Ny Vision 3/250D film från Kodak

KODAK VISION3 film 250D är utvecklad med den senaste filmteknologin, vilket betyder finare korn, förbättrad färgåtergivning och tonomfång samt längre arkivbeständighet. Med denna film bör ingen säga att super-16 formatet inte är lämpligt till produktion av HDTV.

På nästa sida kan du läsa mer om den nya filmen samt vad tre filmfotografer säger som testat filmen.

Kodak Introduces New Motion Picture Film in Latest Technology Platform;
Reinforces Ongoing Investments in Silver Halide Advancements

ROCHESTER, NEW YORK, April 2, 2009 — Eastman Kodak Company today unveiled the latest product offering in its VISION3 technology platform: KODAK VISION3 250D Color Negative Film 5207/7207 incorporates all of the advancements and imaging characteristics unique to the VISION3 family of films, optimized for an exposure index of 250 in daylight.

“We introduced KODAK VISION3 technology in response to our customers’ requests for an expanded range of capabilities from capture all the way through postproduction and distribution,” says Ingrid Goodyear, general manager of Worldwide Image Capture Products for Kodak’s Entertainment Imaging Division. “By extending the VISION3 portfolio, we continue to raise the bar by giving our customers more workflow efficiencies combined with all the existing advantages of film – image quality, resolution, unrivaled dynamic range, flexibility and archivability. We are very proud to now offer VISION3 in both 500T and 250D speeds, enabling more creative options in a wider variety of lighting conditions.”

The newest addition to the family is designed to retain the richness in colors and contrast that are characteristic of KODAK VISION3 technology with more details in the extreme highlight areas. Like KODAK VISION3 500T 5219/7219, the new film also incorporates proprietary Advanced Dye-Layering Technology (DLT), which renders finer grain images in underexposed areas and produces cleaner film-to-digital transfers for postproduction. Complimentary to the 500T product, this new medium-speed, daylight-balanced emulsion offers exceptional imaging in natural daylight, artificial daylight, and a variety of mixed lighting situations, while maintaining pleasing flesh tones and color reproduction.
Cinematographers around the world have tested the new emulsion in extensive dynamic range environments, including overexposing the negative in extreme, bright-light situations.

“What I like about the (KODAK VISION3) 5207 is its intense rendering of color, its strength when it is underexposed, and its ability to reach into the highlights,” says Fred Murphy, ASC. “It has warmer, richer, better skin tones than its predecessors. It is also good to have a relatively fast stock that gives you strong images in falling light, urban canyons or gloomy day exteriors.”

“Despite today’s digital hype, film remains the state-of-the-art image capture format available. It enables filmmakers to work without compromise, to bring their vision to life in a way that no other medium can match,” adds Goodyear. “Based upon our customers’ expectations for the very highest quality images – and for flexibility and ease of use – Kodak motion picture films continue to deliver the best images possible for a new generation.”
KODAK VISION3 250D 5207/7207 Color Negative Film is now available in 35 mm and Super 16 formats.

Cinematographers Discuss Their Initial Tests of KODAK VISION3 250D 5207 Color Negative Film

“I was very impressed with the new film. I see advantages in contrast, latitude and detail. It captures much more detail and with much less grain. It is also sharper with more information throughout the tone scale, especially in the highlights. I love the tonality of the new film. It has more neutral reproduction with softer flesh tones and a magical feeling. It will allow me to create images with increased details in both mid-tones and highlights. Its response to mixed color temperatures is very subtle. This is an excellent step forward that will allow directors of photography and colorists to achieve the desired looks more quickly. I plan to make extensive use of this new film on my next movie, The Scorcerer’s Apprentice — a great story about magic.”
— Bojan Bazelli, ASC (Hairspray, Mr. and Mrs. Smith, The Ring)

“The new (KODAK VISION3) 250D film rendered images that are fuller with additional tonal space/depth and color saturation, especially in the mid-tones. This stock has more apparent sharpness— especially in exterior daylight scenes, which gives faces a richer, more full and oval appearance. I also observed slightly more details in highlight areas, and more color space and information in the mid-tones. These features will expand my creative options both on the set and in postproduction.”
— Rafey Mahmood (Mithya, Haasil, Journey to Mecca)

“During testing, I pushed the film stock hard. I found that the 5207 is a true 250 ASA stock with extended latitude, outstanding resolution and very fine, almost invisible grain structure. The way it renders white and black skin tones is very pleasing to the eye. The reduction of grain in under- and overexposed parts of the image is the biggest achievement. It’s great to know that the grain structure still holds up even if you push the stock two to three stops. The blacks are richer and the whites look superb. The stock shows a linear color reproduction in areas of overexposure, and it handles mixed color temperatures very well. The 5207 is a great all-around film stock and I plan to use it extensively.”
— Winnie Heun, commercial cinematographer (Zain, Pizza Hut, Vodafone)