AshigrainColour print · Print film
Kodak Vision Premier Color Print Film 2393
Kodak's premium print, with blacks past 5.0.
Kodak's premium print: blacks reaching about 5.3 to 5.5 Status A density, deeper than 2383's, and a more contrasty projected image. Original vs Ashigrain.
At a glance
- Introduced
- 1998
- Discontinued
- Process
- ECP-2B
- Maximum density
- ≈ 5.5
- Base
- Polyester
About the film
Vision Premier 2393 was Kodak’s answer to filmmakers who wanted more punch from a print: Kodak’s survey before launch found a sizeable group asking for more saturated colour, and Premier was designed for them while Vision 2383 served the rest.
Kodak unveiled the pair on 16 September 1998 at the Directors Guild theatre in Hollywood, after field tests under the code names “Clipper One” and “Clipper Two”. Its project manager, David Niklewicz, said Premier was designed to reach a maximum density above 5.0, against about 3.8 to 4.0 for the standard Vision print. American Cinematographer reported that Russell Carpenter used it that year for the release prints of The Negotiator, saying it brought back the blacks and pulled two slightly underexposed shots into line. Stephen Burum had eleven show prints of Brian De Palma’s Snake Eyes made on Premier for harder contrast, and the same magazine reported that Deluxe released Great Expectations on it. In February 2003 four Kodak scientists, Leslie Gutierrez, Diane Kestner, James Merrill and David Niklewicz, received an Academy Scientific and Engineering Award for designing and developing the film. Like 2383, it was coated on an Estar polyester base without rem-jet, and it was processed in ECP-2B. Kodak discontinued it in 2012, and in 2016 the cinematographer David Mullen wrote that 2383 was the only colour print stock left.
Sources for this history
- New Products: Kodak's Expanding "Vision" (American Cinematographer, November 1998), American Society of Cinematographers
- Chronology of Film, Eastman Kodak Company
- Scientific & Technical Awards 2003, Academy of Motion Picture Arts and Sciences
- KODAK VISION Premier Color Print Film / 2393, Eastman Kodak Company
- KODAK VISION Premier Color Print Film 2393 Technical Data, Eastman Kodak Company
- The Magic of Hard Lighting for The Love Witch, American Society of Cinematographers
- Kodak preems new films, Variety
Shot on Kodak Vision Premier Color Print Film 2393
Snake Eyes
Burum had the show prints made on Vision Premier to build harder contrast and deeper blacks into the projected image.
The look
Kodak Vision Premier Color Print Film 2393 was Kodak's premium colour print film, made from 1998 for releases and show prints that wanted more punch. Its blacks reach about 5.3 to 5.5 Status A density, deeper than 2383's, with more saturated colour. Any negative, colour or black-and-white, can print on it.
Kodak 2383 vs Kodak 2393, side by side: the premium print's deeper blacks and stronger contrast.
Deep shadows on Kodak's premium print: dense blacks and contrasty projection.
Best for
- Low-key scenes with deep blacks
- Saturated, high-contrast show-print looks
- Contrasty night exteriors
Among the prints
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 Kodak Vision3 500T night frame, printed on each film.
Science & sources
A premium colour print film, shown after Kodak Vision3 500T. The result combines the response of the negative and the print.
Response curves and the evidence behind the model
Compare manufacturer data with the Ashigrain model on the same axes. This shows the calibration to source curves; comparison with photographed film is a separate question.
Characteristic response
Model limits
These images show the film model in use. Spectral response, lighting and viewing conditions include approximations, while halation, bloom, grain size, weave and flicker are not fully measured for each film. A real film capture also depends on development and print timing.
- The Status A grey aim is assumed: the source does not publish the laboratory aim densities needed to print scene grey.
- The source gives printer exposure conditions but no lamp or filter spectra. Their spectral response is approximated.
- Modelled projection flare raises screen blacks. Its strength is assumed because the available sources do not measure it, so it does not establish measured projection contrast.
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
- Process: KODAK VISION Premier Color Print Film 2393 Technical Data, H-1-2393t, p. 3
- Characteristic curves: KODAK VISION Premier Color Print Film 2393 Technical Data, H-1-2393t, p. 5