Film Stock Guide: Choose the Right Film Look

Choose from thirty-five camera films in five look families and seven print films, forty-two in all. Compare them in the film collection, then use the notes below to choose a format and finish. Most emulations draw on published manufacturer data; the Soviet films (Svema, DS-5M and NK-2) use historical handbooks and specifications, and two Experimental films are labelled surrogates: Aerochrome estimates its infrared record from colour, and Technicolor Process II is a two-colour model inspired by the system. For an overview of the emulation, read How film emulation works. Use this guide to choose a starting look and understand how each emulation is built. Each film has notes on:

Character: the film’s colour, contrast and texture, based on its published characteristics.
Data: the documents behind the emulation (see Data).
Design light (camera films): the light the film is balanced for, which is what Scene light starts at.
Formats: the gauges the film was made in. Pick one with Format in the Film section.
Mode: which Mode settings the film supports and which one it starts in.
Push (films with documented push curves): the push and pull amounts the datasheet gives curves for.
Print pairing: what the negative is printed onto in Print mode.
Modelling notes: how Ashigrain handles characteristics that are not fully documented in the source data.
Datasheet checks: how closely Ashigrain reproduces the source curves, grain and sharpness. These are not comparisons with photographed film.

Film type describes colour or black-and-white negative or reversal film. Film format is the gauge and camera aperture, set with Format; it controls the scale of physical effects. Film look and the Stock menu under it select the camera film, and Print film selects the print film. These are the names in the plugin’s controls. The parameter reference lists every control.

Essentials groups the camera films by look, in both views. Film look picks the group, and the Stock menu below it lists that group’s films. Print film, below them, lists the print films. In Simple view, the Preset menu has one preset for each of these camera films, in the same order (see Presets). This guide follows the same order:

Film look	Stocks
Natural (13)	Kodak Vision3 50D, Kodak Vision3 500T, Kodak Portra 800, Fujifilm Pro 400H, Kodak Vision2 Expression 500T, Fujifilm Astia 100F, Agfa Agfachrome RSX II 100, Agfa Agfacolor Portrait XPS 160, Agfa Agfacolor Optima II 100, Kodak Vision3 250D, Kodak Vision3 200T, Fujifilm Eterna 250D, Fujifilm Eterna 500
Vivid & saturated (6)	Fujifilm Eterna Vivid 500, Kodak Kodachrome 64, Fujifilm Velvia 50, Agfa Agfacolor Ultra 50, Kodak Ektar 100, Kodak Ektachrome 100D
Vintage & odd (6)	Kodak Ektachrome P1600, Svema LN-9, Eastman Color Negative 5247, Fujifilm Fujichrome 64T Type II, Kodak Aerocolor IV 2460, DS-5M
Black & white (6)	Eastman Double-X 5222, Kodak Tri-X Reversal 7266, Kodak T-Max P3200, Fomapan R 100, Ilford Ortho Plus, NK-2
Experimental (4)	Polaroid Type 669, Fujifilm FP-100C, Kodak Aerochrome III 1443, Technicolor Process II
Print film (7)	Kodak Vision Color Print Film 2383, Fujifilm Eterna-CP 3513DI, Kodak B&W Print Film 2302, Svema TsP-8R, Kodak Vision Premier Color Print Film 2393, Eastman EXR Color Print Film 5386, Agfa CP30 Colour Print Film

Picking a look selects the stock its menu shows, and picking a stock in a look’s menu sets the camera film. Either one resets the controls that come from the film’s data (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Print film changes only the print film; every camera film pairs with every print film (see Print pairing). Presets still save the camera film and the print film themselves, not the look.

How to read these sections

Design light and camera filter

Every camera film is balanced for one light, its design light:

Tungsten films (the “T” films, Eterna 500, Eterna Vivid 500, Svema LN-9 and Eastman Color Negative 5247): 3200 K tungsten, modelled as a 3200 K blackbody. Fujichrome 64T Type II, rated at 3100 K, uses the same light.
Daylight films (the “D” films, Eterna 250D, DS-5M, the still films Portra 800, Pro 400H, Kodachrome 64, Velvia 50, Ektachrome P1600, Astia 100F, the four Agfa films and Ektar 100, the aerial films Aerocolor IV and Aerochrome III, the instant prints Polaroid 669 and FP-100C, and Technicolor Process II, where it is an assumption): 5500 K daylight, modelled as CIE D55.
Black-and-white films: 5500 K daylight (CIE D55). Their datasheets give no balance.

Scene light (Scene Light section) starts at Stock design light, so a neutral surface records neutral on the negative. Set it to Custom and give Light temperature and Light tint when the scene was lit by a different light. The negative then records the scene warmer or cooler than neutral, as real film would, and the automatic grey-card timing brings the print (or the scan) back towards neutral. In Reversal mode there is no print or scan timing, so the colour cast stays in the image. A colour reversal film selected in Scan mode receives grey-card scan timing and scan balance.

Camera filter (Camera section) starts at None for every film. On a real camera the 85 (on tungsten film in daylight) and the 80A (on daylight film under tungsten) convert the light back to the design light before it reaches the film, and cost exposure: 2/3 stop for the 85 and 2 stops for the 80A. Without the filter, the three layers are exposed out of balance. The lab can time the colour out at the metered exposure, but the layers’ curves no longer line up at other exposures, so over- and underexposed shots drift in colour. That drift is the crossover.

On a tungsten film in daylight you can therefore add the 85 (set Scene light to Custom, about 5500 K, and Camera filter to 85), or leave the filter off and accept the crossover. Ashigrain’s calculation of an 18 % grey printed on 2383 shows how small the difference is on the Vision3 films:

Case	Largest difference from the design light, −3 to +3 stops (CIELAB b*)
Vision3 500T under 5500 K daylight, no 85	0.45
Vision3 50D under 3200 K tungsten, no 80A	0.67

At the metered exposure the difference is 0: the grey-card timing prints the grey neutral under any light. In Ashigrain, the film’s crossover is much larger than this: at +2 and +3 stops the same grey prints at b* +5.6 to +7.6 (yellow) under the design light, and up to +7.8 without the filter, against +0.37 at the metered exposure.

Caution: on a daylight reversal film (Ektachrome 100D) under a strongly different light, such as 3200 K tungsten with no 80A, even a normal exposure can push one layer past the end of the film’s measured curve. Ashigrain then holds that layer at the curve’s last value, so the colour in that part of the image stops changing with exposure. Use the 80A, or keep Scene light closer to the design light.

Formats

Format accepts every gauge with every film. Each section lists the gauges the film was actually made in, using the names in the Format menu:

35 mm: Super 35 (4-perf) (the default for 35 mm films), Super 35 (3-perf) or 35mm Academy.
16 mm: 16mm or Super 16.
8 mm: Standard 8 or Super 8.
35 mm still film (135): 35mm still (135), the default for the still films (Portra 800, Pro 400H, Kodachrome 64, Velvia 50, Ektachrome P1600, T-Max P3200, Astia 100F, the four Agfa films, Ektar 100, Fujichrome 64T Type II and Ilford Ortho Plus). Some of them were also made in 120 roll film or sheets; Ashigrain has no format for those. The aerial films (Aerocolor IV, Aerochrome III) and the instant prints (Polaroid 669, FP-100C) also start at 35mm still (135): their sheets print no gauge, or one Ashigrain has no format for.

Smaller gauges enlarge the same film more, so grain, halation and softness look stronger. Ashigrain has no 65 mm format, although Kodak made Vision3 50D, 200T and 500T in 65 mm.

Modes

Mode has four options: Print, Scan, Reversal and Auto (stock default).

Negatives (colour and black-and-white) support Print and Scan. Most start in Print. The colour still negatives (Portra 800, Pro 400H, the three Agfacolor films and Ektar 100) and the aerial Aerocolor IV start in Scan: their datasheets describe scanning or printing on colour papers, which Ashigrain does not model.
Colour reversal supports Reversal and Scan. It starts in Reversal.
Black-and-white reversal supports Reversal only.
Auto (stock default) always picks the film’s own mode. A mode the film cannot use behaves like Auto, so a reversal film is never printed.

The workflow guide explains which colour management each mode needs.

Print pairing

In Print mode a negative is printed onto the film selected in Print film. Every camera negative, colour or black-and-white, pairs with every print film: the colour print films Kodak Vision Color Print Film 2383, Fujifilm Eterna-CP 3513DI, Svema TsP-8R, Kodak Vision Premier Color Print Film 2393, Eastman EXR Color Print Film 5386 and Agfa CP30 Colour Print Film, and the black-and-white Kodak B&W Print Film 2302. Its default print, named in its section, is the recommended pair, and picking the camera film selects it. A pair that no datasheet specifies, such as a Kodak Vision3 negative on 3513DI or Eastman Double-X 5222 on 2383, is computed from the same spectral data and automatic grey-card timing as the default pair. Only a grade that stores a print the film does not list, such as one from an older version, falls back to the negative’s default print when it renders.

Black-and-white negatives print onto Kodak B&W Print Film 2302 by default. Ashigrain keeps a generic black-and-white print curve only for a black-and-white negative that lists no print; every black-and-white negative in the menus lists all seven print films.

5386 and CP30. Both sheets print a laboratory aim for a xenon-arc projector. Printed to that aim, a scene grey reads slightly off neutral under Ashigrain’s projector (5386 slightly blue, CP30 slightly green and blue), so the grey-card timing prints it to a visual neutral instead, as on 3513DI and 2393. The sheet’s aim stays the reference for the print dyes. Eastman Color Negative 5247 prints on 5386 by default, and the three Agfacolor negatives on CP30.

A colour negative on 2302. Kodak B&W Print Film 2302 is blue-sensitive: Kodak technical data H-1-2302 prints its spectral sensitivity from 380 to 495 nm. A colour negative passes little blue light through its yellow dye layer (the layer that records the scene’s blue) and its orange mask, so 2302 records the negative mostly through them. The print is black and white with an orthochromatic tonality: reds print dark and blues light. Ashigrain computes this from the negative’s dye spectra and 2302’s sensitivity, as for every other pair, and times the grey card to 2302’s aim. Printer light R, G and B are not used on 2302; Print density offsets the timing.

A black-and-white negative on a colour print. The silver image is modelled as spectrally neutral, so every layer of the colour print sees the same negative density, and the grey-card timing places the metered grey on the print’s neutral aim. The print is near-neutral: other tones take only the slight tint of the colour print’s own layer curves, which do not track each other exactly. Printer light R, G and B and Print density time it as on any colour negative.

Print film choices are not used in Scan and Reversal modes.

Push

Push/Pull (Development section) develops the film longer (push) or shorter (pull). Two films have push curves in their datasheets: Portra 800 (Push 1 at EI 1600 and Push 2 at EI 3200) and T-Max P3200 (−1, +1 and +2 stops from EI 800). Inside that range Ashigrain uses Kodak’s curves, blending between neighbouring ones; beyond it, it takes the nearest documented curve and adds the generic push for the remaining stops. Every other negative uses the generic push, and every reversal film a generic reversal push. The workflow guide explains both and how to rate the film for a push.

Data

Each section’s Data paragraph names the source document and how complete it is:

Cross-checked: a second digitisation confirms the extracted curves. For several films, the second pass traces the same chart again, so it checks the extraction, not a difference between editions of the sheet.
From the sheet: extracted from the manufacturer’s document, with no second pass.
Reconstructed (Svema only): no curve of the quantity is printed anywhere. Ashigrain computes it from values printed in Soviet specifications and handbooks and from stated shape assumptions. It is an approximation.
Missing: the source has no curve for the quantity. The approximations say what Ashigrain uses instead.

Modelling notes

Each film’s notes below describe the modelling choices behind its emulation. You can also find them on its page in Films. Notes for camera negatives include the printer lamp and target grey density, which shape the default print.

