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FUJIFILM INTRODUCES ETERNA VIVID 160 MOTION PICTURE COLOR NEGATIVE FILM
New Color Negative Film Brings Highly Saturated Color Palette Along with High-Contrast and Sharpness to the Acclaimed Eterna Family
ETERNA Vivid 160
A motion picture color negative film characterized by intense color, high contrast, and exceptional sharpness.
ETERNA Vivid 160 is designed with high-contrast and high-color saturation, enabling it to reproduce crisp images, vibrant and translucent colors, and deep rich blacks for a wide range of expressive dramatic effects. All delivered without sacrificing exceptionally enhanced image sharpness, made possible by optimized versions of Fujifilm’s proprietary motion picture film technologies; this E.I. 160 color negative film is designed for studio work but easily adapts to daylight use at E.I. 100.* An excellent choice for telecine transfer and productions incorporating sophisticated digital effects, ETERNA Vivid 160 provides the filmmaker with a unique and dramatic palette.
*With Fuji Filter LBA-12 or Kodak Filter No.85
Valhalla, NY, April 16, 2007 – FUJIFILM U.S.A., Inc. today introduced ETERNA Vivid 160, a new tungsten-type motion picture color negative film (160; 35mm Type 8543/ 16mm Type 8643 ) formulated to deliver high color saturation and high contrast with exceptionally enhanced sharpness. ETERNA Vivid 160 is the newest member of the Fujifilm ETERNA family of motion picture color negative films.
All Fujifilm ETERNA films are characterized by their ability to reproduce natural skin tones and grays from under- to over-exposed conditions. In addition to these characteristics, the ETERNA Vivid 160 is designed with high-contrast and high-color saturation, enabling it to reproduce crisp images, intense, vibrant and translucent colors, and deep rich blacks for a wide range of expressive dramatic effects. The ETERNA Vivid 160 delivers the highest color saturation and contrast without sacrificing exceptionally enhanced image sharpness, a hallmark of the ETERNA family, due to Fujifilm’s proprietary grain and coupler technology.
Optimization of orange mask density and sharpness balance contribute to enhanced image quality for film scanning or direct telecine transfer of images from negative film to videotape, making this newest addition to the ETERNA lineup well suited for commercials and other motion picture productions using the latest advanced digital technologies.
Fujifilm aims to contribute to the advancement of motion picture production by actively engaging in the development of new additions to the ETERNA family and other motion picture film products by providing a wide range of high-quality imaging products.
ETERNA Vivid 160 Features
High color saturation
An evolved version of ETERNA series’ Super Efficient DIR-Coupler Technology promotes adhesion and separation of colors, creating a rich, vibrant, and translucent color palette.
Excellent image sharpness
The performance parameters of the proprietary technologies developed for the ETERNA family of motion picture color negative films have been optimized, achieving exceptional sharpness. High contrast and highly saturated color boosts image sharpness, creating motion picture images with exceptional depth and dimension.
Optimized gradation balance
ETERNA Vivid 160 produces balanced, attractive skin tones and grays across a wide range of exposure conditions.
Compared to the other Fujifilm Eterna based motion picture color negative films, ETERNA Vivid 160 is characterized by high contrast, which when combined with a highly saturated color palette will produce rich, vivid colors and crisp, deep blacks desired for today’s theatrical films.
Enhanced telecine characteristics
Enhanced linear response and excellent color balance minimize the need for color adjustment during telecine transfer. Optimization of orange mask density and sharpness balance results in improved scanning characteristics, producing crisp, clear prints and minimizing noise during film scanning.
The Eterna Family
Incorporating Fujifilm’s proprietary Super Nano-structure S Grain Technology∂, super-Efficient Coupler Technology∑ and Super Efficient DIR- Coupler Technology∏, the ETERNA family of motion picture color negative films offers exceptional high quality images. ETERNA 500 is a high-speed film with ultra fine grain; ETERNA 400 delivers remarkable shadow detail along with soft and smooth gradation; and ETERNA 250/250D, provides expanded latitude for significantly enhanced shadow detail – which has earned acclaim from filmmakers all over the world.
