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Colour negative · Natural

Kodak Vision3 50D

Kodak's finest cine grain, for blazing daylight.

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Planned media

Clean, bright daylight on the finest-grain Vision3 film: sky highlights roll off instead of clipping, sun on water keeps its sparkle, skin looks natural and the grain stays in the background. Original vs Ashigrain.

Kodak Vision3 50D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 50D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)
Exposure index
50
Daylight
Introduced
2011
In production
Process
ECN-2
Prints on
2383
Kodak Vision Color Print Film 2383

About the film

Kodak presents Vision3 50D as its finest-grain motion-picture camera negative, aimed at high-contrast daylight exteriors.

Kodak introduced it in 2011, when it became the fourth colour negative in the Vision3 family after 500T, 250D and 200T, and its announcement compared it with the earlier Vision2 50D. Robbie Ryan used it for the Queen's horse-riding scene in The Favourite (2018) and pulled it two stops, further than he had ever pulled a stock, to soften its strong contrast. Rodrigo Prieto chose it for the Osage ritual scenes of Killers of the Flower Moon (2023) for the clarity of its grain, and said it suited nature and epic landscapes. Linus Sandgren used it for day exteriors on No Time to Die (2021) and Babylon (2022), and in its 16 mm form, 7203, on First Man (2018). It is coded 5203 in 35 mm and 65 mm and 7203 in 16 mm and Super 8, and is processed in ECN-2. Kodak credits the Vision3 dye-layering and sub-micron grain technologies with up to two extra stops of overexposure latitude. In August 2025 Kodak announced that 5203 would move, under the same name, to a structure with an anti-halation undercoat instead of rem-jet, with sensitometry and processing unchanged.

Sources for this history
  1. KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, Eastman Kodak Company
  2. Chronology of Film, Eastman Kodak Company
  3. Kodak launches new daylight stock in VISION3 film family, IF Magazine
  4. Kodak Introduces New Motion Picture Film, IF Magazine
  5. The Essential Reference Guide for Filmmakers, Eastman Kodak Company
  6. KODAK VISION3 AHU Camera Negative Films: Talking points for Filmmakers, Eastman Kodak Company
  7. Kodak Enhances Vision3, American Society of Cinematographers
  8. Introducing KODAK VISION3 Color Negative Films with AHU Technology, Eastman Kodak Company

Shot on Kodak Vision3 50D

The look

Kodak Vision3 50D is a daylight colour negative rated EI 50, with the finest grain of the Vision3 films. Cinematographers use it beside faster stocks for hard sun and wide landscapes, where the grain should vanish. It prints on Kodak 2383 by default.

Planned media

Skin and fine detail at EI 50: smooth tones, crisp texture and almost no visible grain.

Kodak Vision3 50D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 50D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Planned media

Fine texture across the whole frame, with the grain staying in the background: the look of a slow daylight film.

Kodak Vision3 50D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 50D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Best for