Some approximations apply to every film but are listed once, under Kodak Vision3 500T: gate weave, flicker, and which formats have weave and flicker on by default.

Halation strength depends on the film’s antihalation layer. The available datasheets do not quantify halation. Ashigrain models its strength by backing type, relative to rem-jet:

Rem-jet backing (the Vision3 negatives, Vision2 Expression 500T, the Eterna negatives and Eastman Color Negative 5247; assumed for Kodachrome 64, Svema LN-9, DS-5M and NK-2): a thin red rim close to hard highlights.
Antihalation undercoat (Ektachrome 100D, Tri-X Reversal 7266, Velvia 50, Astia 100F, Fujichrome 64T Type II, Optima II 100, Aerocolor IV and Fomapan R 100; assumed for Portra 800, Pro 400H, Ektachrome P1600, T-Max P3200, RSX II 100, Portrait XPS 160, Ultra 50, Ektar 100 and Aerochrome III): half the rem-jet strength.
Grey or anti-halation base (Double-X 5222 and Ilford Ortho Plus): twice the rem-jet strength.
No antihalation layer (none recorded for Polaroid 669, FP-100C and Technicolor Process II): six times the rem-jet strength.

Rem-jet removed gives any film the no-layer strength.

Five approximations describe how the scene is lit, metered and timed rather than the film itself. They appear in every camera film’s list that uses them, and are explained once here:

The spectrum of a Custom scene light. No datasheet defines one, so Ashigrain uses the CIE 224:2017 reference illuminant at the Light temperature (a blackbody below 4000 K, CIE daylight above 5000 K, and a blend between the two), with Light tint as a green-magenta filter in CC units.
How the camera meters the scene. Ashigrain sets the exposure so an 18 % grey card under the scene light and the camera filter lands on the film’s normal exposure in the green layer (the only layer on black-and-white films), less the filter’s published exposure factor. A real meter reads luminance, not the film’s green layer.
Footage decoded at a fixed white balance (Input white balance set to Fixed at decode white). The colours are converted from the decode white to D65 (Bradford), turned into reflectances fitted under D65, and lit by the decode light. This is the same as balanced footage with Scene light set to the decode light.
The print timing (and the scan balance) of each shot. No datasheet gives a timing rule, so Ashigrain times on a simulated 18 % grey card exposed at the metered exposure, under the scene light and camera filter but not the Exposure offset, and developed like the image. The printer lights print that grey on the print’s aim, and a scan puts it on 18 % grey. A black-and-white print puts it on visual density 1.0. Over- and underexposed shots therefore still print lighter and darker. Print timing applies to colour negatives and Double-X 5222 in Print mode. Scan timing applies to all films that support Scan, including colour reversal film. Reversal mode has no print or scan timing.
The unit of Scan balance R, G and B. Scanners have no standard unit, so one point is the size of a printer point, 0.025 log exposure at the layer’s mid-scale gradient. Colour negative and colour reversal films in Scan mode only; black-and-white scans ignore these controls.

Datasheet checks

Each section’s Datasheet checks paragraph compares Ashigrain’s rendering with the published data the film is built from. Because the films are built from these curves, close agreement is expected: the checks show that the data was reproduced correctly, not that a rendered image matches photographed film. The checks are:

Tone: Ashigrain’s characteristic curves against the digitised datasheet curves, compared with the error of the digitisation itself. This shows that the curves were reproduced correctly. It does not measure colour accuracy.
Grain (σD): Ashigrain’s rms granularity against the datasheet, with a ±10 % target. The grain is calibrated to the datasheet, so this check confirms the calibration. Where the datasheet granularity is itself modelled, the result is marked as an approximation.
Sharpness (MTF): the measured response of a rendered edge minus the datasheet response at 10, 20 and 40 cycles/mm, reported as a difference with no pass/fail target.

Explore each film’s response curves and modelling notes.

Natural

Kodak Vision3 50D

Character. Daylight-balanced colour negative (5500K), process ECN-2, on acetate base with rem-jet backing. EI 50 in daylight, or EI 12 under tungsten with an 80A filter. It is the slowest motion-picture film in the catalogue and has the finest grain of the Vision3 films. Datasheet rms granularity at net density 1.0 is R 0.0046, G 0.0044, B 0.0083. Suits clean, bright daylight images where you want grain to stay in the background.

Data. Kodak technical data H-1-5203t (revised 7-15). Characteristic curves cross-checked; spectral sensitivity, dye density, MTF and granularity from the sheet.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm, 16 mm and Super 8. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Kodak Vision Color Print Film 2383 (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The spectral transmission of the 80A conversion filter the datasheet prescribes for tungsten light. Ashigrain uses a blackbody-ratio model.
Grain size in each layer is modelled separately from the published rms granularity, which describes density variation.
Push/pull processing constants.
The interaction between colour layers during development is modelled.
The characteristic curves beyond the plotted exposure range (log H −3.03 to 2.00). Ashigrain extends them in straight lines.
The relationship between dye amount and layer density is modelled.
The halation contribution of each layer is modelled; the datasheet does not quantify it.
The strength of halation without the rem-jet backing, used when antihalation is removed.
The transition into bloom is modelled rather than calibrated from a datasheet.
The default halation strength and radius. No sheet quantifies halation, so Ashigrain uses a thin red rim close to hard highlights. This applies to every rem-jet film.
The default bloom strength and radius: a faint glow a few pixels wide. Bloom has no datasheet basis, and this applies to every film.
The printer lamp spectrum. The datasheet names the lamp and filters but prints no spectrum.
The Status A aim densities for printing scene grey. No laboratory aim is printed.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.033 (blue, 10 cycles/mm). See the Kodak Vision3 50D film details.

Kodak Vision3 500T

Character. Tungsten-balanced colour negative (3200K), process ECN-2, on acetate base with rem-jet backing. EI 500 under tungsten, or EI 320 in daylight with an 85 filter. It is Ashigrain’s default film: the fastest Vision3 film, with visibly more grain than the slower Vision3 films. The blue layer is the coarsest. Datasheet rms granularity at net density 1.0 is R 0.0064, G 0.0071, B 0.0192.

Data. Kodak technical data H-1-5219t (revised 7-15). Characteristic curves cross-checked; spectral sensitivity, dye density, MTF and granularity from the sheet.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm, 16 mm and Super 8. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The spectrum of the 3200K tungsten design light. The datasheet names only the colour temperature, so Ashigrain uses a 3200 K blackbody. This applies to every tungsten film.
The spectral transmission of the 85 conversion filter the datasheet prescribes for daylight.
Grain size in each layer is modelled separately from the published rms granularity, which describes density variation. Ashigrain uses fine sizes of about 2.5 to 7 µm on film for the colour films (5 to 5.5 µm silver clumps for black-and-white), so the grain reads as a fine texture; Size in the Grain section scales them. The grain strength stays calibrated to the datasheet granularity.
Push and pull use modelled development settings; published curves are unavailable.
The interaction between colour layers during development is modelled.
The characteristic curves beyond the plotted exposure range (log H −4.00 to 1.00).
The relationship between dye amount and layer density is modelled. The datasheet’s dye curves are peak-normalised.
The halation contribution of each layer is modelled; the datasheet does not quantify it.
The strength of halation without the rem-jet backing, used when antihalation is removed.
The transition into bloom is modelled rather than calibrated from a datasheet.
The default halation strength and radius. No sheet quantifies halation, so Ashigrain uses a thin red rim close to hard highlights. This applies to every rem-jet film.
The default bloom strength and radius: a faint glow a few pixels wide. Bloom has no datasheet basis, and this applies to every film.
Gate weave amplitude for each format. This depends on the format only and applies to every film.
Flicker amplitude for each format. This depends on the format only and applies to every film.
Which formats have gate weave and flicker on by default. This applies to every film.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.047 (blue, 10 cycles/mm). See the Kodak Vision3 500T film details.

Kodak Portra 800

Character. Daylight-balanced still-photo colour negative, process C-41. EI 800 in daylight or electronic flash, or EI 200 under 3200 K tungsten with an 80A filter. It is as fast as any colour negative in the menus. Kodak publishes full characteristic curves for Push 1 (EI 1600) and Push 2 (EI 3200) as well as for EI 800. The datasheet gives no rms granularity, only a Print Grain Index that Kodak says cannot be compared with it, so Ashigrain borrows Vision3 500T’s grain. It starts in Scan mode: the datasheet gives scanning guidance, and its printing guidance names only colour papers, which Ashigrain does not model.

Data. Kodak Alaris technical data E-4040 (revised 2-16). Characteristic curves for EI 800, 1600 and 3200 cross-checked; spectral sensitivity and MTF from the sheet; dye density from the sheet as a mid-scale neutral and a minimum only. No granularity curve or value.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm still film (135) and 120 roll film. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Push. Push 1 (EI 1600) and Push 2 (EI 3200) use Kodak’s curves. Pulls and pushes beyond two stops add the generic push (see Push).

Print pairing. Kodak Vision Color Print Film 2383 (default) or any other colour print film, each as a substitute for the colour papers the datasheet names, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Granularity. The sheet prints only a Print Grain Index, so Ashigrain uses Vision3 500T’s (5219) granularity curve. The grain values are that film’s, not measurements of Portra 800.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
The kind of antihalation layer. None is named, so Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
The spectral transmission of the 80A conversion filter the datasheet prescribes for tungsten light.
Push amounts other than Push 1 and Push 2.
The characteristic curves beyond the plotted exposure range (log H −3.74 to 0.26), for all three sets.
The grain (dye-cloud) size of each layer.
The interaction between colour layers during development is modelled.
The strength of halation when antihalation is removed, and bloom threshold softness.
Printed on 2383, printer-light timing on this film can differ slightly (up to about 0.2 points) from the full spectral calculation.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain within target, against the borrowed Vision3 500T curve. The largest sharpness difference is 0.062 (red, 10 cycles/mm). See the Kodak Portra 800 film details.

Fujifilm Pro 400H

Character. Daylight-balanced still-photo colour negative, process C-41 (or Fujifilm CN-16). EI 400 in daylight or electronic flash, or EI 100 under 3200 K tungsten with an 80A filter. The film has a fourth, cyan-sensitive colour layer. Its spectral sensitivity is printed, but not how strongly it acts on the red record, so Ashigrain keeps three layers and does not model the fourth. Datasheet rms granularity is 4 at density 1.0 above minimum. It starts in Scan mode.

Data. Fujifilm data sheet AF3-176E. Characteristic curves cross-checked; spectral sensitivity (including the fourth layer) from the sheet; dye density from the sheet as a mid-scale neutral and a minimum only; one visual MTF curve. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm still film (135), 120 and 220 roll film. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The fourth, cyan-sensitive layer. It is not modelled.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
Per-layer sharpness (MTF). The sheet prints one curve, which Ashigrain applies to all three layers.
Granularity against density. Only the single value 4 is printed, so Ashigrain scales it with the square root of density.
The characteristic curves beyond the plotted exposure range (log H −3.58 to 0.66).
The kind of antihalation layer. None is named, so Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
The spectral transmission of the 80A conversion filter.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The strength of halation when antihalation is removed, and bloom threshold softness.
Printed on 2383, the print on this film can differ slightly from the full spectral calculation, more than on the motion-picture negatives.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.031 (10 cycles/mm, against the single curve). See the Fujifilm Pro 400H film details.

Kodak Vision2 Expression 500T

Character. Tungsten-balanced colour negative (3200K), process ECN-2, on acetate base with rem-jet backing. EI 500 under tungsten, or EI 320 in daylight with an 85 filter. Kodak presents it as a softer film than its other negatives, lower in contrast and colour saturation; its mid-scale gradient stays below 0.6. Datasheet rms granularity at net density 1.0, read from the chart, is about R 0.0067, G 0.0091, B 0.0208. Its restrained contrast makes it a useful starting point for soft, muted grades.

