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Colour negative · Natural

Kodak Vision3 500T

Night stock of La La Land and Anora.

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Planned media

The modern cinema night look on Ashigrain's default film: warm practicals with a thin red halation rim, saturated neon and organic grain in the dark areas. Original vs Ashigrain.

Kodak Vision3 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)
Exposure index
500
Tungsten
Introduced
2007
In production
Process
ECN-2
Prints on
2383
Kodak Vision Color Print Film 2383

About the film

Vision3 500T was the first film of Kodak's Vision3 family, introduced by Kodak in 2007, and the family later added 250D, 200T and 50D. It followed the Vision2 generation, and Kodak says it developed the Vision line with advice from cinematographers who wanted finer grain and more exposure latitude.

Kodak credits dye-layering technology with lower shadow grain and sub-micron grains with about two extra stops of highlight latitude, and designed the film for scanning as well as printing. Cinematographers bend it both ways: Linus Sandgren rated it at EI 200 and had it pulled a stop for La La Land (2016), while Darius Khondji pushed it a stop as the only film stock of Uncut Gems (2019). Robbie Ryan pushed it by up to two stops for the night scenes of The Favourite (2018), some lit by about half a dozen candles in a large hall. Sandgren later shot the lunar surface of First Man (2018) on 65 mm IMAX 5219 and most of No Time to Die (2021) on it, and Drew Daniels paired it with 200T on Anora (2024). It is coded 5219 in 35 mm and 65 mm and 7219 in 16 mm and Super 8, made in Rochester, New York, and processed in ECN-2. In August 2025 Kodak announced a structure without rem-jet for all Vision3 negatives, using an anti-halation undercoat beneath the emulsion, with sensitometry and processing unchanged.

Sources for this history
  1. KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, Eastman Kodak Company
  2. Chronology of Film, Eastman Kodak Company
  3. Kodak Expands Palette Of New Generation Films, Widescreen Review
  4. The Essential Reference Guide for Filmmakers, 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. Introducing KODAK VISION3 Color Negative Films with AHU Technology, Eastman Kodak Company

Shot on Kodak Vision3 500T

The look

Kodak Vision3 500T is a tungsten-balanced colour negative rated EI 500, and Ashigrain's default film. It shows visibly more grain than the slower Vision3 films, with a thin red halation rim around hard highlights. It prints on Kodak 2383 by default.

Planned media

Lamps in frame get a thin red halation rim, and skin under tungsten stays warm and natural.

Kodak Vision3 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Planned media

Grain visible in the shadows but fine and organic, never like digital noise.

Kodak Vision3 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision3 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Best for

  1. Night streets lit by practicals
  2. Tungsten-lit interiors
  3. Candle- and lamp-lit close-ups

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−5 stops vs Kodak Vision3 500T · grain coarserEI 16−5 stops.0201922
DS-5MDS-5M−3⅔ stops vs Kodak Vision3 500T · grain finerEI 40−3⅔ stops.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−3⅔ stops vs Kodak Vision3 500T · grain coarserEI 40−3⅔ stops.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · −3⅓ stops vs Kodak Vision3 500T · grain finerEI 50−3⅓ stops.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · −3⅓ stops vs Kodak Vision3 500T · grain coarserEI 50−3⅓ stops.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50−3⅓ stops vs Kodak Vision3 500T · grain finerEI 50−3⅓ stops.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · −3 stops vs Kodak Vision3 500T · grain coarserEI 64−3 stops.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II−3 stops vs Kodak Vision3 500T · grain coarserEI 64−3 stops.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · −2⅔ stops vs Kodak Vision3 500T · grain coarserEI 80−2⅔ stops.0151997–
Polaroid Type 669Polaroid Type 669−2⅔ stops vs Kodak Vision3 500T · grain coarserEI 80−2⅔ stops.0241981
Svema LN-9Svema LN-9−2⅓ stops vs Kodak Vision3 500T · grain the sameEI 95−2⅓ stops.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · −2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100−2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100−2⅓ stops vs Kodak Vision3 500T · grain finerEI 100−2⅓ stops.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · −2⅓ stops vs Kodak Vision3 500T · grain finerEI 100−2⅓ stops.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · −2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · −2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0221980–
NK-2NK-2−2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · −2⅓ stops vs Kodak Vision3 500T · grain coarserEI 100−2⅓ stops.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247−2 stops vs Kodak Vision3 500T · grain finerEI 125−2 stops.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160−1⅔ stops vs Kodak Vision3 500T · grain the sameEI 160−1⅔ stops.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · −1⅓ stops vs Kodak Vision3 500T · grain the sameEI 200−1⅓ stops.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · −1⅓ stops vs Kodak Vision3 500T · grain coarserEI 200−1⅓ stops.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · −1 stop vs Kodak Vision3 500T · grain the sameEI 250−1 stop.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · −1 stop vs Kodak Vision3 500T · grain finerEI 250−1 stop.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · −1 stop vs Kodak Vision3 500T · grain coarserEI 250−1 stop.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · −1 stop vs Kodak Vision3 500T · grain coarserEI 250−1 stop.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · −⅓ stop vs Kodak Vision3 500T · grain finerEI 400−⅓ stop.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · this filmEI 500this film.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500Tsame speed vs Kodak Vision3 500T · grain coarserEI 500same speed.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · same speed vs Kodak Vision3 500T · grain finerEI 500same speed.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · same speed vs Kodak Vision3 500T · grain finerEI 500same speed.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +⅔ stop vs Kodak Vision3 500T · grain coarserEI 800+⅔ stop.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +⅔ stop vs Kodak Vision3 500T · grain coarserEI 800+⅔ stop.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600+1⅔ stops vs Kodak Vision3 500T · grain coarserEI 1600+1⅔ stops.0381999

Science & sources

Kodak Vision3 500T calibration chart: OriginalKodak Vision3 500T 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 +0.52 stops to match the original's mid-grey, frame 0.

A tungsten-balanced colour negative with an exposure index of 500. 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.−4.0−3.0−2.0−1.00.01.0log 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.0.00.51.01.52.0Density0.00.010.020.030.04RMS 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
R0.30.0091490.009441
G0.30.0123360.012743
B0.30.0302370.031261
R0.60.0069860.007209
G0.60.0090910.009391
B0.60.0221930.022945
R10.0064130.006617
G10.0070910.007325
B10.0191920.019842
R1.50.0056860.005867
G1.50.0082410.008513
B1.50.019860.020533
G20.0065820.006799
B20.0118340.012234

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 model supplies the 85 conversion filter’s spectral transmission. Dye curves normalised to their peaks describe spectral shape, but do not determine dye amounts per unit of layer density.
  • 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.
  • Outside log H −4.00 to 1.00, the model extends the characteristic response by extrapolation.
  • 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.
  • Gate weave, exposure flicker and the defaults for each format are modelling choices, without measurements for this stock.
  • 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 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 1
  2. Process: KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 2
  3. Characteristic curves: KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 4
  4. Diffuse RMS granularity: KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 4
  5. Granularity density: KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 4

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