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Author
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Topic: New Kodak VISION2 50D Film 5201
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John Pytlak
Film God
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Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 10-19-2005 10:25 AM
Kodak just launched the new Kodak VISION2 50D Color Negative Film:
Kodak VISION2 50D Press Release
quote: Kodak Adds Second Daylight Film to VISION2 Product Line LOS ANGELES, October 17, 2005 — Kodak is expanding the palette of color negative films available to cinematographers. The company has introduced an ultra-fine grain film rated for an exposure index of 50 in daylight. KODAK VISION2 50D 5201/7201 color negative film is available in all formats from 16 to 65 mm.
"This new emulsion is designed to give cinematographers more creative latitude while filming high-contrast exterior scenes in bright daylight as well as shots in mixed color temperatures," says Robert Mayson, general manager and vice president of image capture for Kodak's Entertainment Imaging Division. "Advances in film science and emulsion technology ensure that nuances recorded on the negative are retained through both digital and optical postproduction all the way through to cinema and television screens."
The new emulsion is the sixth member of the KODAK VISION2 family of color negative films, which was introduced in November 2002. The new films offer a wide range of imaging characteristics designed to enable cinematographers to create compelling motion pictures in virtually any lighting environment.
Mayson says that cinematographers who shot early tests around the world report that the new negative sees deeper into both highlight and shadow areas, and accurately records more nuanced details. He also notes that the new film is optimized for use as a recorder output film, utilized extensively in the digital intermediate (DI) process.
Jon Fauer, ASC was among the cinematographers who tested the new negative. "This film definitely proves that the 'film look' is not about grain but exposure latitude," says Fauer. "There's no grain to speak of – it's the finest-grained film I've ever seen, with perfect color rendition, natural skin tones, a huge range of exposure, highlights that don't burn out, and shadows that are rich and dark but with visible subtle detail. Shooting a low-speed daylight film in bright sunlight will allow for less neutral density, so cinematographers can see what they are shooting through the viewfinder." ...
Kodak VISION2 50D Product Information and Technical Data
quote: Get true color, fine detail, and incredibly sharp images — even in high contrast daylight. KODAK VISION2 50D Color Negative Film 5201 / 7201 is a low-speed daylight film with an expansive dynamic range that delivers more detail in shadow areas — even in high contrast situations. Advances in grain and sharpness — found in all VISION2 Films — make it ideal for recorder output and provide an ultra-clean, detailed image in any lighting condition.
Kodak VISION2 50D Cinematographer Comments
quote: "This film definitely proves that the 'film look' is not about grain but exposure latitude. There's no grain to speak of — it's the finest-grained film I've ever seen, with perfect color rendition, natural skin tones, a huge range of exposure, highlights that don't burn out, and shadows that are rich and dark but with visible subtle detail. Shooting a low-speed daylight film in bright sunlight will allow for less neutral density, so cinematographers can see what they are shooting through the viewfinder."
— Jon Fauer, ASC
I've seen the introduction demo in our screening room as they QC the prints for the worldwide launches. Significantly less grain than any other motion picture film, and very sharp images. Even the Super-16 blow-up was virtually grain free.
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John Pytlak
Film God
![](http://www.film-tech.com/ubbmembers/331cap.gif)
Posts: 9987
From: Rochester, NY 14650-1922
Registered: Jan 2000
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posted 10-21-2005 07:57 AM
The reason labs are forced into contact printing short-pitch originals to short-pitch raw stock is usually the very tight schedules between when the cut negative is delivered to the lab and thousands of prints are needed in theatres worldwide.
Making a dozen or so duplicate negatives for worldwide release takes weeks on a step printer or laser recorder, but only a day or so on a continuous contact printer.
All release prints are made by printing a short-pitch duplicate negative (BH-1866 perfs) to a long pitch print stock (KS-1870 perfs), so release printing has no pitch issues.
(Note: "Pitch" is the distance between perforations. "Short Pitch" 35mm film has 0.1866 inches between perfs, "Long Pitch" has 0.1870 inches between perfs.)
http://www.kodak.com/US/en/motion/support/h1/sizesP.shtml#perfs
quote: Optimum Pitch for Printing. Continuous printers used for motion picture film are designed so that the original film and the print raw stock are in contact (emulsion-to-emulsion) with each other as they pass around the printing sprocket, with the raw stock on the outside (Figure 43). To prevent slippage between the two films during printing (which would produce an unsharp or unsteady image on the screen), the original film must be slightly shorter in pitch than the print stock. In most continuous printers, the diameter of the printing sprocket is such that the pitch of the original must be 0.2 to 0.4 percent (theoretically, 0.3 percent) shorter than that of the print stock. With nitrate film and early safety film, this condition was achieved by natural shrinkage of the original during processing and early aging. However, the substantially lower shrinkage of present safety films makes such a natural adjustment impossible; therefore, film used as printing originals is now manufactured with the pitch slightly shorter than the pitch of the print film For 35 mm film, the pitch dimensions are 0.1870 inch (4.750 mm) on print film and 0. 1866 inch (4.740 mm) on original film; for 16 mm film, they are 0.3000 inch (7.620 mm) on print film, 0.2994 inch (7.605 mm) on most camera film.
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