Data. Kodak technical data H-1-5229 (new 10-2005). Characteristic curves cross-checked; spectral sensitivity, dye density (the cyan dye from 410 nm), MTF and granularity from the sheet.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm (5229) and 16 mm (7229). Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The spectrum of the 3200K tungsten design light (a 3200 K blackbody) and the spectral transmission of the 85 conversion filter.
Grain size in each layer is modelled separately from the published rms granularity, which describes density variation.
Push and pull use modelled development settings; published curves are unavailable.
The interaction between colour layers during development is modelled.
The characteristic curves beyond the plotted exposure range (log H −3.90 to 0.00).
The relationship between dye amount and layer density is modelled. The datasheet’s dye curves are peak-normalised.
Per-layer halation weights, and the strength of halation without the rem-jet backing.
Bloom threshold softness, and the default halation and bloom, as for the other rem-jet films.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.030 (green, 20 cycles/mm). See the Kodak Vision2 Expression 500T film details.

Fujifilm Astia 100F

Character. Daylight-balanced colour reversal film, process E-6 (or Fujifilm CR-56), code RAP100F. EI 100 in daylight, or EI 32 under 3200 K tungsten with an 80A filter. Reversal processing produces a positive image for direct viewing. Fujifilm made it for natural skin tones and calls it the softest in tone and most subdued in colour of its Fujichrome films. Its curves are gentler than Velvia 50’s, with maximum densities of about 3.3 to 3.5, and the three layers almost coincide below density 2.5. Rms granularity 7, read at a gross density of 1.0.

Data. Fujifilm data sheet AF3-149E. Characteristic curves, spectral sensitivity, cyan, magenta and yellow dye curves (each normalised to a peak of 1.0, with no minimum or neutral curve) and one MTF curve from the sheet, with no cross-check. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (135); the sheet also lists 120, 220, sheet film and QuickLoad. Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The spectral transmission of the 80A conversion filter.
Per-layer sharpness (MTF). The sheet prints one curve, which Ashigrain applies to all three layers.
Granularity against density. The single value 7 is read at a gross (not net) density, so Ashigrain converts it and scales it with density.
Reversal push and pull. The sheet states a range of −½ to +2 stops but prints no curves, so Ashigrain uses its generic reversal push.
Halation strength, radius, per-layer weights and bloom. The antihalation undercoat is printed, but not quantified.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.012 (20 cycles/mm, against the single curve). See the Fujifilm Astia 100F film details.

Agfa Agfachrome RSX II 100

Character. Daylight-balanced colour reversal film from Agfa-Gevaert, processed in Agfa’s AP 44 process, compatible with E-6. EI 100 in daylight. Reversal processing produces a positive image for direct viewing. Agfa’s guide says colour neutrality is kept in full within one stop of push or pull and shifts only slightly at two stops. Its green layer reaches a high maximum density of about 4.0. The guide gives an rms granularity of 10.0 without saying whether it is read at a gross or net density.

Data. Agfa Professional Films Technical Data PF guide (1st edition, 09/1998), the RSX II 100 column. Characteristic curves, spectral sensitivity, separate cyan, magenta and yellow dye curves with a visual grey, and one sharpness (MTF) curve from the guide, with no cross-check. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (135); the guide also lists 120 and sheet film. Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
Granularity. The guide’s value does not say gross or net density, so Ashigrain uses Ektachrome 100D’s (5294) granularity curve, the reversal film of the same speed. The grain values are that film’s, not measurements of RSX II 100.
Per-layer sharpness (MTF). The guide prints one visual curve, which Ashigrain applies to all three layers.
The kind of antihalation layer. The guide does not print it for this film, so Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
Reversal push and pull. No curves are published, so Ashigrain uses its generic reversal push.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Ektachrome 100D curve. The largest sharpness difference is 0.021 (10 cycles/mm, against the single curve). See the Agfa Agfachrome RSX II 100 film details.

Agfa Agfacolor Portrait XPS 160

Character. Daylight-balanced still-photo colour negative from Agfa-Gevaert, processed in Agfa’s AP 70 process, compatible with C-41. EI 160 in daylight. Agfa’s guide presents it as a portrait film with restrained saturation, flat contrast and superb skin tone rendition; its mid-scale green gradient is about 0.54, flatter than Ultra 50’s. The guide gives an rms granularity of 3.5, the lowest of the Agfacolor films it describes. It starts in Scan mode and prints on Agfa CP30 by default.

Data. Agfa Professional Films Technical Data PF guide (1st edition, 09/1998), the Portrait XPS 160 column. Characteristic curves, spectral sensitivity and one sharpness (MTF) curve from the guide, with no cross-check; dye density as a mid-scale neutral and a minimum only. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). Ashigrain uses the 80A for this daylight film under tungsten (see Design light and camera filter); the guide names no conversion filter.

Formats. 35 mm still film (135); the guide also lists 120 and 220. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Print pairing. Agfa CP30 Colour Print Film (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing). Ashigrain models no photographic paper, so a motion-picture print is a substitute.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
Granularity. The guide’s value does not say gross or net density, so Ashigrain uses Vision3 250D’s (5207) granularity curve, the daylight negative of the nearest speed. The grain values are that film’s, not measurements of Portrait XPS 160.
Per-layer sharpness (MTF). The guide prints one visual curve, which Ashigrain applies to all three layers.
The kind of antihalation layer. Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
Printer-light timing on this film can differ slightly (up to about 0.27 points) from the full spectral calculation.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Vision3 250D curve. The largest sharpness difference is 0.053 (10 cycles/mm, against the single curve). See the Agfa Agfacolor Portrait XPS 160 film details.

Agfa Agfacolor Optima II 100

Character. Daylight-balanced still-photo colour negative from Agfa-Gevaert, processed in Agfa’s AP 70 process, compatible with C-41. EI 100 in daylight. Agfa’s guide places it high in colour saturation within the Agfacolor range; its mid-scale green gradient is about 0.62. The guide gives an rms granularity of 4.0 and prints its layer structure. It starts in Scan mode and prints on Agfa CP30 by default.

Data. Agfa Professional Films Technical Data PF guide (1st edition, 09/1998), the Optima II 100 column. Characteristic curves, spectral sensitivity and one sharpness (MTF) curve from the guide, with no cross-check; dye density as a mid-scale neutral and a minimum only. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). Ashigrain uses the 80A for this daylight film under tungsten (see Design light and camera filter); the guide names no conversion filter.

Formats. 35 mm still film (135); the guide also lists 120 and sheet film. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
Granularity. The guide’s value does not say gross or net density, so Ashigrain uses Vision3 50D’s (5203) granularity curve, the daylight negative of the nearest speed. The grain values are that film’s, not measurements of Optima II 100.
Per-layer sharpness (MTF). The guide prints one visual curve, which Ashigrain applies to all three layers.
The kind of antihalation layer. The guide prints an anti-halo layer but does not quantify it. Halation strength, radius, per-layer weights and bloom are not measured.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Vision3 50D curve. The largest sharpness difference is 0.012 (10 cycles/mm, against the single curve). See the Agfa Agfacolor Optima II 100 film details.

Kodak Vision3 250D

Character. Daylight-balanced colour negative (5500K), process ECN-2, on acetate base with rem-jet backing. EI 250 in daylight, or EI 64 under tungsten with an 80A filter. A general-purpose daylight film. Datasheet rms granularity at net density 1.0 is R 0.0054, G 0.0063, B 0.0134.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm and 16 mm. Kodak does not make 250D in Super 8. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Push/pull processing behaviour. None is published.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
Grain size in each layer is modelled separately from the published rms granularity, which describes density variation.
Per-layer halation weights. The datasheet names the rem-jet backing but gives no halation data.
The strength of halation without the rem-jet backing, used when antihalation is removed.
The transition into bloom is modelled rather than calibrated from a datasheet.
The spectral transmission of the 80A conversion filter the datasheet prescribes for tungsten light.
The characteristic curves beyond the plotted exposure range.
The relationship between dye amount and layer density is modelled.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.040 (blue, 20 cycles/mm). See the Kodak Vision3 250D film details.

Kodak Vision3 200T

Character. Tungsten-balanced colour negative (3200K), process ECN-2, on acetate base with rem-jet backing. EI 200 under tungsten, or EI 125 in daylight with an 85 filter. Datasheet rms granularity at net density 1.0 is R 0.0052, G 0.0064, B 0.0154.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm, 16 mm and Super 8. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Modelling notes.

The spectrum of the 3200K tungsten design light. The datasheet names only the colour temperature, so Ashigrain uses a 3200 K blackbody.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Push/pull processing behaviour. None is published.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
Grain size in each layer is modelled separately from the published rms granularity, which describes density variation.
Per-layer halation weights. The datasheet names the rem-jet backing but gives no halation data.
The strength of halation without the rem-jet backing, used when antihalation is removed.
The transition into bloom is modelled rather than calibrated from a datasheet.
The spectral transmission of the 85 conversion filter the datasheet prescribes for daylight.
The characteristic curves beyond the plotted exposure range.
The relationship between dye amount and layer density is modelled.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.042 (green, 40 cycles/mm). See the Kodak Vision3 200T film details.

Fujifilm Eterna 250D

Character. Daylight-balanced colour negative. EI 250 in daylight, or EI 64 under tungsten with a Kodak 80A filter. Fujifilm ended motion-picture film production on 31 March 2013. Published data includes one rms granularity value (3.5 at density 1.0), one neutral sharpness curve and characteristic curves on a relative exposure axis. The modelling notes below explain how these are used.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm and 16 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Fujifilm Eterna-CP 3513DI (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-layer sharpness (MTF). The datasheet prints one square-wave contrast transfer function (CTF) for all layers.
Granularity against density. Only the single value 3.5 is printed, so Ashigrain scales it with the square root of density.
The normal-exposure point on the relative exposure axis. The curves print camera stops only, so Ashigrain places normal exposure at the 0-stop mark.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain fits Kodak Vision3 dye shapes to them.
The spectral transmission of the Kodak 80A conversion filter the datasheet prescribes for tungsten light.
The characteristic curves beyond the plotted exposure range.
Grain size in each layer is a modelling choice; the source does not specify dye-cloud size.
Push and pull use modelled development behaviour and settings; the sources do not document them.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
The halation contribution of each layer is modelled; the source does not quantify it.
The strength of halation when antihalation is removed.
Bloom threshold softness.
The kind of antihalation layer. None is recorded, so Ashigrain assumes rem-jet, as on the Kodak ECN-2 negatives.
The process. Fujifilm’s documents for this film name none, so Ashigrain uses ECN-2, as stated for Eterna Vivid 500.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. The grain and sharpness checks are marked as approximations because the granularity curve is modelled and the sharpness is compared with the single square-wave curve. The largest square-wave difference is 0.008. See the Fujifilm Eterna 250D film details.

Fujifilm Eterna 500

Character. Tungsten-balanced colour negative (3200K). EI 500 under tungsten, or EI 320 in daylight with a Kodak 85 filter. Fujifilm ended motion-picture film production on 31 March 2013. As with Eterna 250D, Fujifilm prints one rms granularity value (3.5), one neutral sharpness curve, and characteristic curves on a relative exposure axis.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm and 16 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Fujifilm Eterna-CP 3513DI (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

The spectrum of the 3200K tungsten design light. The datasheet names only the colour temperature, so Ashigrain uses a 3200 K blackbody.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-layer sharpness (MTF). The datasheet prints one contrast transfer function (CTF) with no density legend.
Granularity against density. Only the single value 3.5 is printed.
The normal-exposure point on the relative exposure axis.
Per-dye (C/M/Y) spectral dye densities. Ashigrain fits Kodak Vision3 dye shapes to the printed mid-scale neutral.
The spectral transmission of the Kodak 85 conversion filter the datasheet prescribes for daylight.
The characteristic curves beyond the plotted exposure range.
Grain size in each layer is a modelling choice; the source does not specify dye-cloud size.
Push and pull use modelled development behaviour and settings; the sources do not document them.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
The halation contribution of each layer is modelled; the source does not quantify it.
The strength of halation when antihalation is removed.
Bloom threshold softness.
The kind of antihalation layer. Ashigrain assumes rem-jet.
The process. Fujifilm’s documents for this film name none, so Ashigrain uses ECN-2.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. The grain and sharpness checks are marked as approximations. The largest square-wave difference is 0.009. See the Fujifilm Eterna 500 film details.

