AshigrainColour print · Print film
Kodak Vision Color Teleprint Film 2395
Kodak's low-contrast print made for telecine.
Kodak Vision Teleprint 2395, a low-contrast print made for telecine transfer, printed from Kodak Vision3 500T. Original vs Ashigrain.
At a glance
- Introduced
- c. 1999
- Discontinued
- Process
- ECP-2B
- Maximum density
- ≈ 2.4
- Base
- Polyester
About the film
Kodak Vision Color Teleprint Film 2395, coded 2395 and 3395, is a low-contrast colour print film.
Kodak made it for contact or optical prints from camera negatives, duplicate negatives and internegatives. Kodak matched its tone scale to telecine transfer. It dates from c. 1999, and Kodak's earliest sheet for it is dated September 1999. It is coated on Kodak's ESTAR polyester base. In place of rem-jet it has a process-surviving backing that is antistatic and scratch-resistant. Its antihalation layer is made of solid-particle dyes that are removed in processing. It was made by Eastman Kodak Company and has since been discontinued.
Sources for this history
- KODAK VISION Color Teleprint Film 2395 / 3395 Technical Data (H-1-2395t, September 1999), Eastman Kodak Company
- Kodak Vision Color Teleprint Film 2395, Timeline of Historical Film Colors, University of Zurich
- Chronology of Film, Eastman Kodak Company
The look
Kodak Vision Color Teleprint Film 2395 is a low-contrast colour print film whose tone scale is matched to telecine transfer. It is processed in ECP-2B on an ESTAR base without rem-jet, and is printed to a grey meant for telecine.
Best for
- Film-to-video transfer looks
- Soft, low-contrast print rendering
- Comparing 2395 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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- Eastman Color SP Print Film 5383
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- 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
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- Gevacolor Positive 953
- Gevacolor Print 9.85
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- Ferraniacolor Positive
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- Fujicolor Positive F-CP 3510
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- 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)
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- Gasparcolor Print
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- Kodak Vision Color Teleprint Film 2395
Science & sources
A low-contrast colour print film for telecine transfer, 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 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 are printed only from log H −0.55 to 2.25; the response outside that range is extrapolated.
- The sheet labels several of its datasets as similar to those of the print films 5381/2381 or 2383, so those data may not be specific to 2395.
- Scene grey is printed to the sheet's laboratory aim (1.09, 1.06, 1.03), a 1.00 visual grey for prints intended for telecine. The telecine transfer itself is not modelled.
- 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
- Process: KODAK VISION Color Teleprint Film 2395 / 3395 Technical Data, H-1-2395t, New 9-99, p. 3
- Characteristic curves: KODAK VISION Color Teleprint Film 2395 / 3395 Technical Data, H-1-2395t, New 9-99, p. 6