AshigrainColour print · Print film
Fujifilm Eterna-CP 3521XD
Fujifilm's crisp-black print for film and digital originals.
Fujifilm Eterna-CP 3521XD, printed from Fujifilm Eterna 500. Original vs Ashigrain.
At a glance
- Introduced
- by 2007
- Discontinued
- Process
- ECP-2B
- Maximum density
- ≈ 4.8
- Base
- Polyester
About the film
Fujicolor Positive Film Eterna-CP 3521XD is a colour print film, made in 35 mm as Type 3521XD by FUJIFILM Corporation.
Fujifilm presented it as a new generation of print film, with crisp blacks and shadow detail from film or digital originals, including high-definition video and computer graphics. The film existed by 2007: no source read dates its launch, and the earliest dated evidence is Fujifilm's product page for it, archived in September 2007. Fujifilm's 2007 line-up placed it beside the print films F-CP 3510 and Eterna-CP 3513DI. Fujifilm's Motion Picture Film Manual gives it a section of its own. In September 2012 Fujifilm announced that colour positive film was among the motion-picture products whose sale would end. Fujifilm's list of discontinued films of April 2013 names Eterna-CP 3523XD but not 3521XD, so the end of 3521XD is not dated.
Sources for this history
- ETERNA-CP 3521XD, 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 3521XD is a colour print film on a polyester base, processed in ECP-2B without rem-jet, with blacks reaching about 4.4 to 4.8 Status A density. Its curves are its own, but its spectral sensitivity and dyes are borrowed from Eterna-CP 3523XD.
Best for
- Crisp blacks from digital originals
- Fuji-on-Fuji printing
- Comparing 3521XD with 3523XD
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 for Fuji-on-Fuji printing, shown after Fujifilm Eterna 500. Its characteristic curves are digitised from Fujifilm's manual; its spectral sensitivity and dyes come from Eterna-CP 3523XD, because no 3521XD spectral chart survives.
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.
- No spectral-sensitivity or dye chart survives for 3521XD. Both are taken unchanged from Fujifilm Eterna-CP 3523XD, a family proxy rather than this film's own data.
- The Status A grey aim is assumed: the sheet's printing aim (1.10, 1.05, 1.05) is recorded, but its dyes carry no stated normalisation, so the model prints scene grey to a neutral mid-density.
- 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 contrast transfer function or granularity is printed for this film.
- The source gives no printer lamp or filter spectra. Their spectral response is approximated.
- 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: FUJIFILM Motion Picture Film Manual, Ref.No.KB-0707E, p. 30
- Process: FUJIFILM Motion Picture Film Manual, Ref.No.KB-0707E, p. 30