Vivid & saturated

Fujifilm Eterna Vivid 500

Character. Tungsten-balanced colour negative (3200K), process ECN-2. EI 500 under tungsten, or EI 320 in daylight with a Kodak 85 filter. It is the Vivid variant of Eterna 500. Fujifilm ended motion-picture film production on 31 March 2013. The model uses the published Eterna data described below. Without a second source, the digitisation error has not been independently estimated.

Data. Fujifilm data sheet KB-0901ER. Characteristic curves, spectral sensitivity, dye density (mid-scale neutral and minimum only) and one square-wave response (CTF) from the sheet, with no cross-check. Granularity is a single printed value, with no curve.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm and 16 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Fujifilm Eterna-CP 3513DI (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

The spectrum of the 3200K tungsten design light. The datasheet names only the colour temperature, so Ashigrain uses a 3200 K blackbody.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-layer sharpness (MTF). The datasheet prints one contrast transfer function (CTF).
Granularity against density. Only the single value 3.5 is printed.
The normal-exposure point on the relative exposure axis.
Per-dye (C/M/Y) spectral dye densities. Ashigrain fits Kodak Vision3 dye shapes to the printed mid-scale neutral.
The spectral transmission of the Kodak 85 conversion filter the datasheet prescribes for daylight.
The characteristic curves beyond the plotted exposure range.
Grain size in each layer is a modelling choice; the source does not specify dye-cloud size.
Push and pull use modelled development behaviour and settings; the sources do not document them.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
The halation contribution of each layer is modelled; the source does not quantify it.
The strength of halation when antihalation is removed.
Bloom threshold softness.
The kind of antihalation layer. Ashigrain assumes rem-jet.
The printer lamp spectrum.
The Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. The grain and sharpness checks are marked as approximations. The largest square-wave difference is 0.011. See the Fujifilm Eterna Vivid 500 film details.

Kodak Kodachrome 64

Character. Daylight-balanced colour reversal film, process K-14. EI 64 in daylight, or EI 16 under 3200 K tungsten with an 80A filter. Reversal processing produces a positive image for direct viewing. Its scale is long and contrasty, with maximum densities of about 3.3 to 3.7, and red density stays above green and blue in the upper scale, so dense shadows are warm rather than blue. The grain is very fine: rms granularity 10, read at a gross density of 1.0. The datasheet’s sharpness curve stays above 100 % out to about 15 cycles/mm.

Data. Kodak technical data E-55 (June 2009), which covers Kodachrome 25, 64 and 200. Characteristic curves cross-checked; spectral sensitivity, dye density (from 420 nm, normalised to a visual neutral) and one visual MTF curve from the sheet. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (code PKR); the sheet lists no sizes. Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The spectral transmission of the 80A conversion filter.
Per-layer sharpness (MTF). The sheet prints one visual curve, which Ashigrain applies to all three layers.
Granularity against density. The single value is read at a gross (not net) density, so Ashigrain converts it and scales it with density.
The amount of each dye. The dye curves are normalised to a visual neutral, with no mid-scale neutral.
The base density spectrum used by the reversal dye model. No minimum-density curve is printed.
Reversal push and pull. No curves are published, so Ashigrain uses its generic reversal push.
The kind of antihalation layer. None is named, so Ashigrain assumes rem-jet. Halation strength, radius, per-layer weights and bloom are not measured.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image, as for Ektachrome 100D (see Kodak Ektachrome 100D).

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.024 (20 cycles/mm, against the single curve). See the Kodak Kodachrome 64 film details.

Fujifilm Velvia 50

Character. Daylight-balanced colour reversal film, process E-6 (or Fujifilm CR-56). EI 50 in daylight, or EI 16 under 3200 K tungsten with an 80A filter. Reversal processing produces a positive image for direct viewing. Fujifilm presents it as a film for very saturated colour; its curves are steep, with a maximum green density of about 3.8. The grain is fine: rms granularity 9 at density 1.0 above minimum. The datasheet states a push/pull range of −½ to +1 stop but prints no push curves.

Data. Fujifilm data sheet AF3-0221E2. Characteristic curves cross-checked (two passes over the same chart image); spectral sensitivity from the sheet; separate cyan, magenta and yellow dye curves, with no neutral and the yellow ending at 620 nm; one MTF curve. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (135), 120 and 220 roll film, and sheet film. Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The spectral transmission of the 80A conversion filter.
Per-layer sharpness (MTF). The sheet prints one curve with no densitometry stated, which Ashigrain applies to all three layers.
Granularity against density. Only the single value 9 is printed.
The amount of each dye. The dye curves are printed without a neutral, so their scales are taken as printed.
The base density spectrum used by the reversal dye model.
Reversal push and pull. The sheet gives a range but no curves, so Ashigrain uses its generic reversal push.
Halation strength, radius, per-layer weights and bloom. The antihalation undercoat is printed, but not quantified.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.051 (20 cycles/mm, against the single curve). See the Fujifilm Velvia 50 film details.

Agfa Agfacolor Ultra 50

Character. Daylight-balanced still-photo colour negative from Agfa-Gevaert, processed in Agfa’s AP 70 process, compatible with C-41. EI 50 in daylight. Agfa’s guide promises extremely high colour saturation, for high-key colour effects and for enriching pale colours. Its curves are steeper than Portrait XPS 160’s (mid-scale green gradient about 0.67 against 0.54). The guide gives an rms granularity of 4.3. It starts in Scan mode and prints on Agfa CP30 by default.

Data. Agfa Professional Films Technical Data PF guide (1st edition, 09/1998), the Ultra 50 column. Characteristic curves, spectral sensitivity and one sharpness (MTF) curve from the guide, with no cross-check; dye density as a mid-scale neutral and a minimum only. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). Ashigrain uses the 80A for this daylight film under tungsten (see Design light and camera filter); the guide names no conversion filter.

Formats. 35 mm still film (135); the guide also lists 120. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
Granularity. The guide’s value does not say gross or net density, so Ashigrain uses Vision3 50D’s (5203) granularity curve, the daylight negative of the same speed. The grain values are that film’s, not measurements of Ultra 50.
Per-layer sharpness (MTF). The guide prints one visual curve, which Ashigrain applies to all three layers.
The kind of antihalation layer. Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Vision3 50D curve. The largest sharpness difference is 0.029 (20 cycles/mm, against the single curve). See the Agfa Agfacolor Ultra 50 film details.

Kodak Ektar 100

Character. Daylight-balanced still-photo colour negative, process C-41, codes 5110 (135) and 6110 (120). EI 100 in daylight or electronic flash, or EI 25 under 3200 K tungsten with an 80A filter. Kodak calls it the world’s finest-grain colour negative film. The datasheet prints only a Print Grain Index, which Kodak says cannot be compared with rms granularity, so Ashigrain borrows Vision3 50D’s grain. It starts in Scan mode: the datasheet has a section on scanning negatives, and its printing section names only colour papers and display materials, which Ashigrain does not model.

Data. Kodak Alaris technical data E-4046 (revised 2/16). Characteristic curves, spectral sensitivity and R/G/B MTF from the sheet, with no cross-check; dye density as a mid-scale neutral and a minimum only, printed to 685 nm. No granularity curve or value.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm still film (135); also made in 120 and sheets. Starts at 35mm still (135).

Mode. Scan (default) or Print.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Granularity. The sheet prints only a Print Grain Index, so Ashigrain uses Vision3 50D’s (5203) granularity curve, the daylight chart one stop from EI 100. The grain values are that film’s, not measurements of Ektar 100.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
The kind of antihalation layer. None is named, so Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
The spectral transmission of the 80A conversion filter.
Printer-light timing on this film can differ slightly (up to about 0.24 points) from the full spectral calculation.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range (log H −2.84 to 1.16).
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Vision3 50D curve. The largest sharpness difference is 0.069 (red, 20 cycles/mm). See the Kodak Ektar 100 film details.

Kodak Ektachrome 100D

Character. Daylight-balanced colour reversal film (5500K), process E-6, on acetate base. EI 100 in daylight, or EI 25 under tungsten with an 80A filter. The film itself is the positive image: it is shown directly, with no print stage, like a projected slide. Its grain is coarser than the Vision3 negatives. Datasheet rms granularity at net density 1.0 is R 0.0179, G 0.0135, B 0.0249.

Design light. 5500 K daylight (CIE D55). In Reversal mode it has no print or scan timing, so a scene light away from daylight leaves a colour cast in the image. In Scan mode it receives grey-card scan timing and scan balance. Under tungsten, use the 80A: see the caution under Design light and camera filter.

Formats. 35 mm, 16 mm and Super 8. Starts at Super 35 (4-perf).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The base density spectrum used by the reversal dye model. The datasheet prints the dye curves but no minimum-density curve.
The spectral transmission of the 80A conversion filter the datasheet prescribes for tungsten light.
The characteristic curves beyond the plotted exposure range.
The grain (dye-cloud) size of each layer. The datasheet gives only a granularity chart.
Push and pull use modelled development behaviour and settings; the sources do not document them.
Interactions between the colour layers are modelled; cross-layer measurements are unavailable.
Per-layer halation weights. The datasheet names an acetate base, no antihalation layer and no halation data.
The strength of halation when antihalation is removed.
Bloom threshold softness.
The kind of antihalation layer. Ashigrain assumes an undercoat, as on Tri-X Reversal 7266.
The veiling flare of the projected image. No source gives one, so Ashigrain adds 0.1 % of the open-gate white to the screen, about 1000:1 between clear film and black. It lifts the deepest blacks slightly and makes them read as dark grey rather than a dark colour.

Datasheet checks. Tone and grain agree with the source data within the stated calibration targets. The largest sharpness difference is 0.034 (blue, 20 cycles/mm). See the Kodak Ektachrome 100D film details.

Vintage & odd

Rem-jet removed: an option, not a film

Ashigrain used to list Kodak Vision3 500T, rem-jet removed, as a film of its own. It is now the Rem-jet removed option in the Halation group, and it works on every film. With Halation on, it gives the film the no-layer halation strength, six times the rem-jet strength (see Modelling notes). On Kodak Vision3 500T, 250D and 50D it also rates the film at the repackagers’ published box speeds: EI 800, 400 and 100. The curves, grain, dyes and sharpness stay the film’s own. A grade or preset saved with the old film opens as Kodak Vision3 500T with Rem-jet removed on.

The ratings, their sources and how the option changes the halo are in Rem-jet removal and the no-backing look. The control is described in Finding your way around the controls.

Kodak Ektachrome P1600

Character. Daylight-balanced colour reversal film made to be push-processed: it is rated EI 1600 in process E-6P, a two-stop push, or EI 400 under 3200 K tungsten with an 80A filter. Reversal processing produces a positive image for direct viewing. Every published curve describes this Push 2 condition; Kodak prints no curves for normal E-6. The scale is short, the grain coarse (rms granularity 34 at EI 1600, read at a gross density of 1.0) and the image softer than on slower films. Highlights lean slightly green-blue.

Data. Kodak technical data E-147 (May 2007). Characteristic curves for EI 1600 (Push 2) cross-checked; spectral sensitivity, dye density (normalised to a visual neutral) and one visual MTF curve from the sheet. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (135-36, code EPH). Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Push. The data is already at Push 2, so Push/Pull counts from EI 1600: at 0 the film renders as rated, +1 pushes it one stop further, and negative values pull it back towards normal development. Both directions use the generic reversal push (see the workflow guide).

