AshigrainColour print · Print film
Fujicolor Positive F-CP 3510
Fujifilm's SUPER F print for Fujicolor negatives.
Fujifilm's SUPER F print, modelled from its own data sheet: rich gradation, natural skin tones and neutral blacks. Original vs Ashigrain.
At a glance
- Introduced
- by 2003
- Discontinued
- Process
- ECP-2B
- Maximum density
- ≈ 3.8
- Base
- Polyester
About the film
Fujicolor Positive F-CP 3510 was a colour print film of Fujifilm's SUPER F series, coded 3510 in 35 mm and 3610 in 16 mm, with 70 mm also listed on its data sheet.
Its data sheet is dated 2003, and Fujifilm's Japanese line-up page, which had listed the F-CP print film as 3519 in 2001 and 2002, gave it as 3510 by June 2004. By October 2006 Fujifilm's global product page presented it with rich gradation, natural skin tones and more neutral blacks. It was coated on polyester and processed in ECP-2B, and Fujifilm gave printing set-ups for Fujicolor negatives on additive printers such as the Bell & Howell Model C. For an 18 per cent grey card Fujifilm aimed at Status A densities of 1.10 red, 1.05 green and 1.05 blue. Its characteristic curves were exposed to a 2854 K tungsten lamp through colour-correction and ultraviolet filters and read in Status A, and the sheet prints no RMS granularity. In Fujifilm's last print range, listed in its 2011 manual, the Eterna-CP films 3512, 3514DI and 3523XD had taken its place. Fujifilm ended all motion-picture film production on 31 March 2013.
Sources for this history
- FUJICOLOR POSITIVE FILM F-CP 35mm Type 3510 / 16mm Type 3610 (KB-301E), FUJIFILM Corporation
- 映画用フィルム 製品一覧 (archived June 2004), FUJIFILM Corporation
- F-CP TYPE3510, FUJIFILM Corporation
- Motion Picture Film Manual (KB-0707E), FUJIFILM Corporation
- Announcement on Motion Picture Film Business of Fujifilm, FUJIFILM Corporation
- Discontinued Films, FUJIFILM Corporation
- Motion Picture Film Manual KB-1101E, FUJIFILM Corporation
The look
Fujicolor Positive F-CP 3510 is a colour release-print film from Fujifilm's SUPER F series, on polyester base and processed in ECP-2B. Fujifilm described rich gradation, natural skin tones and more neutral blacks. Its curves, dyes and sensitivity come from Fujifilm's own data sheet.
Best for
- Printing Fujifilm Eterna negatives
- Natural skin tones in release-print looks
- Comparing Fuji F-CP with Kodak 2383
Compare print films
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between blue-green and red-orange: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the reds and greens print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the red neon and skin print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between a blue and a red dye: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Kodak Vision3 500T night frame, printed on each film.
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Science & sources
A colour print film, shown after Fujifilm Eterna 500. The result combines the response of the negative and the print. Its characteristic curves, spectral sensitivity, dye densities and CTF are digitised from Fujifilm's own data sheet; no quantity is borrowed from another film.
Response curves and the evidence behind the model
Compare manufacturer data with Ashigrain’s response on the same axes. These curves show how the model is calibrated to its sources; they do not establish a match to photographed film.
Characteristic response
Model limits
These images show the film model in use. Spectral response, lighting and viewing conditions include approximations. Halation, bloom, grain size, weave and flicker are not fully measured for each film. The look of real film also depends on development and print timing.
- The characteristic curves use a relative exposure axis: the sheet prints only a 0.5 log H scale bar, and the green and blue curves are printed shifted by 1.0 log H. Their absolute exposure is not specified.
- No RMS granularity is published for this film.
- The spectral sensitivities leave a gap between 575 and 625 nm, and the separate dye curves stop short of 700 nm; only the grey curve covers 400–700 nm.
- The source gives printer exposure conditions but no lamp or filter spectra. Their spectral response is approximated.
- The data sheet is read from an archived copy.
- The available sources do not measure veiling flare during projection. The model approximates its contribution to lifted blacks on screen, so the result is not a measured projection contrast.
Reciprocity: not modelled. Exposure time has no effect on this film.
Film guide: assumptions and practical choices
This preview combines the print film with the named camera negative. In this comparison, the print has no separate exposure index or measured grain response.
Sources
- Characteristic curves: FUJICOLOR POSITIVE FILM F-CP (35mm Type 3510 / 16mm Type 3610) data sheet, Ref. No. KB-301E, p. 1
- Process: FUJIFILM Motion Picture Film Manual, Ref.No.KB-0707E, p. 26