5

1

4

 

 

7

3

6

8

Original Negative

EXPOSURE DATA

Lens: 11:1 PANAVISION

Primo Zoom (26 mm)

Filter: None

Aperture: T2.8 8/10

2

Incident Light Levels

Key = 64fc

Color temperature = 5350K

1 -2.8 Stops

2 -2.5 Stops 3 -1.4 Stops 4 -1.3 Stops 5 -1.0 Stops 6 0 Stops 7 +.5 Stops

8 +2.5 Stops

 

 

 

1

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

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

Daylight (5500 K)—250;

Tungsten (3200 K)—64 (with KODAK WRATTEN Gelatin Filter No. 80A).

Laboratory Aim Density

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

Color Balance

Postproduction information

This film is balanced for exposure with

When you transfer this film directly to

daylight illumination (5500 K). For other

video, set up the telecine using negative

light sources, use the correction filters

Telecine Analysis Film (TAF).

in the table below.

LIGHT SOURCE

KODAK FILTERS ON CAMERA*

EXPOSURE INDEX

 

 

 

 

Daylight (5500 K)

None

 

250

 

 

 

 

Tungsten (3000 K)

WRATTEN Gelatin No. 80A

 

64

 

 

 

 

Tungsten (3200 K)

WRATTEN Gelatin No. 80A

 

64

 

 

 

 

Tungsten Photoflood (3400 K)

WRATTEN Gelatin No. 80A

 

64

 

 

 

White-Flame Arcs

Color Compensating Filter CC20Y + CC10C

160

 

 

 

Yellow-Flame Arcs

Color Compensating Filter CC30C + CC10M

160

 

 

 

 

OPTIMA 32

WRATTEN Gelatin No. 80A

 

64

 

 

 

 

VITALITE

None

 

250

 

 

 

 

Fluorescent, Cool White

Color Compensating Filter CC20M

 

200

 

 

 

 

Fluorescent, Deluxe Cool White

WRATTEN Gelatin No. 82C

 

160

 

 

 

 

Metal Halide H.M.I.

None

 

250

 

 

 

 

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

†These are starting-point recommendations for trial exposures. If the type of fluorescent lamp is unknown, use a KODAK Color Compensating Filter CC20M + CC10B with an exposure index (EI) of 125.

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Kodak 7205 Light Source Kodak Filters on Camera Exposure Index, Daylight 5500 K None 250 Tungsten 3000 K, Tungsten 3200 K

7205, 5205 specifications

Kodak 5205 and 7205 are two notable films in the suite of motion picture film stocks offered by Kodak, renowned for their performance in a variety of cinematic applications. Both films are primarily designed for motion picture photography, catering to filmmakers who seek high-resolution images with rich color reproduction and fine grain.

Kodak 5205, also known as Vision3 250D, is a daylight-balanced film designed for use in well-lit environments. One of its main features is its ISO rating of 250, which allows for a versatile capture range. This film is particularly lauded for its ability to render colors with high fidelity and dynamic range, making it an ideal choice for projects aiming to achieve a vibrant, lifelike aesthetic. The film's fine grain structure results in images that are not only sharp but also exhibit a pleasing texture, contributing to the overall quality of the cinematography.

On the other hand, Kodak 7205, known as Vision3 500T, is designed for use in tungsten light. With an ISO sensitivity of 500, this film excels in low-light conditions, making it a go-to choice for filmmakers shooting in dimly lit environments or during nighttime scenes. One of the standout characteristics of 7205 is its exceptional latitude, allowing filmmakers to push the exposure without compromising image quality. This feature is particularly advantageous for capturing highlights and shadow details, resulting in a rich visual narrative.

Both films utilize Kodak's advanced emulsion technology, which incorporates features such as improved color stability, reduced contrast, and an expanded exposure latitude. These innovations allow for greater flexibility in post-production, ensuring that filmmakers can manipulate their imagery to achieve the desired artistic vision.

In addition to their individual characteristics, both the 5205 and 7205 films benefit from improved performance in terms of scanning and digital conversion. This is crucial in an industry where digital workflows are increasingly prevalent. The scans retain the rich color and detail initially captured on film, allowing filmmakers to take full advantage of contemporary editing techniques.

In summary, Kodak 5205 and 7205 are two powerful tools for filmmakers, combining advanced technology with artistic flexibility. Whether shooting in daylight or tungsten lighting, both films offer unique features that cater to the various demands of motion picture photography. Their rich colors, fine grain, and exceptional latitude help filmmakers create compelling visual stories that stand the test of time.