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
Every push amount other than the rated Push 2. No normal E-6 curves exist.
The spectral transmission of the 80A conversion filter.
Per-layer sharpness (MTF). The sheet prints one visual curve for Push 2, which Ashigrain applies to all three layers.
Granularity against density. The single value is read at a gross (not net) density, so Ashigrain converts it and scales it with density.
The amount of each dye. The dye curves are normalised to a visual neutral, with no mid-scale neutral.
The base density spectrum used by the reversal dye model.
The kind of antihalation layer. None is named, so Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.021 (10 cycles/mm, against the single curve). See the Kodak Ektachrome P1600 film details.

Svema LN-9

Character. Svema LN-9 (Свема ЛН-9) is a Soviet tungsten-balanced colour negative cine film, made by the Shostka production association Svema. EI 95 under tungsten (100 in GOST units), or EI 60 in daylight with an 85 filter, developed in the Svema/Tasma cold colour-negative process (18 to 22 °C). The literature describes red-orange reds, a turquoise cyan, and prints whose shadows can turn green. In Ashigrain, on its default print, Svema TsP-8R (ЦП-8Р), reds come out slightly magenta and desaturated; the orange reds appear when it is printed on Kodak 2383 instead.

Reconstruction. No datasheet with curves exists for LN-9. Ashigrain reconstructs its characteristic curves, spectral sensitivities, magenta and yellow dyes and MTF from values printed in Soviet specifications and handbooks (Konovalov 1997, Гордийчук & Пелль 1979, Иофис 1980, Артюшин 1999) and from stated shape assumptions. Only the cyan dye is digitised, from a figure in Konovalov 1997. Where no LN-9 value is published, its predecessor ЛН-8’s stands in: fog and mask densities, exposure latitude and the MTF values. No source gives its granularity in usable units, so the grain is Vision3 200T’s. The resulting emulation is a reconstruction from these historical sources.

Data. Characteristic curves, spectral sensitivity and MTF (green and red layers only) reconstructed. Cyan dye cross-checked (digitised from Konovalov 1997’s figure and checked against a second trace); magenta and yellow dyes reconstructed. No usable granularity.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Svema TsP-8R (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

The reconstructed curves, sensitivities, magenta and yellow dyes and MTF described above, and the ЛН-8 values used in place of LN-9’s.
The reconstructed tone has no digitization-error estimate, because there is no published curve to compare it with.
Granularity. Ashigrain uses Vision3 200T’s (5213); the grain values are that film’s, not measurements of LN-9.
Per-layer sharpness. MTF values exist only for the green and red layers at one frequency; the blue layer uses the green value.
Because of the smooth reconstructed sensitivities, printer-light timing on this film can differ by up to about 0.4 points from the full spectral calculation, and custom scene lights can differ slightly more than on other films.
The kind of antihalation layer. None is documented, so Ashigrain assumes rem-jet. Halation strength, radius, per-layer weights and bloom are not measured.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The spectrum of the 3200K tungsten design light (a 3200 K blackbody) and the spectral transmission of the 85 conversion filter.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the reconstructed exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone check has no verdict: the curves are reconstructed, so there is no published curve to compare them with. Grain within target, against the borrowed Vision3 200T curve. The sharpness differences are at most 0.001, against the reconstructed MTF. See the Svema LN-9 film details.

Eastman Color Negative 5247

Character. Tungsten-balanced colour negative (3200K) for motion pictures, process ECN-2, on clear acetate safety base with rem-jet backing, code 5247 (35 mm). EI 125 under tungsten, or EI 80 in daylight with an 85 filter. Kodak’s sheet gives its rms granularity only as “less than 5”, and its resolving power as 50 lines/mm at low and 100 lines/mm at high chart contrast. Its characteristic curves are short and gentle, with an average slope of about 0.5. It prints on Eastman EXR Color Print Film 5386 by default.

Data. Kodak technical information TI0835 (1993). Characteristic curves, spectral sensitivity, dye density (mid-scale neutral and minimum only) and one MTF curve cross-checked (two passes over the same chart image). Granularity is an upper bound only, with no curve.

Design light. 3200 K tungsten. In daylight, use the 85 for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Eastman EXR Color Print Film 5386 (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
Granularity. The sheet gives only the bound “less than 5”, with no curve, so Ashigrain uses Vision3 50D’s (5203) granularity curve. On 5247’s curves it stays within the bound on the red and green layers only (R 3.7, G 4.8, B 8.3 at net density 1.0); no cited chart meets it on blue. The grain values are that film’s, not measurements of 5247.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 200T (5213).
Per-layer sharpness (MTF). The sheet prints one curve, which Ashigrain applies to all three layers.
Custom scene lights and printer-light timing. On this film the fast per-pixel calculation follows the full spectral calculation less closely than on most films: printer lights can differ by up to about 0.36 points under the design light and 0.72 points under daylight or through the 80A.
The spectrum of the 3200K tungsten design light (a 3200 K blackbody) and the spectral transmission of the 85 conversion filter.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
Per-layer halation weights, the strength of halation without the rem-jet backing, bloom threshold softness, and the default halation and bloom, as for the other rem-jet films.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain within target, against the borrowed Vision3 50D curve. The largest sharpness difference is 0.022 (40 cycles/mm, against the single curve). See the Eastman Color Negative 5247 film details.

Fujifilm Fujichrome 64T Type II

Character. Tungsten-type colour reversal film, process E-6 (or Fujifilm CR-56), code RTPII. Fujifilm rates it ISO 64 under 3100 K photographic tungsten lamps at a 4-second exposure, and made it for product, interior and architectural photography and for reproducing artwork. The sheet says it needs no reciprocity compensation from 1/15 to 64 seconds and does not recommend 1/4000 to 1/30 second. Reversal processing produces a positive image for direct viewing. Rms granularity 10 at density 1.0 above minimum.

Data. Fujifilm data sheet AF3-024E. Characteristic curves, spectral sensitivity and one MTF curve cross-checked (two passes over the same chart image); dye density from the sheet. Granularity is a single printed value, with no curve.

Design light. 3200 K tungsten, modelled as a 3200 K blackbody; the sheet rates the film at 3100 K. In Reversal mode there is no timing, so a scene light away from tungsten leaves a colour cast (see Design light and camera filter).

Formats. 35 mm still film (135); the sheet also lists 120, sheet film and QuickLoad. Starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The spectrum of the tungsten design light. The sheet rates the film at 3100 K; Ashigrain uses a 3200 K blackbody, as for every tungsten film.
The reference exposure. The sheet rates the film at a 4-second exposure; Ashigrain does not model reciprocity.
Custom scene lights. On this film the fast per-pixel calculation follows the full spectral calculation less closely than on most films.
Per-layer sharpness (MTF). The sheet prints one curve, which Ashigrain applies to all three layers.
Granularity against density. Only the single value 10 is printed, so Ashigrain scales it with density.
Reversal push and pull. The sheet states a range of −½ to +1 stop but prints no curves, so Ashigrain uses its generic reversal push.
Halation strength, radius, per-layer weights and bloom. The antihalation undercoat is printed, but not quantified.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.035 (20 cycles/mm, against the single curve). See the Fujifilm Fujichrome 64T Type II film details.

Kodak Aerocolor IV 2460

Character. Medium-speed, very fine-grain colour negative aerial film without integral colour masking, so its minimum density is near neutral rather than orange. Its primary process is AN-6, and it is compatible with C-41. Kodak rates it only in aerial film speed (ISO A 125 nominal at maximum-contrast development). Ashigrain uses the medium-contrast curves (C-41, 4 min 15 s) and rates it EI 250, derived from those curves with the ISO speed rule. Rms granularity 13 at that development (net green density 1.0). It starts in Scan mode: the sheet allows prints on colour papers directly or by first scanning.

Data. Kodak publication AS-2652 (October 2009). Characteristic curves, spectral sensitivity and R/G/B MTF (for Process AN-6) from the sheet, with no cross-check; dye density as a mid-scale neutral and a minimum only. Granularity is a single printed value per development, with no curve.

Design light. 5500 K daylight (CIE D55). Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. The sheet prints no sizes. Ashigrain offers 35mm still (135), where it starts.

Mode. Scan (default) or Print.

Print pairing. Kodak Vision Color Print Film 2383 (default) or any other colour print film, each as a substitute for the colour papers the sheet names, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The exposure index. Kodak gives only an aerial film speed, so EI 250 is derived from the printed medium-contrast curves.
Sharpness. The printed MTF is for Process AN-6, not the C-41 development of the curves, and starts near 57 to 68 % at low frequency; Ashigrain keeps it as printed.
Per-dye (C/M/Y) spectral dye densities. Only the mid-scale neutral and minimum are printed, so Ashigrain uses the dye shapes of Kodak Vision3 250D (5207).
Granularity against density. Only the single value 13 is printed for this development, so Ashigrain scales it with density.
Printer-light timing on this film can differ slightly (up to about 0.29 points) from the full spectral calculation.
Halation strength, radius, per-layer weights and bloom. The antihalation undercoat is printed, but not quantified.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.049 (blue, 10 cycles/mm). See the Kodak Aerocolor IV 2460 film details.

DS-5M

Character. DS-5M is a Soviet daylight-balanced colour negative cine film, “for shooting in natural daylight or under high-intensity arc light”, made to specification ТУ 6-17-691-88. EI 40 in daylight, or EI 10 under tungsten with an 80A filter, developed in the Svema/Tasma cold colour-negative process (18 to 22 °C). The literature describes reds that stay red, against the orange reds of the LN tungsten negatives, a practically unmasked turquoise cyan (the same cyan dye as LN-9), and a blue layer specified steeper than the other two. Sources list it under both Svema and Tasma, so Ashigrain names no maker. It prints on Svema TsP-8R by default.

Reconstruction. No datasheet with curves exists for DS-5M. Ashigrain reconstructs its characteristic curves, spectral sensitivities and magenta and yellow dyes from values printed in Soviet handbooks (Гордийчук & Пелль 1979, Konovalov 1997, Иофис 1980, Артюшин 1999) and from stated shape assumptions. The cyan dye is LN-9’s, digitised from Konovalov 1997, which gives it as the dye of both films. The sources print only a resolving power (at least 58 lines/mm) and no granularity, so the sharpness and grain are Vision3 50D’s.

Data. Characteristic curves and spectral sensitivity reconstructed. Cyan dye from Konovalov 1997’s figure (cross-checked for LN-9); magenta and yellow dyes reconstructed. No MTF or granularity.

Design light. 5500 K daylight (CIE D55); Иофис 1980 gives 6500 K. Under tungsten, use the 80A for colour balance or leave it off for a colour shift (see Design light and camera filter).

Formats. 35 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Svema TsP-8R (default), any other colour print film, or Kodak B&W Print Film 2302 for a black-and-white print with an orthochromatic tonality (see Print pairing).

Modelling notes.

The reconstructed curves, sensitivities and magenta and yellow dyes described above, and LN-9’s cyan dye.
The reconstructed tone has no digitization-error estimate, because there is no published curve to compare it with.
Sharpness. Ashigrain uses Vision3 50D’s (5203) per-layer MTF; the sharpness is that film’s, not a measurement of DS-5M.
Granularity. Ashigrain uses Vision3 50D’s (5203) granularity curve; the grain values are that film’s.
Custom scene lights and printer-light timing. Because of the smooth reconstructed sensitivities, the fast per-pixel calculation follows the full spectral calculation less closely than on most films: printer lights can differ by up to about 0.64 points.
The kind of antihalation layer. Ashigrain assumes rem-jet. Halation strength, radius, per-layer weights and bloom are not measured.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input, grey-card timing and scan balance. See Modelling notes.
The spectral transmission of the 80A conversion filter.
The grain (dye-cloud) size of each layer, push/pull constants and the default interlayer effect.
The characteristic curves beyond the reconstructed exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The printer lamp spectrum and the Status A aim densities for printing scene grey.

