Kodak Expands Palette Of New Generation Films

LOS ANGELES — Kodak revealed two new films that incorporatethe company’s advanced VISION2 color negative film technology.The introduction adds 100- and 200-speed, ultra-fine grain colornegative films with specialized imaging characteristics to the KODAKVISION2 product line.

“Nobody loves film like Kodak,” says Kodak Chairman andCEO Daniel Carp. “These exciting new products reinforce ourstrong commitment to film technology. Kodak is dedicated to developinga full range of products and services – both digital andtraditional – to help bring the visions of filmmakers to thescreen so that the viewing audience enjoys the richest experience thattechnology can provide.”

The new generation of KODAK VISION2 films leverages a quantum leapforward in photochemical science and technology. According to RobertMayson, general manager of image capture and vice president ofKodak’s Entertainment Imaging Division, “The new filmsprovide extraordinary creative latitude for cinematographers, coupledwith efficiencies designed to retain the integrity of the originalimages during postproduction. We are making considerable progress on along journey to a future with unlimited possibilities.”

KODAK VISION2 100T Color Negative Film 5212/7212 is rated for anexposure index of 100 in 3200 degrees Kelvin tungsten light. KODAKVISION2 200T Color Negative Film 5217/7217 is rated for an exposureindex of 200 in 3200 degrees Kelvin tungsten light. Both new filmsoffer significant advances in under- and over-exposure latitude,extremely fine grain and enhanced capacities for recording subtledetails in highlights and shadows. They are available in 16, 35 and 65mm formats.

“Cinematographers who have tested the new films are findingthey can probe deeper into both highlight and shadow areas and recordnuances in details that are important to the stories they aretelling,” says Mayson. “They also like the truer colors,the fidelity of skin tones and the more subtle grainstructure.”

The two new films are optimized for both digital and opticalpostproduction applications.

“The 200-speed film is ideal for such visual effectsapplications as blue- and green-screen photography, where well definededges and accuracy in color reproduction are crucial,” he says.“There is built-in protection against unwanted light absorption,which helps visual effects practitioners make the clean separationsneeded for seamless compositing.”

The company introduced the first member of its new family of filmsin November 2002. KODAK VISION2 500T Color Negative Film 5218/7218 israted for an exposure index of 500 in 3200 degrees Kelvin tungstenlight. Kodak unveiled a second 500-speed film in December 2003. KODAKVISION2 500T Expression Color Negative Film 5229/7229 is designed torender images with a somewhat softer look, including smoother skintones and a more subdued range of contrast and color saturation.

“Filmmaking is an interpretive form of artisticexpression,” says Mayson. “These developments are aresponse to customers who have been telling us they want moreflexibility and more creative latitude. They also want the ability toretain the subtlest details recorded on the negative during bothoptical and digital postproduction with the goal of putting them oncinema and television screens.”

Mayson points out that the KODAK VISION2 family of filmsincorporates new sensitizing layers that provide important advantagesduring postproduction. He explains that the exposed negatives aredesigned to retain the fidelity of the original images when they areconverted to digital and optical formats for postproduction.

“This provides more flexibility for manipulating images duringpost production,” he says. “That’s important, becausewith the advances being made in digital intermediate technologies, therole of cinematographers has extended deeper intopostproduction.”

Peter Deming, ASC (Twisted, Austin Powers, Mulholland Drive)is among the cinematographers who have tested both of the new stocks.He cites “truer color saturation and an improved range ofcontrast” as an advantage offered by the new 100-speed film, and“improved skin tones, and more details in shadows andhighlights” in the 200-speed stock.

Visual effects supervisor and director of photography Bill Taylor,ASC (Bruce Almighty, XXX, Star Trek: Nemesis) says, “Thenew VISION2 5217 film produces a flawless composite, with no sign offringing. The film has another advantage in that it is innatelycompatible with the other members of the VISION2 family. Itdoesn’t require any special color correction to match surroundingfootage.”

Mayson notes that filmmakers around the world have embraced theKODAK VISION2 500-speed film.

“We believe this is the beginning of a renaissance in theglobal art of filmmaking,” he concludes. “Remarkable workis being done, and the best is yet to come.”

Mayson emphasizes that Kodak is still in the relatively early stagesof bringing recent advancements in emulsion technology to themarketplace. He anticipates additional developments before the end ofthe year.

Kodak’s Entertainment Imaging division is the world-classleader in providing film, digital and hybrid motion imaging products,services, and technology for the television, feature film and new mediaindustry. For more information, visit www.kodak.com/go/motion.