Original Negative

6	5
2	1
	7

EXPOSURE DATA

Lens: 100 mm ZEISS Ultra Prime

Filter: None

Aperture: T2.8 Incident Light Levels

Key = 20fc

color temperature = 3000K Fill = 2fc

Backlight = 5fc

color temperature = 4000K

Stop notations listed on the photo are reflected light readings.

1 -5 Stops	2 -4 Stops	3 -3 Stops	4 -2.5 Stops 5 -2 Stops	6 +1 Stops	7 +1.2 Stops 8 +1.5 Stops

Base

Acetate safety base with rem-jet

backing.

Darkroom Recommendations

Do not use a safelight. Handle unprocessed film in total darkness.

Processing

ECN-2

Storage

Color Balance

This film is balanced for exposure with tungsten illumination (3200 K). You can also expose it with tungsten lamps that have slightly higher or lower color temperatures (± 150 K) without correction filters, since final color balancing can be done in printing. For other light sources, use the correction filters in the table below.

Post-production information

When you transfer this film directly to video, set up the telecine using negative Telecine Analysis Film (TAF).

Store unexposed film at 13°C (55°F) or lower. For storage of unexposed film longer than 6 months, store at –18°C (0°F). Process film promptly.

Exposure Index

Tungsten (3200 K)—500; Daylight—320

(with KODAK WRATTEN Gelatin

Filter No. 85)

Laboratory Aim Density

Time negative originals relative to Laboratory Aim Density (LAD) Control Film supplied by Eastman Kodak Company.

LIGHT SOURCE	KODAK FILTERS ON CAMERA*	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. 85 +10M	200

Fluorescent, Deluxe Cool White†	WRATTEN Gelatin No. 85C +10R	320

Metal Halide H.M.I.	WRATTEN Gelatin No. 85	320

*These are approximate corrections only. Make final corrections during printing.

†These are starting-point recommendations for trial exposures. When you don’t know the type of fluorescent lamp, use a KODAK Color Compensating Filter CC40R with an exposure index (EI) of 250.

5229, 7229 specifications

Kodak 5229 and 7229 are highly regarded motion picture films that are favored by filmmakers for their unique characteristics, versatility, and the nostalgic quality they impart to cinematic projects. These films are designed for professional filmmakers and are prominent choices within the industry for various types of productions, from narrative films to documentaries.

Kodak 5229 is a black and white reversal film that is known for its fine grain and wide exposure latitude. This film excels in low-light conditions, making it particularly useful for shooting in environments where lighting can be unpredictable. The high contrast and rich tonal range of 5229 allows for striking visuals that can evoke a sense of realism while maintaining a cinematic flair. It is also recognized for its exceptional sharpness, which contributes to detailed images. The ability to push or pull process this film enhances its adaptability and makes it suitable for a variety of artistic interpretations.

On the other hand, Kodak 7229 is a color negative film that is celebrated for its vibrant color reproduction and overall image quality. This film features a fine grain structure that offers superb detail and clarity, making it a popular choice for both feature films and documentary projects. Kodak 7229 has a wide color gamut that allows for accurate skin tones and lively colors, creating an immersive viewing experience. The film’s exposure latitude is also commendable, granting filmmakers flexibility in various lighting conditions while preserving image integrity.

Both Kodak 5229 and 7229 utilize advanced emulsion technology which contributes to their outstanding performance. They are designed to provide high-quality images that stand the test of time, making them reliable options for filmmakers concerned about archival stability. The films are compatible with a wide range of cameras, further enhancing their utility in production environments.

In summary, Kodak 5229 and 7229 stand out for their respective black and white and color capabilities, appealing to a diverse range of creative needs. Their fine grain, low-light performance, color rendition, and overall imaging quality make them staples in the professional film community. As motion picture film continues to be embraced in an era of digital filmmaking, Kodak's offerings ensure that the art of film remains vibrant and expressive.