Datasheet checks. The tone check has no verdict: the curves are reconstructed, so there is no published curve to compare them with. Grain within target, against the borrowed Vision3 50D curve. The largest sharpness difference is 0.033 (blue, 10 cycles/mm), against the borrowed Vision3 50D MTF. See the DS-5M film details.

Black & white

Eastman Double-X 5222

Character. Panchromatic black-and-white negative on a grey acetate base, developed in D-96 to a gamma of 0.65 to 0.70. EI 250 in daylight and EI 200 under tungsten. The datasheet prints one granularity value: rms granularity 14 (σD 0.014) at net density 1.0. It is a classic black-and-white negative with visible silver grain. In Print mode it is printed onto Kodak B&W Print Film 2302 by default.

Data. Kodak technical data H-1-5222 (revised 7-15). Characteristic curves cross-checked; spectral sensitivity and MTF from the sheet. A silver image has no dye curves. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55), an assumption: the datasheet gives a daylight and a tungsten EI but no balance.

Formats. 35 mm and 16 mm. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Print pairing. Kodak B&W Print Film 2302 (default), or any colour print film, which prints it near-neutral with the colour print’s own slight tint (see Print pairing). The separate Printer light R, G and B controls are not used on a black-and-white print; Print density offsets the print exposure from the automatic grey-card timing.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input and grey-card print timing. See Modelling notes.
The colour balance of the black-and-white film. The datasheet prints a daylight EI of 250 and a tungsten EI of 200 but no balance, so Ashigrain calibrates it for daylight.
Granularity against density. The datasheet prints only the single value at net density 1.0, so Ashigrain scales it with the square root of density.
The size of silver-grain clusters is modelled; the source does not specify it.
The halation weight of the single layer. The datasheet names only a grey base.
Black-and-white print timing. No laboratory aim is printed, so the grey-card timing places the metered grey at visual density 1.0 on 2302.
The silver image is modelled with neutral spectral density for display.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.026 (20 cycles/mm). See the Eastman Double-X 5222 film details.

Kodak Tri-X Reversal 7266

Character. Black-and-white reversal film on a grey acetate base with an antihalation undercoat, processed in the KODAK B&W Reversal Process. EI 200 in daylight and EI 160 under tungsten. Reversal processing produces a positive image for direct viewing. Its modelled rms granularity is about 0.024 at net density 1.0.

Data. Kodak technical data H-1-7266t (revised 7-15). Characteristic curves cross-checked; spectral sensitivity, MTF and granularity from the sheet (granularity against a relative exposure axis only). A silver image has no dye curves.

Design light. 5500 K daylight (CIE D55), an assumption: the datasheet gives a daylight and a tungsten EI but no balance.

Formats. 16 mm (the 16mm format) and Super 8. Starts at 16mm. The sources list only 16 mm and Super 8 for this film, so Super 16 is not a historical format for it.

Mode. Reversal only. Every other Mode setting renders as Reversal.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input. See Modelling notes.
The colour balance of the black-and-white film. The datasheet prints a daylight EI of 200 and a tungsten EI of 160 but no balance, so Ashigrain calibrates it for daylight.
Granularity against density. The datasheet’s granularity curve is printed on a relative exposure axis, and Ashigrain places it on the characteristic curve by an assumed alignment.
The size of silver-grain clusters is modelled; the source does not specify it.
The halation weight of the single layer. No datasheet quantifies halation.
The silver image is modelled with neutral spectral density for display.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses an assumed alignment of the granularity axis. The largest sharpness difference is 0.091 (10 cycles/mm), the largest of any film. See the Kodak Tri-X Reversal 7266 film details.

Kodak T-Max P3200

Character. Fast panchromatic black-and-white still negative with Kodak’s T-GRAIN emulsion. “P3200” is the box speed: the nominal speed is EI 800 (1000 in T-MAX developers, rounded), and Kodak rates it from EI 400 to 6400 by development time, with more contrast and grain and less shadow detail at the higher speeds. Ashigrain’s base curve is the EI 800 curve in T-MAX RS developer. Datasheet rms granularity is 18 at net density 1.0 (in D-76). In Print mode it is printed onto Kodak B&W Print Film 2302 by default.

Data. Kodak Alaris technical data F-4001 (revised 04-19). Characteristic curves at 10, 12, 14 and 17 minutes of development cross-checked (two passes over the same chart image); spectral sensitivity and MTF from the sheet (for D-76). A silver image has no dye curves. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55), an assumption: the datasheet gives no balance.

Formats. 35 mm still film (code TMZ); no sizes are recorded. Starts at 35mm still (135).

Mode. Print (default) or Scan.

Push. Three push sets from the same chart, in stops from EI 800: −1 (EI 400, 10 minutes), +1 (EI 1600, 14 minutes) and +2 (EI 3200, 17 minutes). Pulls beyond −1 and pushes beyond +2 (EI 6400 and up) add the generic push to the nearest set (see Push).

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input and grey-card print timing. See Modelling notes.
The push development times. The +1 and +2 sets are the chart’s 14 and 17 minute curves; the development table gives 13½ and 16½ minutes for EI 1600 and 3200.
The deep shadows of the push curves. They start near log H −3.3 and are extended below that.
The developer. MTF, spectral sensitivity and granularity are published for D-76, the characteristic curves for T-MAX RS.
The colour balance of the black-and-white film. The datasheet prints none, so Ashigrain calibrates it for daylight.
Granularity against density. Only the single value 18 is printed, so Ashigrain scales it with the square root of density.
The size of silver-grain clusters is modelled; the source does not specify it.
The kind of antihalation layer and the halation weight of the single layer. Ashigrain assumes an undercoat.
The silver image is modelled with neutral spectral density for display.
The characteristic curves beyond the plotted exposure range.
Black-and-white print timing, which places the metered grey at visual density 1.0 on 2302.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.023 (40 cycles/mm). See the Kodak T-Max P3200 film details.

Fomapan R 100

Character. Panchromatic black-and-white reversal film for transparencies and movies, nominal ISO 100 in Foma’s Process R-100 (FOMADON LQR first and second developers, 20 °C), on a 0.125 mm cellulose triacetate base with an antihalation layer that clears in processing. Reversal processing produces a positive image for direct viewing. The sheet gives an rms granularity of 13.0 “measured at gamma = 1.1”, with no aperture or density, and a resolving power of 115 lines/mm. Its text calls the straight-line gradation 1.1, but the printed curve is steeper, about 1.6.

Data. FOMA data sheet (01/25). Characteristic curves, spectral sensitivity and one MTF curve from the sheet, with no cross-check. A silver image has no dye curves. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). The sheet’s sensitometry is daylight-exposed.

Formats. 16 mm (16mm or Super 16), double-8 (Standard 8 or Super 8) and 35 mm still film (135). Starts at 16mm.

Mode. Reversal only. Every other Mode setting renders as Reversal.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input. See Modelling notes.
Granularity. The sheet’s value has no aperture or density, so Ashigrain uses Tri-X Reversal 7266’s granularity curve, the black-and-white reversal film with a chart. The grain values are that film’s, not measurements of Fomapan R 100.
Custom scene lights. On this film the fast per-pixel calculation follows the full spectral calculation less closely than on most films.
The normal-exposure point on the relative exposure axis, and the spectral sensitivity scale, which the sheet does not print.
Reversal push and pull. No curves are published, so Ashigrain uses its generic reversal push.
The size of silver-grain clusters is modelled; the source does not specify it.
The halation weight of the single layer. The antihalation layer is printed, but not quantified.
The silver image is modelled with neutral spectral density for display.
The characteristic curves beyond the plotted exposure range.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Tri-X Reversal 7266 curve. The largest sharpness difference is 0.057 (10 cycles/mm). See the Fomapan R 100 film details.

Ilford Ortho Plus

Character. Orthochromatic (blue- and green-sensitive) black-and-white negative from HARMAN technology, first made as a high-resolution copy film. Reds render dark, and it can be handled under a deep red safelight. ISO 80 in daylight and 40 under tungsten, in ILFORD ID-11 at normal contrast; contrast is set by developer and time. The sheet prints neither granularity nor sharpness. In Print mode it is printed onto Kodak B&W Print Film 2302 by default.

Data. ILFORD ORTHO PLUS technical information (October 2019). Characteristic curves and the spectral sensitivity (a wedge spectrogram envelope, not a calibrated sensitivity) cross-checked (two passes over the same chart image). A silver image has no dye curves. No MTF or granularity.

Design light. 5500 K daylight (CIE D55). The sheet gives a daylight and a tungsten ISO but no balance.

Formats. 35 mm still film (135); also made in 120 and sheet film. Starts at 35mm still (135).

Mode. Print (default) or Scan.

Modelling notes.

How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input and grey-card print timing. See Modelling notes.
The spectral sensitivity. The sheet prints a wedge spectrogram whose scale is not calibrated, and its red cut-off is not traced.
Sharpness. The sheet prints no MTF or resolving power, so Ashigrain uses Double-X 5222’s MTF. The sharpness is that film’s, not a measurement of Ortho Plus.
Granularity. The sheet prints none, so Ashigrain uses Double-X 5222’s granularity. The grain values are that film’s.
The normal-exposure point on the relative exposure axis.
The kind of antihalation layer. The 135 and 120 films have an anti-halation base, which Ashigrain models like Double-X 5222’s grey base.
The size of silver-grain clusters is modelled; the source does not specify it.
The silver image is modelled with neutral spectral density for display.
Black-and-white print timing, which places the metered grey at visual density 1.0 on 2302.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain within target, against the borrowed Double-X 5222 curve. The largest sharpness difference is 0.026 (20 cycles/mm), against the borrowed Double-X 5222 MTF. See the Ilford Ortho Plus film details.

NK-2

Character. NK-2 is a Soviet black-and-white cine negative of medium speed, “for exteriors and brightly lit studio work”. Its specification gives a speed of 100 GOST units (taken as EI 100), an average gradient of 0.62 reached in 6 to 11 minutes in GOST developer No. 5, fog density at most 0.10, maximum density at least 2.0, resolving power at least 110 lines/mm and rms granularity at most 33 (G·1000). No source names its manufacturer. In Print mode it is printed onto Kodak B&W Print Film 2302 by default.

Reconstruction. No curve of NK-2 is printed anywhere. Ashigrain reconstructs its characteristic curve, spectral sensitivity and MTF from the values in one handbook table (Zhurba 1990, Таблица 15) and from stated shape assumptions. The spectral sensitivity is the weakest curve: the handbook gives only the 670 nm sensitization limit, so its 500 nm peak is assumed, and it probably under-represents the red response of a panchromatic negative.

Data. Characteristic curve, spectral sensitivity and MTF (a Gaussian through the specified response 0.75 at 30 cycles/mm) reconstructed. A silver image has no dye curves. Granularity is a specification maximum only.

Design light. 5500 K daylight (CIE D55), an assumption: the handbook gives no balance.

Formats. 35 mm and 16 mm; the handbook gives no gauges for this film, only 16, 35 and 70 mm for cine films in general. Starts at Super 35 (4-perf).

Mode. Print (default) or Scan.

Modelling notes.

The reconstructed curve, sensitivity and MTF described above.
The reconstructed tone has no digitization-error estimate, because there is no published curve to compare it with.
Granularity. The specification gives only a maximum, with no aperture or density, so Ashigrain uses Double-X 5222’s granularity. The grain values are that film’s, not measurements of NK-2.
The colour balance of the black-and-white film. None is printed, so Ashigrain calibrates it for daylight.
The kind of antihalation layer. Ashigrain assumes rem-jet.
How the scene is lit, metered and timed: the custom scene light, metering, fixed-white-balance input and grey-card print timing. See Modelling notes.
The size of silver-grain clusters is modelled; the source does not specify it.
The silver image is modelled with neutral spectral density for display.
Black-and-white print timing, which places the metered grey at visual density 1.0 on 2302.

