Behind the Design of KODAK VISION3 Film

Merrick Distant
Product Systems Engineer
Kodak Entertainment Imaging Division

Merrick Distant

In the following discussion, Merrick Distant explains how breakthroughs in emulsion science were leveraged during the design and development of this new generation of motion picture films.

How do you decide what to focus on when developing new or enhanced features for motion picture films?

We ask our customers, including cinematographers and postproduction professionals, what advances they would like to see in Kodak film technology. We also work hard to understand how they use our film products in current workflows. We call these Voice of the Customer sessions. This feedback helps to guide our investment in research and development. Many of our customers asked us to reduce the grain in our 500-speed (KODAK VISION2 5218) film, while maintaining at least the same high level of image sharpness and resolution. They thought this development would be especially valuable for projects produced in Super 16 film format and in combination with the rapid evolution of digital postproduction workflows.

What new technologies were integrated into the design and development of KODAK VISION3 500T film?

We made certain enhancements to the advanced technologies found in the KODAK VISION2 family of films, such as two electron sensitizers and triple coated magenta and cyan layers. We also replaced the advanced development accelerators in the most sensitive layers of the VISION2 film with new advanced development accelerators and more efficient high-activity couplers in the red sensitive sub-records. Additionally, we developed advanced Dye Layering Technology (DLT) that is incorporated into the green and red sensitive layers of the VISION3 film. These developments give the new emulsion a capacity for capturing and processing light more efficiently. The net result is that DLT sensitized negatives record images with much finer grain without sacrificing film speed. The new film also incorporates sub-micron imaging sensors, which leverage core Kodak technology that was initially developed for still photography. These sensors have the unique effect of providing increased discrimination as the light intensity increases with impressive image integrity.

How will these innovations translate into features and benefits for filmmakers, particularly cinematographers?

The utilization of advanced Dye Layering Technology in combination with the new advanced development accelerators allows the cinematographer to underexpose film without noticeably increasing grain or noise. Therefore, they get much better results in extremely low-light environments. The noticeably lower grain in underexposed areas enables them to rate the new film at higher speeds. The increased discrimination and high signal-to-noise response provided by the sub-micron imaging sensors results in extended latitude for recording details in the brightest highlights, reducing concerns about blown-out highlights on set. Cinematographers can also extract more image information from highlights during digital postproduction without introducing artifacts.

How will the new film affect digital postproduction workflows?

The combination of new features such as a more linear tone scale, higher signal-to-noise response in both the shadow and highlight regions, and higher resolution offer filmmakers significant flexibility - as well as reducing time and saving costs - during digital postproduction. VISION3 actually adds more workflow efficiencies throughout the entire chain.

How did you extend the highlight latitude in this film?

The sensitometric curve of VISION3 film was significantly altered to incorporate an extra two stops of straight-line latitude extension in the highlights. Additionally, we redrew the sensitometric exposure scale from a zero-to-four increment to a zero-to-five increment, in order to encompass the extended latitude.

One of the claims made by digital image capture vendors is that they don't have to match the resolution or dynamic range of film because you lose image quality in optical postproduction and also in display on television and cinema screens. How do you respond to that?

That is your easiest question so far. The answer is that if you begin with the highest image quality, it will result in elevated picture excellence that is truer to the intentions of the filmmakers when images are displayed on television and/or cinema screens. Of course, if the intent is to display images on an Apple iPod or to stream on YouTube, you are not likely to scan film at 4K resolution. However, if the intention is to display on an HD television or cinema screen and the images are important to telling the story, you should begin with a medium that offers the best dynamic range and resolution.

What are the possibilities for ongoing advances in film technology?

We believe that the introduction of the KODAK VISION3 platform is a significant breakthrough. However we are not intending to stop here. We will keep listening to our customers and raising the bar. Our research scientists are continuing to innovate and provide new features that are beneficial to filmmakers.