Tungsten (3200K) - 500 Daylight1 - 3201 Tungsten (3200K) - 500 Daylight1 - 320
Use these indexes with incident- or reflected-light
exposure meters and cameras marked for ISO or ASA
speeds or exposure indexes. These indexes apply for meter
readings of average subjects made from the camera
position or for readings made from a gray card of
18-percent reflectance held close to and in front of the
subject. For unusually light- or dark-colored subjects,
decrease or increase the exposure indicated by the meter
accordingly.
These films are balanced for exposure with tungsten
illumination (3200K). You can also expose them with
tungsten lamps that have slightly higher or lower color
temperatures (+/- 150K) without correction filters, since
final color balancing can be done in printing. For other light
sources, use the correction filters in the table below.
Light Source |
KODAK Filters on Camera[1] |
Exposure Index |
Tungsten (3000 K) |
WRATTEN Gelatin No. 82B |
320 |
Tungsten (3200 K) |
None |
500 |
Tungsten photoflood (3400 K) |
None |
500 |
Daylight (5500 K) |
WRATTEN Gelatin No. 85 |
320 |
White-Flame Arcs |
WRATTEN Gelatin No. 85B |
200 |
Yellow-Flame Arcs |
Color Compensating 20Y |
320 |
OPTIMA 32 |
None |
500 |
VITALITE |
WRATTEN Gelatin No. 85 |
320 |
Fluorescent, Cool White [†] |
WRATTEN Gelatin No. 81B + 10M |
200 |
Fluorescent, Deluxe Cool White [†] |
WRATTEN Gelatin No. 85C +10R |
200 |
Metal Halide |
WRATTEN Gelatin No. 85 |
320 |
[1] These are approximate corrections only. Make final corrections during printing.
[†] These are starting-point recommendations for trial exposures. If the kind of
lamp is unknown, a KODAK Color Compensating Filter CC 40R can be used
with an exposure index (EI) of 250.
Note: Consult the manufacturer of high-intensity ultraviolet lamps for safety information on ultraviolet radiation and ozone generation.
Do not use a safelight. Handle unprocessed film in total darkness.
At 24 frames per second (fps), 170-degree shutter opening:
Lens Aperture |
f /1.4 |
f /2 |
f /2.8 |
f /4 |
f /5.6 |
f /8 |
f /11 |
f /16 |
Footcandles Required |
5 |
10 |
20 |
40 |
80 |
160 |
320 |
640 |
Use this table for average subjects that contain a combination of light, medium, and dark colors. When a subject includes only pastels, use at least 1/2 stop less exposure; dark colors require 1/2 stop more exposure.
Lighting Contrast -
The recommended ratio of key-light-plus-fill-light to fill
light is 2:1 or 3:1. However, you may use 4:1 or greater when
a particular look is desired.
You do not need to make any filter corrections or exposure
adjustments for exposure times from 1/1000 of a second
to 1 second. In the 10-second range, increase exposure 1
stop and use a KODAK Color Compensating Filter CC 10R.
Process in Process ECN-2.
Most commercial motion-picture laboratories provide a processing service for these films. See KODAK Publication No. H-24.07
, Processing KODAK Color Negative Motion Picture Films, Module 7, for more information on the solution
formulas and the procedure for machine processing these
films. There are also pre-packaged kits available for
preparing the processing solutions. For more information
on the EASTMAN ECN-2 Kit Chemicals, check Kodak's
Motion Picture Films for Professional Use price catalog.
After processing, the product code numbers 5219 (35
mm), 7219 (16 mm), or SO-219 (16, 35, and 65 mm;
edgeprint shows 0219) emulsion, roll, and strip number
identification, KEYKODE Numbers, and manufacturer/film
identification code (EJ) are visible along the length of the
film.
To maintain optimum quality and consistency in the final
prints, the laboratory must carefully control the color
timing, printing, and duplicating procedures. To aid in color
timing and curve placement, negative originals should be
timed relative to Laboratory Aim Density (LAD) Control
Film supplied by Eastman Kodak Company.2 The LAD
Control Film provides both objective sensitometric control
and subjective verification of the duplicating procedures
used by the laboratory.
In the LAD Control Method,3 the electronic color
analyzer used for color timing is set-up with the LAD
Control Film to produce a gray video display of the LAD
patch, corresponding to 1.0 neutral density (gray) on the
print. The negative printing original is then scene-to-scene
timed. There are specific LAD values for each type of print
or duplicating film that the original can be printed on. For
print films, the LAD patch is printed to a neutral gray of 1.0
visual density. For duplicating films, the specified aims are
at the center of the usable straight-line portion of the
sensitometric curve of the film.
Due to normal variations in exposure and processing of
color negative films, particular scenes may not print
exactly at the same printer lights as the LAD Control Film.