Datasheet checks. The tone check has no verdict: the curve is reconstructed, so there is no published curve to compare it with. Grain within target, against the borrowed Double-X 5222 curve. The largest sharpness difference is 0.002 (40 cycles/mm), against the reconstructed MTF. See the NK-2 film details.

Experimental

The Experimental look holds the two instant peel-apart prints and two films whose look Ashigrain can only approximate from ordinary footage: Aerochrome, an infrared film, and Technicolor Process II, a two-colour process. Their notes say what is estimated.

Polaroid Type 669

Character. Polaroid 669 (Polacolor ER pack film) is a peel-apart instant colour print: a medium-contrast, medium-speed direct-positive print with extended dynamic range, developed for 60 seconds at 21 °C. EI 80 in daylight or electronic flash. It is viewed in reflection, like a photograph, not projected. The image is soft and low in resolution: the sheet gives a resolving power of 9 lines/mm. The sheet prints no dye curves, so Ashigrain borrows FP-100C’s.

Data. Polaroid T-669 data sheet. Characteristic curves (print density relative to the unprocessed print, on a relative exposure axis) and spectral sensitivity from the sheet, with no cross-check. No dye density, MTF or granularity.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. The film is a 3¼ × 4¼ in. pack film, which Ashigrain has no format for. It starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive reflection print, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The image dyes. The sheet prints none, so Ashigrain uses FP-100C’s reflection dye curves.
Reflection viewing. Ashigrain views the print under D50 and takes the paper white as 1.0; no source gives the viewing light, geometry or paper scattering. The print’s surface glare is also not measured.
Sharpness. No MTF is printed, so Ashigrain generates one through a response of 0.10 at the printed resolving power (9 lines/mm). The 0.10 is an assumption.
Granularity. None is printed, so Ashigrain uses Ektachrome 100D’s (5294) granularity curve. The grain values are that film’s.
Custom scene lights. On this film the fast per-pixel calculation follows the full spectral calculation less closely than on most films.
The normal-exposure point on the relative exposure axis.
The kind of antihalation layer. None is printed, so Ashigrain uses the strength for no antihalation layer. Halation strength, radius, per-layer weights and bloom are not measured.
Push and pull. Only normal development is modelled; Ashigrain uses its generic reversal push.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range, and bloom threshold softness.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain within target, against the borrowed Ektachrome 100D curve. The largest sharpness difference is 0.005 (10 cycles/mm), against the curve generated from the resolving power. See the Polaroid Type 669 film details.

Fujifilm FP-100C

Character. Fujifilm FP-100C is a peel-apart instant colour print, developed for 90 seconds at 25 °C. EI 100 in daylight. It is viewed in reflection, like a photograph, not projected. The image is soft and low in resolution: the bulletin gives a resolving power of 15 lines/mm. FP-100C SILK (a silk surface) and the 4 × 5 version are the same film.

Data. Fujifilm Product Information Bulletin AF3-129E. Characteristic curves (absolute reflection density), spectral sensitivity (printed only near the peaks) and cyan, magenta and yellow reflection dye curves (with no printed scale) cross-checked (two raster passes of the same scan). No MTF or granularity.

Design light. 5500 K daylight (CIE D55). In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast (see Design light and camera filter).

Formats. The film is an 8.5 × 10.8 cm or 4 × 5 in. pack film, which Ashigrain has no format for. It starts at 35mm still (135).

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive reflection print, without a print stage.

Modelling notes.

How the scene is lit and metered: the custom scene light, metering and fixed-white-balance input, plus grey-card timing and scan balance when Mode is Scan. See Modelling notes.
The amount of each dye. The dye curves have no printed scale, so Ashigrain fits their scales to a neutral.
The spectral sensitivity away from the peaks, which the bulletin does not print.
Reflection viewing. Ashigrain views the print under D50; no source gives the viewing light, geometry or paper scattering. The print’s surface glare is also not measured.
Sharpness. No MTF is printed, so Ashigrain generates one through a response of 0.10 at the printed resolving power (15 lines/mm). The 0.10 is an assumption.
Granularity. None is printed, so Ashigrain uses Ektachrome 100D’s (5294) granularity curve. The grain values are that film’s.
The kind of antihalation layer. None is printed, so Ashigrain uses the strength for no antihalation layer. Halation strength, radius, per-layer weights and bloom are not measured.
Push and pull. Only normal development is modelled; Ashigrain uses its generic reversal push.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range, and bloom threshold softness.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain within target, against the borrowed Ektachrome 100D curve. The largest sharpness difference is 0.006 (10 cycles/mm), against the curve generated from the resolving power. See the Fujifilm FP-100C film details.

Kodak Aerochrome III 1443

Character. False-colour infrared reversal film for aerial work, process AR-5. Infrared renders red, red renders green, green renders blue, and blue, cut by the required Kodak Wratten No. 12 filter, renders black; healthy foliage photographs magenta or red. Kodak rates it only in aerial film speed (ISO A 40 through the Wratten 12), which Ashigrain uses as EI 40. Rms granularity 23 at net density 1.0. The infrared record is estimated from colour; it is not recovered infrared. Ordinary footage records no infrared, so Ashigrain estimates the scene’s infrared from each pixel’s colour, raised for foliage. The film’s own data are used as printed.

Data. Kodak publication AS-77 / TI2562 (minor revision 11-05). Characteristic curves, spectral sensitivity (including the near infrared to 900 nm), cyan, magenta and yellow dye curves with a visual neutral (printed as preliminary data), the Wratten 12 transmission and one MTF curve from the sheet, with no cross-check. Granularity is a single printed value, with no curve.

Design light. 5500 K daylight (CIE D55). The Wratten 12 is part of the film in Ashigrain. In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast.

Formats. The sheet prints no sizes. Ashigrain offers 35mm still (135), where it starts.

Mode. Reversal (default) or Scan.

Print pairing. Viewed directly as a positive image, without a print stage.

Modelling notes.

The scene’s infrared. A pixel carries no infrared, so Ashigrain estimates the infrared reflectance (780 to 900 nm) from the colour, keeping greys grey and raising it for foliage. Between 700 and 780 nm Ashigrain takes the larger of the colour-fitted spectrum and this estimate. It is a labelled surrogate, not a measurement.
The daylight spectrum beyond 830 nm, where the CIE daylight tables end. Ashigrain extends it with a blackbody.
Custom scene lights. The infrared layer’s exposure depends on each pixel’s colour, which the fast per-pixel calculation follows less closely than on any other film.
The exposure index. Kodak gives only an aerial film speed.
The dye curves are printed as preliminary data.
Per-layer sharpness (MTF). The sheet prints one curve, which Ashigrain applies to all three layers.
Granularity against density. Only the single value 23 is printed, so Ashigrain scales it with density.
The kind of antihalation layer. Ashigrain assumes an undercoat. Halation strength, radius, per-layer weights and bloom are not measured.
Reversal push and pull. No curves are published, so Ashigrain uses its generic reversal push.
The grain (dye-cloud) size of each layer and the default interlayer effect.
The characteristic curves beyond the plotted exposure range.
The strength of halation when antihalation is removed, and bloom threshold softness.
The veiling flare of the projected image.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain calibration uses a modelled granularity curve. The largest sharpness difference is 0.023 (10 cycles/mm, against the single curve). The checks cover the film’s own data, not the infrared estimate. See the Kodak Aerochrome III 1443 film details.

Technicolor Process II

Character. A two-colour model inspired by the system, not a reproduction of Process II. In Technicolor’s two-colour process, a beam-splitting prism sent the light through a red and a green filter onto two black-and-white records; the records were printed on separate strips, the silver removed, and the strips dyed (the red record green, the green record red) and cemented back to back. With two colours, blues, purples and yellows could not be reproduced. Ashigrain follows this: a restricted palette of reds and oranges and blue-greens, in which blues render blue-green and yellows orange. The negatives are documented as “Technicolor No. II”, for example The Toll of the Sea (1922).

Data. No characteristic curve, spectral sensitivity, dye spectrum, MTF or grain measurement of Process II exists in any source Ashigrain uses. Every curve is generated from named assumptions, tied to the qualitative descriptions of the George Eastman Museum and filmcolors.org. The speed (EI 16), balance and gauge are assumptions too.

Design light. 5500 K daylight (CIE D55), an assumption. In Reversal mode there is no timing, so a scene light away from daylight leaves a colour cast.

Formats. 35 mm, an assumption. Starts at Super 35 (4-perf).

Mode. Reversal (default) or Scan. The finished print is shown directly.

Print pairing. Viewed directly as the projected two-colour print, without a print stage.

Modelling notes.

Every curve: one tone curve for both records, the red and green sensitivities and the green and red dyes are named assumptions. The dyes were chosen to print grey as neutral as possible.
Two records in a three-layer model. The process has only red and green records, so Ashigrain copies the green record into the third layer and gives it no dye, and there is no interaction between layers.
Sharpness. No data exists, so Ashigrain uses Vision3 50D’s (5203) MTF.
Granularity. No data exists, so Ashigrain uses Ektachrome 100D’s (5294) granularity curve.
The kind of antihalation layer. None is recorded, so Ashigrain uses the strength for no antihalation layer. Halation strength, radius and bloom are not measured.
Reversal push and pull, with Ashigrain’s generic reversal push.
The veiling flare of the projected image, bloom threshold softness and the grain (dye-cloud) size.

Datasheet checks. The tone check has no verdict: there is no published curve, so the curves cannot be compared with one. Grain within target, against the borrowed Ektachrome 100D curve. The largest sharpness difference is 0.033 (blue, 10 cycles/mm), against the borrowed Vision3 50D MTF. See the Technicolor Process II film details.

Print film

Picking a camera film selects its default print film. Choose another with Print film in Print mode.

Kodak Vision Color Print Film 2383

Character. Kodak’s standard colour print film, process ECP-2D. It is the default print for the Kodak negatives. The laboratory aim prints the LAD patch to a visual density of 1.0 (Status A R 1.09, G 1.06, B 1.03). Blacks reach about 4.1 Status A density.

Data. Kodak technical data H-1-2383t (revised 3-05). Characteristic curves cross-checked against the revised 3-22 sheet (the body of the curves; the red and green toes and the shoulders from the 2005 sheet only); spectral sensitivity, dye density, MTF and granularity from the sheet.

Formats. Print films follow the negative’s Format.

Mode. Print only. It is used when a negative is in Print mode.

Print pairing. Default print for Kodak Vision3 50D, 250D, 200T and 500T, Vision2 Expression 500T, Portra 800, Pro 400H, Ektar 100 and Aerocolor IV (the last four start in Scan mode). It can be chosen for every other negative, colour or black-and-white.

Modelling notes.

The spectral minimum density used for projection. It is derived from the dye curves.
The printer lamp spectrum. The datasheet names the lamp and filters but prints no spectrum, so Ashigrain uses a 3200K blackbody.
The projector lamp spectrum. The dye curves are normalised for a xenon-arc lamp whose spectrum is not printed, so Ashigrain uses CIE D55.
The veiling flare of the projected image. No source gives one, so Ashigrain adds 0.1 % of the open-gate white to the screen, about 1000:1 between clear film and black. It lifts the deepest blacks slightly and makes them read as dark grey rather than a dark colour.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain and sharpness are not checked for print films. See the Kodak Vision Color Print Film 2383 film details.

Fujifilm Eterna-CP 3513DI

Character. Fujifilm’s colour print film for printing Fujifilm negatives, process ECP-2B, on polyester base. It is the default print for the Eterna negatives. Fujifilm prints no granularity for it. In Ashigrain, its prints are softer and less saturated than 2383’s, most visibly in blues: a saturated blue or blue sky keeps about 40 to 65 % of its chroma (2383: about 75 to 95 %) and shifts in hue by about 30 degrees (2383: about 5 to 20 degrees). This follows from the datasheet: its dyes absorb two to three times as much of the neighbouring colours as 2383’s, and its green and blue contrast is lower. This dye response gives the print its characteristic colour rendering.

