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Colour negative · Natural

Kodak Vision3 200T

Wes Anderson's colour stock, fine-grained at 200.

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Planned media

Fine grain at 200 speed in soft exterior light, printed on Kodak 2383. Original vs Ashigrain.

Kodak Vision3 200T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 200T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)
Exposure index
200
Tungsten
Introduced
2010
In production
Process
ECN-2
Prints on
2383
Kodak Vision Color Print Film 2383

About the film

Robert Yeoman shot every colour scene of Wes Anderson's The French Dispatch (2021) on Vision3 200T, rating it at 200 and shooting daylight without an 85 filter, and used it again for the colour scenes of Asteroid City (2023).

It is a tungsten-balanced colour camera negative from Eastman Kodak Company, coded 5213 in 35 mm and 65 mm and 7213 in 16 mm and Super 8, and processed in ECN-2. Kodak introduced it in 2010, when it joined the Vision3 family after 500T and 250D and before 50D, and its data sheet presented it as a 200-speed film with the image structure of a 100-speed one. Its Vision2 predecessor at this speed was 200T 5217, which Matthew Libatique remembered fondly before choosing 5213 for the daytime colour scenes of Maestro (2023). Drew Daniels paired it with Vision3 500T on Sean Baker's Anora (2024), shooting it uncorrected so the second half of the film turned colder. On Saltburn (2023) Linus Sandgren kept it for overcast and misty days, overexposing it for the foggy exteriors. For Aftersun (2022) Gregory Oke chose it alongside 500T, with a half-correction 81EF filter on the 200T in bright daylight. In August 2025 Kodak announced that all Vision3 negatives, 200T included, would swap the rem-jet backing for an anti-halation undercoat, with sensitometry and processing unchanged.

Sources for this history
  1. KODAK VISION3 200T Color Negative Film 5213 / 7213 / SO-213 (May 2010), Eastman Kodak Company
  2. KODAK VISION3 200T Color Negative Film 5213 / 7213 Technical Data, Eastman Kodak Company
  3. KODAK Motion Picture Products Price Catalog for the United States (effective 28 August 2026), Eastman Kodak Company
  4. Chronology of Film, Eastman Kodak Company
  5. KODAK VISION3 AHU Camera Negative Films: Talking points for Filmmakers, Eastman Kodak Company
  6. Kodak Enhances Vision3, American Society of Cinematographers
  7. The French Dispatch: La Vie Littéraire, American Society of Cinematographers
  8. DP Robert Yeoman used Kodak color and B&W 35mm filmstocks for director Wes Anderson's 'The French Dispatch', Eastman Kodak Company
  9. DP Robert Yeoman ASC used KODAK 35mm color/B&W film to deliver a striking result on Wes Anderson's 'Asteroid City', Eastman Kodak Company
  10. DP Matthew Libatique, ASC, LPS harnessed KODAK 35mm B&W/color filmstocks for 'Maestro,' Bradley Cooper's intimate biopic of Leonard Bernstein, Eastman Kodak Company
  11. Anora Ignites Bride War, American Society of Cinematographers
  12. Shooting on KODAK 35mm film, DP Drew Daniels summoned a spirit of the '70s for Sean Baker's Cannes-winning tragi-comedy 'Anora', Eastman Kodak Company
  13. DP Linus Sandgren ASC FSC delivers a piece of art for Emerald Fennell's surprising dark satire 'Saltburn' using Kodak 35mm film, Eastman Kodak Company
  14. Saltburn: Weaving a Web of Obsession, American Society of Cinematographers
  15. DP Gregory Oke captured the color of memory on 35mm for Charlotte Wells' award-winning 'Aftersun', Eastman Kodak Company

Shot on Kodak Vision3 200T

The look

Kodak Vision3 200T is a tungsten-balanced colour negative rated EI 200, which Kodak pitches as 200-speed flexibility with the image structure of a 100-speed film. Cinematographers use it for day interiors and overcast exteriors, and uncorrected in daylight for a cooler cast. It prints on Kodak 2383 by default.

Planned media

A mixed-light interior on a tungsten-balanced negative.

Kodak Vision3 200T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 200T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Planned media

Tungsten skin tones on the Kodak 2383 print.