∂Super Nano-structured S Grain Technology
This technology precisely controls the light-sensitive structure of the silver-halide grain to nano-scale, resulting in extremely fine silver halide grain. With photons generated by exposure to light concentrated in the photosensitive nucleus via electron accumulators, the grain is designed with a precise electron accumulator structure that efficiently concentrates photons to form the latent image. The grain configuration is precisely engineered to a thickness that minimizes reflections, effectively limiting dispersion of light and enhancing sharpness.
∑Super-Efficient Coupler Technology
A yellow coupler provides enhanced color formation during processing. Highly efficient color formation makes it possible to use a thinner layer of emulsion, minimizing dispersion of light and creating sharp, clear images with little distortion.
∏Super-Efficient DIR-Coupler Technology
DIR couplers control image formation by releasing inhibitors during development, efficiently controlling the development process to produce enhanced color reproduction (interlayer effect) and definition. The DIR couplers incorporated in this emulsion effectively work on the Super Nano-structured S Grain to achieve superior color reproduction and enhanced sharpness.
Läs vad bl.a. David Mullen, ASC, skriver efter att ha sett tester.
I saw the demo at Raleigh Studios last night of these stocks. My
Vivid 160T looks beautiful. It’s not, however, Velvia-looking. The
contrast is still in a workable color negative range, not super
high-con. It looks more like a snappier version of the old EXR 50D
(5245) stock. Very rich-looking (Storaro would love it probably.)
Watching the tests from Japan, your eye has to sort of get beyond the
fascination Japanese cinematographers have for putting delicate colors
in the frame. When there is a pure color there, it pops out nicely, but
It’s definitely more saturated than the Eterna 250T stock; they also
compared it to the old F-125T stock, which is somewhere halfway in
contrast and saturation. What was interesting, though, is that while the
saturation is boosted with the Vivid 160T, it has absolutely neutral
fleshtone representation – the old F-125T tended to go reddish in the
faces in comparison. Greys, whites, and fleshtones of different types
reproduced correctly with no color bias or cast.
Vivid 160T is also very sharp and clean looking. Some shots in a 1.85
short film made in India on the stock reminded me more of anamorphic
photography. It would be a great stock for Super-16 shooters, if they
don’t mind the contrast.
So while I’m a bit disappointed that it’s not over-the-top in color
saturation & contrast, like a reversal stock, I also see that it is a
lot more usable therefore for most people by sticking within a color
negative contrast range that is manageable. Definitely a useful stock
for people who have gotten tired of the softer, pastel look of Vision-2
and regular Eterna, or want a sharper image.
RDI (Film Recorder Digital Intermediate) was an interesting demo, with a
lecture by an Arri rep (Johanns Stuerer?) who works on the Arrilaser /
Arriscanner technology, plus some tests done by Josh Pines of TDI using
the STEM material. Bill Feightner (EFilm) was also there to comment.
Basically Fuji has optimized an intermediate stock for the
characteristics of laser recorders, which allow improved sharpness,
color saturation, finer grain and better contrast for film recordings.
They had frame enlargements and even electron microscope photography to
show the improvements. Not super-dramatic improvements (intermediate
stock is pretty good these days) but definitely an improvement over both
the existing Kodak and Fuji normal intermediate stocks when a laser
recorder is used. We saw slightly better shadow detail but better
blacks, and richer colors, in the tests. The stock is a little faster,
which allows the power output of the lasers to be reduced, which reduces
flare. It has smaller, thinner halide crystals, which improve sharpness,
plus the development characteristic of the individual crystal formed is
sharper-edged, and the dye clouds formed have less scatter, all of which
improve sharpness. There is also less cross-talk, improving saturation
and color accuracy.
David Mullen, ASC, Los Angeles
I’ve been using the 160T, 250D, and 500T Fuji for the last 3 months Super 16. Extraordinarily tight grain even at night under exposed, more gradual characteristic curve (more in keeping with modern film that is destined for DI or transfer), and the color reproduction very natural. I personally prefer less saturation and contrast, creating my own dynamic in post. I’m still of the theory that the image is not completed until you are in the darkroom.
Roy H. Wagner, ASC