AshigrainColour print · Print film
Fujifilm Eterna-CP 3512
Fujifilm's last general release print, with more contrast.
One of Fujifilm's last release prints, modelled entirely from its own 2010 data sheet: natural, balanced colour with markedly more contrast. Original vs Ashigrain.
At a glance
- Introduced
- by 2010
- Discontinued 2013
- Process
- ECP-2B
- Maximum density
- ≈ 3.7
- Base
- Polyester
About the film
Fujicolor Positive Film Eterna-CP 3512 was a colour print film for release prints, coded 3512 in 35 mm and 3612 in 16 mm and coated on polyester.
Its data sheet is dated 2010, and it does not appear in Fujifilm's 2007/2008 motion-picture manual, which listed the F-CP print film, Eterna-CP 3513DI and Eterna-CP 3521XD. Fujifilm's earlier general print film had been F-CP 3510. In Fujifilm's 2011 manual it sat beside Eterna-CP 3514DI and Eterna-CP 3523XD in the company's last print line-up. The 2010 sheet gives ECP-2B processing, while the 2011 manual names ECP-2D and ECP-2E. Fujifilm aimed it at Status A densities of 1.10 red, 1.05 green and 1.05 blue for an 18 per cent grey card under xenon projection, and the sheet prints no RMS granularity. Fujifilm ended all its motion-picture film production, colour positive included, on 31 March 2013. Its 2013 list of discontinued films named Eterna-CP 3512 and summed it up as natural, well-balanced colour with much greater contrast.
Sources for this history
- FUJICOLOR POSITIVE FILM ETERNA-CP 35mm Type 3512 / 16mm Type 3612 (KB-1002E), FUJIFILM Corporation
- Motion Picture Film Manual KB-1101E, FUJIFILM Corporation
- Motion Picture Film Manual (KB-0707E), FUJIFILM Corporation
- Announcement on Motion Picture Film Business of Fujifilm, FUJIFILM Corporation
- Fujifilm, Film and Digital Times
- Discontinued Films, FUJIFILM Corporation
The look
Fujifilm Eterna-CP 3512 was one of Fujifilm's last colour release-print films, on polyester base. Fujifilm summed it up as natural, well-balanced colour with greatly enhanced contrast. Its curves, dyes and sensitivity come from Fujifilm's own data sheet.
Best for
- Printing Fujifilm Eterna negatives
- Punchy late-era release-print contrast
- Comparing Eterna-CP 3512 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.
- Kodak Vision Premier Color Print Film 2393
- Eastman Color SP Print Film 5383
- Eastman Color Print Film 5384
- Fujifilm Eterna-CP 3521XD
- Du Pont Color Release Positive Type 275
- Fujifilm Eterna-CP 3523XD
- Kodak Vision Color Print Film 2383
- Fujifilm Eterna-CP 3513DI
- Eastman EXR Color Print Film 5386
- Eastman Color Print Film 5381 (1972)
- Eastman Color Print Film 5385
- Agfa CP30 Colour Print Film
- SuperCinecolor
- Cinecolor (two-colour)
- Gevacolor Positive 953
- Gevacolor Print 9.85
- Gevacolor Print 986
- Gevacolor Print 982
- Ferraniacolor Positive
- 3M Color Positive 650
- Fujicolor Positive F-CP 3510
- Fujicolor Positive F-CP 3519
- Fujifilm Eterna-CP 3512
- Eastman Color Print 5381 (1950)
- Eastman Fine Grain Release Positive 5302
- Ansco Color Print 848
- Kodak B&W Print Film 2302
- Svema TsP-11
- Svema MZ-3
- ORWO PF 2 Positive Print Film
- Technicolor Dye Transfer (1997 revival)
- Svema TsP-8R
- Shostka Colour Positive (1950s)
- Technicolor Dye Transfer (Process IV)
- Gasparcolor Print
- Trucolor Print (two-colour)
- Kodak Vision Color Teleprint Film 2395
Science & sources
A colour print film, shown after Fujifilm Eterna 250D. 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 2010 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 640 nm. The separate dye curves do not cover 400–700 nm (cyan from about 490 nm, magenta to about 648 nm, yellow to about 697 nm); only the grey curve does.
- The source prints no printer-conditions table and no lamp or filter spectra. The printer's 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 ETERNA-CP 3512 (35mm Type 3512 / 16mm Type 3612) data sheet, Ref. No. KB-1002E (SK•10•05•F1079), p. 1
- Process: FUJICOLOR POSITIVE FILM ETERNA-CP 3512 (35mm Type 3512 / 16mm Type 3612) data sheet, Ref. No. KB-1002E (SK•10•05•F1079), p. 2