The LAD Control Film is intended as a set-up tool for
electronic color analyzers and printers. It is NOT a
reference that every scene must match. Normal
film-to-film and scene-to-scene exposure variability is
accommodated by the color timing (grading) process, on
an electronic color analyzer set up with the LAD Control
Film. Normally exposed and processed color negatives will
typically print well within the range of an additive printer
setup with the LAD Control Film, although SIGNIFICANT
or UNEXPECTED departures from this center point
balance may indicate an exposure/filtration problem with
the cinematography or with the process control. Some
specialized films and/or specialized negative processing
techniques (push-processing, pull-processing,
"skip-bleach" processing, etc.) may require more extreme
adjustment from the LAD printing condition to attain
desired results.
More information is contained in KODAK Publication
H-61, Laboratory Aim Density, available online at
http://www.kodak.com/US/en/motion/support/lad.jhtml.
More information is contained in KODAK Publication H-61, Laboratory Aim Density.
When you transfer the film directly to tape, you can set up
the telecine using KODAK Telecine Analysis Film (TAF)
supplied by Eastman Kodak Company. The TAF consists of
a neutral density scale and an eight-bar color test pattern
with a LAD gray surround.
The TAF gray scale provides the telecine operator
(colorist) with an effective way to adjust subcarrier
balance and to center the telecine controls before timing
and transferring a film. The TAF color bars provide the
utility of electronic color bars, even though they do not
precisely match the electronically generated color bars.
Using the TAF will help obtain optimum quality and
consistency in the film-to-tape transfer. For more
information regarding TAF, see KODAK Publication No.
H-9, TAF User's Guide.
The modulation-transfer and diffuse rms granularity
curves were generated from samples of 5219 Film exposed
with tungsten light and processed as recommended in
Process ECN-2 chemicals. For more information on
image-structure characteristics, see KODAK Publication
No. H-1, KODAK Motion Picture Film .
MTF
The "perceived" sharpness of any film depends on various
components of the motion picture production system. The
camera and projector lenses and film printers, among other
factors, all play a role. But the specific sharpness of a film
can be measured and is charted in the Modulation Transfer Function Curve.
rms Granularity
Refer to curve.
Read with a microdensitometer, (red, green, blue) using a 48-micrometer aperture.
The "perception" of the graininess of any film is highly
dependent on scene content, complexity, color, and
density. Other factors, such as film age, processing,
exposure conditions, and telecine transfer may also have
significant effects.
For information on film roll lengths, check Kodak's Motion Picture Films product catalog or see a Kodak sales representative in your country.
The curves describe this film's response to red, green,
and blue light. Sensitometric curves determine the change
in density on the film for a given change in log exposure.4
Note: The exposure scale for VISION3 5219 / 7219 Film is
longer than previous VISION and VISON2 Films. Because
of the extended highlight latitude of and because we need
to measure in this region, we expanded the exposure scale
from a zero to four increment to a zero to five scale. In
addition to the longer exposure scale, we are plotting twenty-one steps instead of twenty.
Notice: The sensitometric curves and data in this
publication represent product tested under the conditions
of exposure and processing specified. They are
representative of production coatings, and therefore do
not apply directly to a particular box or roll of photographic
material. They do not represent standards or specifications
that must be met by Eastman Kodak Company. The
company reserves the right to change and improve
-
MTF curve - This graph shows a measure of the visual sharpness of
this film. The x-axis, "Spatial Frequency," refers to the
number of sine waves per millimeter that can be resolved.
The y-axis, "Response," corresponds to film sharpness.
The longer and flatter the line, the more sine waves per
millimeter that can be resolved with a high degree of
sharpness—and, the sharper the film.
-
Note: To find the rms Granularity value for a given density, find the density on the left vertical scale and follow horizontally
to the characteristic curve and then go vertically (up or
down) to the granularity curve. At that point, follow
horizontally to the Granularity Sigma D scale on the right.
Read the number and multiply by 1000 for the rms value.
Note: This curve represents granularity based on modified
measuring techniques.
-
Spectral Sensitivity curve - These curves depict the sensitivity of this film to the spectrum of light. They are useful for adjusting optical printers and film recorders, and for determining, modifying, and optimizing exposure for blue- and green-screen visual effects work.
-
These curves depict the spectral absorptions of the dyes
formed when the film is processed. They are useful for
adjusting or optimizing any device that scans or prints the
film.
Note: Cyan, Magenta, and Yellow Dye Curves are
peak-normalized.
The contents of this publication are subject to change without notice.
KODAK, Eastman, Keykode, VISION2, VISION3, and Wratten are trademarks.
(Return to Table of Contents)
Footnotes\Notices
1 With a KODAK WRATTEN Gelatin Filter No. 85.
2 Direct any inquiries to one of the regional sales offices.
3 Use of the LAD Control Method is described in the paper, "A Simplified Motion-Picture Laboratory Control Method for Improved Color Duplication," by John P. Pytlak and Alfred W. Fleischer in the October 1976 SMPTE Journal.
4. Sensitometric and Diffuse RMS Granularity curves are produced on
different equipment. A slight variation in curve shape may be noticed.
NOTICE: The data in this publication represent product tested under the conditions of exposure and processing specified. They are representative of production coatings, and therefore do not apply to a particular box or roll of photographic material. They do not represent standards or specifications that must be met by Eastman Kodak Company. The company reserves the right to change and improve product characteristics at any time.
TI2624 • Issued 1-04
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