Kodak Motion Picture Camera Films

Introduction

This section provides pertinent information about all currently available KODAK Motion Picture Camera Films. For information on future film updates, see page 40.

A quick reference chart of all the films is on page MPF-4. Page references for the individual film-information sheets as they appear in this guide are included at the right of the chart. The detailed descriptions for each film begin on page MPF-6 and include the following information:

• Film code number and film name
• Exposure indexes and filters
• Uses and general properties
• Trial exposure settings
• Illumination table and light-contrast suggestions
• Filter factors
• Reciprocity characteristics
• Handling
• Availability

Caution: Load and unload all camera spools in total darkness to prevent edge fog on the film.

H-1 Data Sheets Available
You can get detailed data sheets for all KODAK Motion Picture Camera Films. To obtain a single free copy of any data sheet, write to Eastman Kodak Company, Dept. 412L, Rochester, NY 14650-0532. In countries outside the U.S., contact one of the facilities listed in the back of this book. Be sure to include the name and code number for each film data sheet you request. (For example: EASTMAN EXR 50D Color Negative Film 5245 ™ [35 mm] and 7245 ™ [16 mm], KODAK Publication No. H-1-5245.)

Technical Information
For technical information in the United States, call the Kodak Information Center (KIC), 9:00 a.m. to 7:00 p.m. (Eastern time), Monday through Friday, at 1 (800) 242-2424. In Canada, call 1 (800) 465-6325, Monday through Friday, from 8:30 a.m. to 5:00 p.m. (Eastern time). Outside the United States and Canada, contact Kodak or a distributor in your country.

A Note on T-Stops and F-Stops
When discussing lens aperture size, cinematographers traditionally refer to t-stops while still photographers refer to f-stops. A t-stop is a measure of actual light transmission by the lens. An f-stop is the theoretical ratio of the lens' focal length to the diameter of its entrance pupil (approximately the aperture diaphragm size in a symmetrical lens). What relates the two is the lens' efficiency in transmitting light; if the lens could transmit all the light entering it, its t-stop and f-stop would be the same (ANSI PH 22.90-1987, Aperture Calibration of Motion Picture Lenses, Method for Determining, gives full details).

Color Temperature
The color quality of some light sources can be stated in terms of color temperature, and is a measure that defines the color of a light source relative to the visual appearance and expressed in degrees Kelvin (K). There are at least two important points to keep in mind when using color temper-ature values. First, color temperature refers only to the visual appearance of a light source and does not necessarily describe its photographic effect. Second, color temperature does not take into account the spectral distribution of a light source. Unless the light source has a continuous spectral distribution, its effective color temperature alone may not be reliable as a means of selecting a suitable correction filter. For example, fluorescent lamps do not have the continuous smooth spectral-distribution curve that is characteristic of a tungsten-filament source.

It is possible for two or more light sources to be described as having the same color temperature, but the photographic results obtained with each may be quite different. Only a wavelength-by-wavelength comparison of film sensitivity and spectral output of the lamp can determine the exact filters required to balance the light to the film response. KODAK Motion Picture Films have a photographic latitude that makes it unnecessary to use unusual filtration, except for special visual effects. Filter recommendations in this publication, for most normal photography, are capable of producing excellent-quality pictures with the products described.

All light sources, whether they be daylight, tungsten, or fluorescent, emit energy at a precise color temperature at a given moment and may not remain consistent at all times. Some factors that will affect color temperature are sun angle, conditions of sky (clouds, dust, haze), age of lamps, voltage, reflectors, etc. Deviations from the expected light source color temperature will cause an overall color shift in the finished product. While this difference may be color corrected in printing, there could be some unforeseen mired shifts. The light source color temperature should be monitored with a color temperature meter and corrected as necessary, at the source, camera, or both.

Only recommended conversion filters (e.g. daylight to artificial light) that are placed on the camera are listed in this publication. Since they may not be consistent with previous recommendations, you should use the current recommendations for exposures and testing. Light source filters (filters on lamps, arcs, etc.) are not listed because of the many varieties and color temperatures of the sources.

The manufacturers of these light sources should be contacted for filter recommendations. It is suggested that all filter recommendations be tested before actual shooting.