Kodak Vision3 200T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 200T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Best for

  1. Overcast and misty exteriors
  2. Daylight interiors by windows
  3. Uncorrected daylight for a cool cast

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−3⅔ stops vs Kodak Vision3 200T · grain coarserEI 16−3⅔ stops.0201922
DS-5MDS-5M−2⅓ stops vs Kodak Vision3 200T · grain finerEI 40−2⅓ stops.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−2⅓ stops vs Kodak Vision3 200T · grain coarserEI 40−2⅓ stops.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · −2 stops vs Kodak Vision3 200T · grain finerEI 50−2 stops.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · −2 stops vs Kodak Vision3 200T · grain coarserEI 50−2 stops.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50−2 stops vs Kodak Vision3 200T · grain finerEI 50−2 stops.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · −1⅔ stops vs Kodak Vision3 200T · grain coarserEI 64−1⅔ stops.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II−1⅔ stops vs Kodak Vision3 200T · grain coarserEI 64−1⅔ stops.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · −1⅓ stops vs Kodak Vision3 200T · grain coarserEI 80−1⅓ stops.0151997–
Polaroid Type 669Polaroid Type 669−1⅓ stops vs Kodak Vision3 200T · grain coarserEI 80−1⅓ stops.0241981
Svema LN-9Svema LN-9−1 stop vs Kodak Vision3 200T · grain the sameEI 95−1 stop.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · −1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100−1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100−1 stop vs Kodak Vision3 200T · grain finerEI 100−1 stop.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · −1 stop vs Kodak Vision3 200T · grain finerEI 100−1 stop.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · −1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · −1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0221980–
NK-2NK-2−1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · −1 stop vs Kodak Vision3 200T · grain coarserEI 100−1 stop.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247−⅔ stop vs Kodak Vision3 200T · grain finerEI 125−⅔ stop.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160−⅓ stop vs Kodak Vision3 200T · grain the sameEI 160−⅓ stop.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · this filmEI 200this film.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · same speed vs Kodak Vision3 200T · grain coarserEI 200same speed.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · +⅓ stop vs Kodak Vision3 200T · grain the sameEI 250+⅓ stop.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · +⅓ stop vs Kodak Vision3 200T · grain finerEI 250+⅓ stop.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · +⅓ stop vs Kodak Vision3 200T · grain coarserEI 250+⅓ stop.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · +⅓ stop vs Kodak Vision3 200T · grain coarserEI 250+⅓ stop.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · +1 stop vs Kodak Vision3 200T · grain finerEI 400+1 stop.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · +1⅓ stops vs Kodak Vision3 200T · grain the sameEI 500+1⅓ stops.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T+1⅓ stops vs Kodak Vision3 200T · grain coarserEI 500+1⅓ stops.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · +1⅓ stops vs Kodak Vision3 200T · grain finerEI 500+1⅓ stops.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · +1⅓ stops vs Kodak Vision3 200T · grain finerEI 500+1⅓ stops.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +2 stops vs Kodak Vision3 200T · grain coarserEI 800+2 stops.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +2 stops vs Kodak Vision3 200T · grain coarserEI 800+2 stops.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600+3 stops vs Kodak Vision3 200T · grain coarserEI 1600+3 stops.0381999

Science & sources

Kodak Vision3 200T calibration chart: OriginalKodak Vision3 200T 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 +0.57 stops to match the original's mid-grey, frame 0.

A tungsten-balanced colour negative with an exposure index of 200. Compare its finer grain with Vision3 500T 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
R0.30.0083840.008668
G0.30.008850.009164
B0.30.0193630.019963
R0.60.0061740.006383
G0.60.0078130.00809
B0.60.014640.015094
R10.0052060.005382
G10.0063810.006608
B10.0153850.015862
R1.50.0049820.005151
G1.50.0063870.006614
B1.50.015380.015857
G20.0047930.004963
B20.0123650.012748

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.
  • A 3200 K tungsten source is specified as the design light. Its spectrum and the conversion filter’s transmission are approximated because the source supplies no spectrum.
  • The 85 conversion filter's spectral transmission is modelled. The source does not calibrate push/pull or interactions between layers.
  • 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 200T Color Negative Film 5213 / 7213 Technical Data, H-1-5213t, p. 1
  2. Process: KODAK VISION3 200T Color Negative Film 5213 / 7213 Technical Data, H-1-5213t, p. 2
  3. Characteristic curves: KODAK VISION3 200T Color Negative Film 5213 / 7213 Technical Data, H-1-5213t, p. 4
  4. Diffuse RMS granularity: KODAK VISION3 200T Color Negative Film 5213 / 7213 Technical Data, H-1-5213t, p. 4
  5. Granularity density: KODAK VISION3 200T Color Negative Film 5213 / 7213 Technical Data, H-1-5213t, p. 4

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