calle 50 y 53 este
Piso 9 Phone: [phone]
Panama, Republic of Panama FAX: [phone]

PARAGUAY

www.kodak.fr/go/cinema-benelux

www.kodak.fr/go/cinema-benelux

Phone: [phone]

FAX: [phone]

36

PERU

Kodak Américas, Ltda.
Av Nicolás Arriole 480
Santa Catalina, La Victoria Phone: [phone]
Lima Peru FAX: [phone]

PHILIPPINES

Kodak Philippines, Ltd. Phone: [phone] (trunkline)
2247 Chino Roces Avenue 632 813 7916 (direct line)
Makati City FAX: [phone]
Philippines 1299 E-mail: [e-mail]

POLAND

Kodak Polska
EI Office
Chelmska str. 21 Phone: [phone]
00-724 Warszawa, Poland FAX: [phone]

PORTUGAL

Kodak Portuguesa Ltd.
Rua Alexandre Herculano Phone: [phone]
2795-010 Linda-a-Velha, Portugal FAX: [phone]

ROMANIA

Kodak Cinelabs Romania
170, Bucurestii Noi Blvd., Phone: [phone]
Sector 1 FAX: [phone]
Bucharest Romania E-mail:

RUSSIA

Kodak AO
Mosfilmovskaya 1, Bldg. 3 Phone: [phone]
Moscow, Russia FAX: [phone]

SINGAPORE

Kodak (Singapore) Pte. Limited
305 Alexandra Road Phone: [phone]
Singapore, 159942 FAX: [phone]

SLOVAK REPUBLIC

Kodak Ltd. Phone: ++421 7 5293 2998
Entertainment Imaging FAX: ++421 7 5293 2996
Kollárovo námestie 19 E-mail: [e-mail]
811 06 Bratislava Slovak Republic E-mail: www.kodak.com/go/motion

SOUTH AFRICA

Kodak South Africa (Pty.) Ltd.
PO Box 1695
Gallo Manor
9052, South Africa

(Courier Deliveries)
Kodak South Africa (Pty) Ltd.
Lincoln Wood, Block D Phone: [phone]
Woodlands Drive FAX: [phone]
Woodmead Ext. 16, 2148 Mobile: [phone]

www.kodakcinelabs.ro

37

SPAIN

Kodak SA
Carretera Nacional VI, Km 23
28230 Las Rozas Phone: [phone]
(Madrid) Spain FAX: [phone]

SWEDEN

Kodak Nordic AB Phone: [phone]
Nettovagen 2 SE-175 85 FAX: [phone]
Jarfalla, Sweden Contact: Iréne Sandström

SWITZERLAND

Kodak Societe Anonyme
Entertainment Imaging
50, Avenue de Rhodanie Phone: [phone]
1007 Lausanne Switzerland FAX: [phone]

TAIWAN

Kodak Taiwan Ltd.
35, Sec 2, Chung Yang South Road Phone: [phone]
Pei Tou, Taipei. Taiwan 8862 2893 8121
Republic of China FAX: [phone]

THAILAND

Kodak (Thailand) Ltd. Phone: [phone]
197 Vibhavadi Rangsit Road Ext. 310
Bangkok 10400, Thailand FAX: [phone]

TURKEY

Kodak (Near East) Inc.
Ali Nihat Tarlan Cad
No 97
Ustbostanci Phone: [phone]
Istanbul, Turkey FAX:[phone]

UKRAINE

Kodak EE Ltd.
1 Vasylkivska Street, Bldg. 2/6 Phone: ++38 044 252 6300
252040 Kiev Ukraine FAX: ++38 044 252 6303

UNITED ARAB EMIRATES

Kodak (Near East) Inc.
P.O. Box 11460
Dubai Phone: [phone]
United Arab Emirates, Arabian Gulf FAX: [phone]

UNITED KINGDOM

Entertainment Imaging
Kodak Ltd, Kodak House
P.O. Box 66, Station Road
Hemel Hempstead Phone: [phone]
Herts, HP1 1JU England FAX: [phone]

Phone: [phone]

E-mail:

[e-mail]

Contact: Karl-Henrik Rassmo

Mobile: [phone]

E-mail:

[e-mail]

38

UNITED STATES

Eastman Kodak Company
815 West Van Buren, Suite 320 Phone: [phone]

Chicago, Illinois 60607 USA FAX: [phone]

11337 Indian Trail Phone: [phone]
Dallas, Texas 75229 USA FAX: [phone]

6700 Santa Monica Boulevard Phone: [phone]
Los Angeles, California FAX: [phone]
90038-1203 USA 323-468-2124

360 West 31st Street
New York, New York Phone: [phone]
10001-2727 USA FAX: [phone]

URUGUAY

VENEZUELA

Kodak Venezuela, S.A.

Avenida Francisco Solano,

entre Apamates y Negrin
Centro Empresarial Sabana Grande
Piso 14, Ofc. 3 y 4 Phone: [phone]

Caracas, Venezuela FAX: [phone]

Phone: [phone]

FAX: [phone]

You can also find updated addresses and phone/fax

numbers on the Professional Motion Imaging website:

w w w . k o d a k . c o m / g o / m o t i o n.

Limitations of Liability on
Sensitized Goods

The sale, use, processing and handling of Kodak sensi­tized goods are subject to the applicable limitation of
liability listed below:

F i l m

Kodak films will be replaced if defective in manufacture ,
labeling or packaging, or if damaged or lost by us or any
subsidiary company. Except for such replacement, the
sale, or other handling of these films is without warrant or
liability, even though defect, damage, or loss is caused by
negligence or other fault. Since color dyes may in time
change, color films will not be replaced for, or otherwise
warranted against, any change in color.

39

Motion Picture Film Updates

Eastman Kodak Company offers updates of the film
section of the Cinematographer’s Field Guide as new fil m s
a re introduced. The updates are free to owners of the
Cinematographer’s Field Guide.

To obtain film updates, please fill in and re t u rn this
f o rm to:

Eastman Kodak Company
Dept. 412 L / H - 2
343 State Stre e t
R o c h e s t e r, NY 14 6 5 0 - 0 5 3 2

In countries outside the U.S., contact Kodak in
your country.

Please send me, free of charge, the most recent set of
updates for the

N A M E

S T R E E T

Cinematographer’s Field Guide,

H - 2 .

C I TY/S T A T E

Z I P

E n t e rt a i n m e n t

I m a g i n g

Cinematographer’s Field Guide
Revision 11/00
Printed in U.S.A.

Kodak, Vision, Eastman, EXR, Keykode, Ektachrome,

Primetime, Shootsaver, and Wratten are trademarks.

KODAK Publication No. H - 2

C AT 141 3871

40