  1. Hard midday sun on landscapes
  2. Sunlit architecture and fine texture
  3. Open-shade daylight portraits

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−1⅔ stops vs Kodak Vision3 50D · grain coarserEI 16−1⅔ stops.0201922
DS-5MDS-5M−⅓ stop vs Kodak Vision3 50D · grain the sameEI 40−⅓ stop.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−⅓ stop vs Kodak Vision3 50D · grain coarserEI 40−⅓ stop.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · this filmEI 50this film.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · same speed vs Kodak Vision3 50D · grain coarserEI 50same speed.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50same speed vs Kodak Vision3 50D · grain the sameEI 50same speed.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · +⅓ stop vs Kodak Vision3 50D · grain coarserEI 64+⅓ stop.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II+⅓ stop vs Kodak Vision3 50D · grain coarserEI 64+⅓ stop.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · +⅔ stop vs Kodak Vision3 50D · grain coarserEI 80+⅔ stop.0151997–
Polaroid Type 669Polaroid Type 669+⅔ stop vs Kodak Vision3 50D · grain coarserEI 80+⅔ stop.0241981
Svema LN-9Svema LN-9+1 stop vs Kodak Vision3 50D · grain coarserEI 95+1 stop.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · +1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100+1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100+1 stop vs Kodak Vision3 50D · grain the sameEI 100+1 stop.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · +1 stop vs Kodak Vision3 50D · grain the sameEI 100+1 stop.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · +1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · +1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0221980–
NK-2NK-2+1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · +1 stop vs Kodak Vision3 50D · grain coarserEI 100+1 stop.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247+1⅓ stops vs Kodak Vision3 50D · grain the sameEI 125+1⅓ stops.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160+1⅔ stops vs Kodak Vision3 50D · grain coarserEI 160+1⅔ stops.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · +2 stops vs Kodak Vision3 50D · grain coarserEI 200+2 stops.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · +2 stops vs Kodak Vision3 50D · grain coarserEI 200+2 stops.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · +2⅓ stops vs Kodak Vision3 50D · grain coarserEI 250+2⅓ stops.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · +2⅓ stops vs Kodak Vision3 50D · grain finerEI 250+2⅓ stops.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · +2⅓ stops vs Kodak Vision3 50D · grain coarserEI 250+2⅓ stops.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · +2⅓ stops vs Kodak Vision3 50D · grain coarserEI 250+2⅓ stops.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · +3 stops vs Kodak Vision3 50D · grain finerEI 400+3 stops.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · +3⅓ stops vs Kodak Vision3 50D · grain coarserEI 500+3⅓ stops.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T+3⅓ stops vs Kodak Vision3 50D · grain coarserEI 500+3⅓ stops.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · +3⅓ stops vs Kodak Vision3 50D · grain finerEI 500+3⅓ stops.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · +3⅓ stops vs Kodak Vision3 50D · grain finerEI 500+3⅓ stops.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +4 stops vs Kodak Vision3 50D · grain coarserEI 800+4 stops.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +4 stops vs Kodak Vision3 50D · grain coarserEI 800+4 stops.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600+5 stops vs Kodak Vision3 50D · grain coarserEI 1600+5 stops.0381999

Science & sources

Kodak Vision3 50D calibration chart: OriginalKodak Vision3 50D calibration chart: Processed
Synthetic test chart (grey ramp, ColorChecker, hue sweep, point highlights) before and after the full Ashigrain pipeline: print branch on Kodak Vision Color Print Film 2383, Super 35 4-perf, default controls, exposure +0.61 stops to match the original's mid-grey, frame 0.

A daylight-balanced colour negative with an exposure index of 50. Explore colour and fine density variation through the same scene.

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

Density against log H (lux-seconds) for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are digitised, open markers and dashed lines are simulated: digitised and simulated.−4.0−3.0−2.0−1.00.01.02.0log H (lux-seconds)0.01.02.03.0Density

RMS granularity

RMS granularity (σD) against Density for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are datasheet-based, open markers and dashed lines are simulated: datasheet-based and simulated.0.00.51.01.52.0Density0.00.00250.0050.00750.010.0125RMS granularity (σD)

Density variation (σD) measured through a 48 µm aperture. Where the datasheet gives a single grain value, the response away from that point is an approximation.

ChannelDensityDatasheet-based σDModel σD
R0.30.0054210.005639
G0.30.0054640.005696
B0.30.0094110.009769
R0.60.004720.00491
G0.60.004730.004931
B0.60.0102430.010632
R10.004590.004775
G10.0044040.004591
B10.0082880.008603
R1.50.0034010.003538
G1.50.0048380.005043
B1.50.0080360.008341
G20.0035450.003696

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 model assumes custom lighting spectra, camera metering and the spectral reflectance inferred from fixed-white-balance footage. These inputs are not measurements of the film.
  • The model calculates colour-print timing and scan balance for arbitrary lighting. Scanner colour balance is expressed without a standard physical unit.
  • The prescribed 80A conversion filter's spectral transmission is modelled, not supplied by the datasheet.
  • Where calibration data is missing, the model approximates dye amounts, interactions between layers and push/pull behaviour. Grain size is an assumption: published RMS granularity does not determine dye-cloud size.
  • The characteristic response beyond log H −3.03 to 2.00 is extrapolated. Dye amounts per layer density are not measured.
  • Halation strength, radius and layer weights use modelled values because the datasheet does not quantify them. Removing the antihalation layer and adding bloom also rely on approximations.
  • This preview approximates the printer lamp and filter spectra and the Status A grey target. The source does not provide the spectral data or laboratory target needed to calibrate them.

Film guide: assumptions and practical choices

Sources

  1. Exposure index: KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, H-1-5203t, Revised 7-15, p. 1
  2. Process: KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, H-1-5203t, Revised 7-15, p. 2
  3. Characteristic curves: KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, H-1-5203t, Revised 7-15, p. 4
  4. Diffuse RMS granularity: KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, H-1-5203t, Revised 7-15, p. 4
  5. Granularity density: KODAK VISION3 50D Color Negative Film 5203 / 7203 Technical Data, H-1-5203t, Revised 7-15, p. 4

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