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Colour negative · Natural

Kodak Vision3 250D

The daylight stock behind Oppenheimer's exteriors.

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Planned media

Clean shadows and held highlights as the shot moves from shade into sun, printed on Kodak 2383. Original vs Ashigrain.

Kodak Vision3 250D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 250D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)
Exposure index
250
Daylight
Introduced
2009
In production
Process
ECN-2
Prints on
2383
Kodak Vision Color Print Film 2383

About the film

When Kodak announced Vision3 250D in April 2009, it was the second film of the Vision3 family, bringing the 500T's dye-layering and sub-micron grain technology to a daylight emulsion.

Kodak paired it with 500T so the family had a fast tungsten speed and a medium daylight one, and its 2009 data sheet said it kept the overall look of the Vision2 films. Testing it that spring for the Spanish trade press, cinematographer Tomás Pladevall saw a clear step up in colour from the Vision2 film it followed but little change in grain, and measured about 16 stops on the negative against Kodak's claimed 14. It is coded 5207 in 35 mm and 65 mm and 7207 in 16 mm, and is processed in ECN-2. Rodrigo Prieto made it his main day stock on Killers of the Flower Moon (2023), saying it recorded what was in front of the camera without artifice. Hoyte van Hoytema shot it in 65 mm for the exteriors and brighter day interiors of Oppenheimer (2023), calling 250D and 500T workhorse speeds. Linus Sandgren used it for the midday exteriors of La La Land (2016), rated at EI 100 and pulled a stop, and again on First Man (2018) and Babylon (2022). In August 2025 Kodak announced that 5207 would move, under the same name, to a structure without rem-jet that uses an anti-halation undercoat, with sensitometry and processing unchanged.

Sources for this history
  1. KODAK VISION3 250D Color Negative Film 5207 / 7207 Technical Data, Eastman Kodak Company
  2. Kodak Introduces New Motion Picture Film, Animation World Network (Kodak press release)
  3. Vision3 250D: nueva película de Kodak de sensibilidad media para luz día, Panorama Audiovisual
  4. Kodak Introduces New Motion Picture Film, IF Magazine
  5. Introducing KODAK VISION3 Color Negative Films with AHU Technology, 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

Shot on Kodak Vision3 250D

The look

Kodak Vision3 250D is a daylight colour negative rated EI 250, the medium-speed partner to Vision3 500T. It keeps shadows clean and holds about two extra stops of highlight detail, so a shot can follow action from shade into bright sun. It prints on Kodak 2383 by default.

Planned media

Soft daylight colour with natural skin on the Kodak 2383 print.

Kodak Vision3 250D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 250D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Planned media

Window light indoors on a medium-speed daylight negative.

Kodak Vision3 250D, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 250D
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Best for

  1. Overcast and late-afternoon exteriors
  2. Bright day interiors by window light
  3. Action moving from shade into sun

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−4 stops vs Kodak Vision3 250D · grain coarserEI 16−4 stops.0201922
DS-5MDS-5M−2⅔ stops vs Kodak Vision3 250D · grain finerEI 40−2⅔ stops.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−2⅔ stops vs Kodak Vision3 250D · grain coarserEI 40−2⅔ stops.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · −2⅓ stops vs Kodak Vision3 250D · grain finerEI 50−2⅓ stops.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · −2⅓ stops vs Kodak Vision3 250D · grain coarserEI 50−2⅓ stops.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50−2⅓ stops vs Kodak Vision3 250D · grain finerEI 50−2⅓ stops.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · −2 stops vs Kodak Vision3 250D · grain coarserEI 64−2 stops.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II−2 stops vs Kodak Vision3 250D · grain coarserEI 64−2 stops.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · −1⅔ stops vs Kodak Vision3 250D · grain coarserEI 80−1⅔ stops.0151997–
Polaroid Type 669Polaroid Type 669−1⅔ stops vs Kodak Vision3 250D · grain coarserEI 80−1⅔ stops.0241981
Svema LN-9Svema LN-9−1⅓ stops vs Kodak Vision3 250D · grain the sameEI 95−1⅓ stops.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · −1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100−1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100−1⅓ stops vs Kodak Vision3 250D · grain finerEI 100−1⅓ stops.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · −1⅓ stops vs Kodak Vision3 250D · grain finerEI 100−1⅓ stops.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · −1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · −1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0221980–
NK-2NK-2−1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · −1⅓ stops vs Kodak Vision3 250D · grain coarserEI 100−1⅓ stops.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247−1 stop vs Kodak Vision3 250D · grain finerEI 125−1 stop.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160−⅔ stop vs Kodak Vision3 250D · grain the sameEI 160−⅔ stop.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · −⅓ stop vs Kodak Vision3 250D · grain the sameEI 200−⅓ stop.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · −⅓ stop vs Kodak Vision3 250D · grain coarserEI 200−⅓ stop.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · this filmEI 250this film.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · same speed vs Kodak Vision3 250D · grain finerEI 250same speed.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · same speed vs Kodak Vision3 250D · grain coarserEI 250same speed.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · same speed vs Kodak Vision3 250D · grain coarserEI 250same speed.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · +⅔ stop vs Kodak Vision3 250D · grain finerEI 400+⅔ stop.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · +1 stop vs Kodak Vision3 250D · grain the sameEI 500+1 stop.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T+1 stop vs Kodak Vision3 250D · grain coarserEI 500+1 stop.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · +1 stop vs Kodak Vision3 250D · grain finerEI 500+1 stop.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · +1 stop vs Kodak Vision3 250D · grain finerEI 500+1 stop.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +1⅔ stops vs Kodak Vision3 250D · grain coarserEI 800+1⅔ stops.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +1⅔ stops vs Kodak Vision3 250D · grain coarserEI 800+1⅔ stops.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600+2⅔ stops vs Kodak Vision3 250D · grain coarserEI 1600+2⅔ stops.0381999

Science & sources

Kodak Vision3 250D calibration chart: OriginalKodak Vision3 250D 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 +0.65 stops to match the original's mid-grey, frame 0.

A daylight-balanced colour negative with an exposure index of 250. Compare its response through the Kodak 2383 print stage.

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.0.00.51.01.52.0Density0.00.0050.010.0150.02RMS 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
R0.30.009010.009316
G0.30.0087720.009083
B0.30.0157260.016213
R0.60.0069030.007137
G0.60.0072740.007532
B0.60.0124360.012821
R10.0053710.005553
G10.0063040.006528
B10.0133810.013796
R1.50.004580.004735
G1.50.0068850.007129
B1.50.0118780.012246
G20.0052460.005432

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.
  • Characteristic response outside the published exposure range is an extrapolation, not measured film data.
  • 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 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 1
  2. Process: KODAK VISION3 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 2
  3. Characteristic curves: KODAK VISION3 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 3
  4. Diffuse RMS granularity: KODAK VISION3 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 3
  5. Diffuse RMS granularity: KODAK VISION3 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 4
  6. Granularity density: KODAK VISION3 250D Color Negative Film 5207 / 7207 / SO-207 Technical Data, H-1-5207t, p. 4

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