Data. Fujifilm Motion Picture Film Manual KB-0707E. Characteristic curves cross-checked; spectral sensitivity, dye density and one square-wave response (CTF) from the manual. No granularity is printed.

Formats. Print films follow the negative’s Format.

Mode. Print only.

Print pairing. Default print for Fujifilm Eterna 250D, Eterna 500 and Eterna Vivid 500. It can be chosen for every other negative, colour or black-and-white.

Modelling notes.

The Status A aim densities for printing scene grey. No laboratory aim is printed, so Ashigrain grey-balances the print the way a lab does, by the printing exposure: the automatic grey-card timing prints a simulated scene grey card to a neutral grey on screen (visual density 1.0). The print dyes are kept as the datasheet gives them. Printer light R, G and B offset that timing to print differently.
The direction of the printed 1.0 log H shift between the green and blue characteristic curves. The datasheet does not state it. The grey-card timing absorbs it, so it does not change the timed print.
The printer lamp spectrum. The datasheet prints its exposure conditions but no spectrum.
The veiling flare of the projected image. No source gives one, so Ashigrain adds 0.1 % of the open-gate white to the screen, about 1000:1 between clear film and black. It lifts the deepest blacks slightly and makes them read as dark grey rather than a dark colour.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain and sharpness are not checked for print films. See the Fujifilm Eterna-CP 3513DI film details.

Kodak B&W Print Film 2302

Character. Kodak’s blue-sensitive black-and-white release-print film, on a 120 µm ESTAR (polyester) base, developed in D-97. It is the default print for the black-and-white negatives. Ashigrain uses the datasheet’s 3½-minute curve (gamma about 2.2, visual), one of five printed development times; Kodak recommends a control gamma of 2.4 to 2.6 (Status A).

Data. Kodak technical data H-1-2302 (revised 3-26). Characteristic curves cross-checked (two passes over the same chart image); spectral sensitivity, MTF and a granularity chart (on a relative exposure axis) from the sheet. A silver image has no dye curves, and no rms granularity value is printed.

Formats. Print films follow the negative’s Format.

Mode. Print only. It is used when a negative is in Print mode.

Print pairing. Default print for Eastman Double-X 5222, Kodak T-Max P3200, Ilford Ortho Plus and NK-2. It can be chosen for every colour negative too: it is blue-sensitive (380 to 495 nm as printed), so it records a colour negative mostly through its yellow dye layer and orange mask, and the print has an orthochromatic tonality with dark reds (see Print pairing). The separate Printer light R, G and B controls are not used on it; Print density offsets the timing.

Modelling notes.

The silver image is modelled with neutral spectral density.
The spectral sensitivity beyond 500 nm. The film is blue-sensitive (380 to 495 nm as printed), and the chart stops there.
Contrast at other development times. Only the 3½-minute curve is modelled.
Black-and-white print timing. No laboratory aim is printed, so the grey-card timing places the metered grey at visual density 1.0.
The printer lamp spectrum. The datasheet gives printer settings but no lamp or filter spectrum.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain and sharpness are not checked for print films. See the Kodak B&W Print Film 2302 film details.

Svema TsP-8R

Character. Svema TsP-8R (Свема ЦП-8Р) is the Soviet colour print film for printing Svema LN-9 negatives, developed in Svema’s cold colour-positive process (18 to 22 °C). It is the default print for LN-9. Like LN-9, it has no datasheet with curves: its three dyes are digitised from a figure in Konovalov 1997, and its characteristic curves and spectral sensitivities are reconstructed from Soviet handbooks (Konovalov 1997, Гордийчук & Пелль 1979, Иофис 1980). The sensitivities follow the handbooks’ general statements about Soviet positive films, not data specific to ЦП-8Р.

Data. Characteristic curves and spectral sensitivity reconstructed. Dye density cross-checked (digitised from Konovalov 1997’s figure and checked against a second trace). No MTF or granularity.

Formats. Print films follow the negative’s Format.

Mode. Print only.

Print pairing. Default print for Svema LN-9 and DS-5M. It can be chosen for every other negative, colour or black-and-white.

Modelling notes.

The reconstructed characteristic curves and spectral sensitivities described above.
The amount of each dye. The dye curves are printed without a neutral, so their scales are taken as printed.
The spectral minimum density used for projection. No base or minimum-density spectrum is printed.
The Status A aim densities for printing scene grey. No laboratory aim is printed.
The printer lamp spectrum. None is in the sources.
The veiling flare of the projected image, as for the other print films.

Datasheet checks. The tone check has no verdict, because the curves are reconstructed. Grain and sharpness are not checked for print films. See the Svema TsP-8R film details.

Kodak Vision Premier Color Print Film 2393

Character. Kodak’s premium colour print film, process ECP-2B. Its maximum density is about 5.3 to 5.5 Status A, higher than 2383, so it gives deeper blacks and a more contrasty projected image.

Formats. Print films follow the negative’s Format.

Mode. Print only.

Print pairing. No negative uses it as its default print. It can be chosen for every negative, colour or black-and-white.

Modelling notes.

The Status A aim densities for printing scene grey. No laboratory aim is printed, so Ashigrain grey-balances the print the way a lab does, by the printing exposure: the automatic grey-card timing prints a simulated scene grey card to a neutral grey on screen (visual density 1.0). The print dyes are kept as the datasheet gives them. Printer light R, G and B offset that timing to print differently.
The printer lamp spectrum. The datasheet prints its exposure conditions but no spectrum.
The veiling flare of the projected image. No source gives one, so Ashigrain adds 0.1 % of the open-gate white to the screen, about 1000:1 between clear film and black. It lifts the deepest blacks slightly and makes them read as dark grey rather than a dark colour.

Datasheet checks. Tone agrees with the source curves within the stated calibration target. Grain and sharpness are not checked for print films. See the Kodak Vision Premier Color Print Film 2393 film details.

Eastman EXR Color Print Film 5386

Character. Kodak’s EXR colour print film, process ECP-2B, with rem-jet backing and a tungsten printing balance; 7386 (triacetate) and 2386 and 3386 (ESTAR) are the same emulsion on other bases. Blacks reach about 3.85 to 3.97 Status A density. It is the default print for Eastman Color Negative 5247. The datasheet’s laboratory aim is Status A R 1.10, G 1.06, B 1.03 for a xenon-arc projector.

Data. Kodak technical data H-1-5386 (February 1999). Characteristic curves, spectral sensitivity, dye density (cyan, magenta and yellow with a visual neutral), R/G/B MTF and granularity from the sheet, with no cross-check.

Formats. Print films follow the negative’s Format.

Mode. Print only.

Print pairing. Default print for Eastman Color Negative 5247. It can be chosen for every other negative, colour or black-and-white.

Modelling notes.

The Status A aim densities for printing scene grey. Printed to the sheet’s laboratory aim, scene grey reads slightly blue (b* −1.1) under Ashigrain’s projector, so Ashigrain solves the aim to a visual neutral instead. The sheet’s aim is kept as the reference for the dyes.
The printer lamp spectrum. None is in the sources, so Ashigrain uses a 3200K blackbody.
The veiling flare of the projected image, as for the other print films.

Datasheet checks. The tone deviation is reported without a verdict, because no digitization-error estimate exists. Grain and sharpness are not checked for print films. See the Eastman EXR Color Print Film 5386 film details.

Agfa CP30 Colour Print Film

Character. Agfa-Gevaert’s colour print film for projection prints, processed in ECP-2 (including the ECP-2E variant). It is coated on a 120 µm Gevar polyester base, with an antihalation layer between the emulsion and the base instead of rem-jet, and has a tungsten printing balance. Blacks reach about 3.78 to 3.95 density where the printed curves end. It is the default print for the three Agfacolor negatives. The sheet gives laboratory aims of Status A R 1.15, G 1.05, B 1.05 for a xenon balance.

Data. Agfa CP30 Colour Print Film product information and technical data (17 October 2011). Characteristic curves, spectral sensitivity, dye density (cyan, magenta and yellow for a neutral at density 3.00) and R/G/B MTF from the sheet, with no cross-check. Its granularity chart has no printed scale and is not used.

Formats. Print films follow the negative’s Format.

Mode. Print only.

Print pairing. Default print for Agfa Agfacolor Portrait XPS 160, Optima II 100 and Ultra 50. It can be chosen for every other negative, colour or black-and-white.

Modelling notes.

The Status A aim densities for printing scene grey. Printed to the sheet’s laboratory aim, scene grey reads slightly green and blue (a* −2.6, b* −1.5), so Ashigrain solves the aim to a visual neutral instead. The sheet’s aim is kept as the reference for the dyes.
The Status A densities of the dye reference neutral. The sheet prints the dyes for a neutral at density 3.00 but not its per-channel Status A densities.
The green MTF is printed as a flat line at about 98 % and is kept as printed.
The printer lamp spectrum. None is in the sources, so Ashigrain uses a 3200K blackbody.
The veiling flare of the projected image, as for the other print films.

Trademarks

Film names are used only to identify the film whose published data each emulation is based on. They are trademarks of their owners: Kodak, Vision, Vision2, Vision3, Ektachrome, Kodachrome, Portra, T-Max, Tri-X, Eastman, Double-X, Ektar, EXR, Aerocolor and Aerochrome (Eastman Kodak Company; the Portra 800, T-Max P3200 and Ektar 100 datasheets are published by Kodak Alaris, which uses the Kodak marks under licence); Fujifilm, Eterna, Velvia, Fujichrome and Astia (FUJIFILM Corporation); Agfa, Agfachrome and Agfacolor (Agfa-Gevaert AG; the Agfa CP30 print film is a product of Agfa-Gevaert N.V.); Ilford (HARMAN technology Limited, also for Ortho Plus); Foma and Fomapan (FOMA BOHEMIA); Polaroid and Polacolor (Polaroid Corporation). Svema is named only to identify the Svema films, DS-5M is named only to identify the DS-5M film, NK-2 is named only to identify the NK-2 film, and Technicolor is named only to identify the Technicolor process; no source names the owner of these trademarks, which belong to their respective owners. Ashigrain is not affiliated with or endorsed by any of them.

Film guide

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Formats

Modes

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Data

Modelling notes

Datasheet checks

Natural

Kodak Vision3 50D

Kodak Vision3 500T

Kodak Portra 800

Fujifilm Pro 400H

Kodak Vision2 Expression 500T

Fujifilm Astia 100F

Agfa Agfachrome RSX II 100

Agfa Agfacolor Portrait XPS 160

Agfa Agfacolor Optima II 100

Kodak Vision3 250D

Kodak Vision3 200T

Fujifilm Eterna 250D

Fujifilm Eterna 500

Vivid & saturated

Fujifilm Eterna Vivid 500

Kodak Kodachrome 64

Fujifilm Velvia 50

Agfa Agfacolor Ultra 50

Kodak Ektar 100

Kodak Ektachrome 100D

Vintage & odd

Rem-jet removed: an option, not a film

Kodak Ektachrome P1600

Svema LN-9

Eastman Color Negative 5247

Fujifilm Fujichrome 64T Type II

Kodak Aerocolor IV 2460

DS-5M

Black & white

Eastman Double-X 5222

Kodak Tri-X Reversal 7266

Kodak T-Max P3200

Fomapan R 100

Ilford Ortho Plus

NK-2

Experimental

Polaroid Type 669

Fujifilm FP-100C

Kodak Aerochrome III 1443

Technicolor Process II

Print film

Kodak Vision Color Print Film 2383

Fujifilm Eterna-CP 3513DI

Kodak B&W Print Film 2302

Svema TsP-8R

Kodak Vision Premier Color Print Film 2393

Eastman EXR Color Print Film 5386

Agfa CP30 Colour Print Film

Trademarks