Increased exposure latitude, more detailed colors and noticeably reduced grain (especially in the brightest highlights and darkest shadows) are just a few of the benefits cinematographers who have tested the first member of a new generation of motion picture films introduced by Kodak are buzzing about.
“This new emulsion has a much wider range of latitude in the overexposed areas,” says American Society of Cinematographers president Daryn Okada of KODAK VISION3 color negative film 5219/7219, available now in 35mm and 16mm formats. “I found at least two more stops of range in the highlights, which enabled me to record more details… Also, there was an almost magical reduction in grain without affecting colors.”
Kodak scientists designed the new film, which retains the imaging characteristics of KODAK VISION2 500T Color Negative Film 5218/7218 when it is exposed normally, based on suggestions from cinematographers around the world.
“This new film is very DI-friendly,” Okada continues. “I could isolate backgrounds and make them darker without introducing electronic noise. I chose to overexpose large parts of the frame in some shots, and it was transparent. That gave me a lot of freedom to fine tune looks.”
Other cinematographers who tested the new emulsion agree that it provides more creative flexibility and efficiencies during both production and post-production. “When I timed the film in a DI suite, the images on the new stock seemed to have a lot more integrity through the process,” says Steve Poster, ASC (Donnie Darko).
“I believe this new stock will be a blessing for filmmakers shooting the Super 16 format for aesthetic or financial reasons,” adds James Chressanthis, ASC (Venus & Vegas).
“I think VISION3 widens the gap between film and digital imaging,” Okada concludes.
Visit http://www.kodak.com to learn more
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