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Colour negative · Natural

Kodak Vision2 Expression 500T

Lubezki's low-contrast stock for Children of Men.

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Planned media

A tough, contrasty scene rendered gently: lower contrast and softer colour by design hold detail in the bright and the dark parts. Original vs Ashigrain.

Kodak Vision2 Expression 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision2 Expression 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)
scene_light
Custom
light_cct
5500
Exposure index
500
Tungsten
Introduced
2003
Discontinued
Process
ECN-2
Prints on
2383
Kodak Vision Color Print Film 2383

About the film

Emmanuel Lubezki shot all of Alfonso Cuarón's Children of Men (2006) on Vision2 Expression 500T, a choice Variety traces to early tests for the film's long car sequence.

American Cinematographer reported that its low contrast let him work in extreme conditions with little added light; he said its blacks were not rich but could be crushed in the digital intermediate. Kodak unveiled the film in December 2003, coded 5229 in 35 mm and 7229 in 16 mm, as the second 500-speed negative of its Vision2 family after Vision2 500T. Kodak gave it lower contrast and colour saturation than the standard Vision2 500T, for a softer image and smooth skin tones. Early in 2004 Kodak added Vision2 100T and 200T to the same family, which it presented as the first designed for both film and digital postproduction. On Martin Scorsese's The Departed (2006), Michael Ballhaus kept Expression for Billy Costigan's sessions with his psychiatrist, calling it softer, less contrasty and more pastel than his other stocks. The film is tungsten-balanced, rated EI 500, coated on an acetate base with a rem-jet backing and processed in ECN-2. It has since been discontinued.

Sources for this history
  1. KODAK VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, Eastman Kodak Company
  2. Chronology of Film, Eastman Kodak Company
  3. Kodak Expands Palette Of New Generation Films, Widescreen Review
  4. Kodak Reaffirms Film Commitment, SHOOT
  5. Children of Men: Humanity's Last Hope, American Society of Cinematographers
  6. Emmanuel Lubezki, 'Children of Men', Variety
  7. Deep Cover: The Departed, American Society of Cinematographers

Shot on Kodak Vision2 Expression 500T

  • Children of Men (2006)

    Feature film · 2006

    Cinematographer Emmanuel Lubezki

    Shot entirely on 5229, chosen for its low contrast in long takes with little added light.

    1. American Cinematographer
    2. Variety

    © Universal Pictures

  • Feature film · 2006

    The Departed

    Cinematographer Michael Ballhaus

    Expression 5229 was kept for Billy Costigan's sessions with his psychiatrist, for a softer, more pastel look than the film's other stocks.

    1. American Cinematographer
    2. Variety

  • Feature film · 2006

    Little Children

    Cinematographer Antonio Calvache

    One of five stocks, used for most night exteriors and moonlit interiors and pull-processed for a subtler moonlight effect.

    1. American Cinematographer
    2. Variety

  • Feature film · 2005

    Cinderella Man

    Cinematographer Salvatore Totino

    Totino shot every boxing sequence and night scene on 5229, keeping older, less saturated EXR stocks for the Depression-era day scenes.

    1. American Cinematographer
    2. Variety

The look

Kodak Vision2 Expression 500T is a tungsten-balanced colour negative rated EI 500, made deliberately softer than standard Vision2 500T: lower contrast, gentler colour, smooth skin. Its blacks stay thin, so Emmanuel Lubezki could shoot Children of Men in harsh conditions with little added light and deepen them later.

Planned media

Skin in mixed light, rendered softly: the lower saturation keeps the warm and cool sides gentle.

Kodak Vision2 Expression 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision2 Expression 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Planned media

A muted, low-contrast dusk: the gentle default look closest to Vision3 50D's in the menus.

Kodak Vision2 Expression 500T, Kodak Vision Color Print Film 2383

stock
Kodak Vision2 Expression 500T
mode
Print
print_film
Kodak Vision Color Print Film 2383
film_format
Super 35 (4-perf)

Best for

  1. Harsh light with little added fill
  2. Long takes in mixed practical light
  3. Muted, desaturated drama

Among the films

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

Science & sources

Kodak Vision2 Expression 500T calibration chart: OriginalKodak Vision2 Expression 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 +0.59 stops to match the original's mid-grey, frame 0.

A tungsten-balanced motion-picture colour negative with an exposure index of 500. Kodak presents it as lower in contrast and colour saturation than its other negatives. Compare it 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.−4.0−3.0−2.0−1.00.0log H (lux-seconds)0.00.51.01.52.02.5Density

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.0.20.40.60.81.01.21.41.6Density0.00.010.020.030.04RMS granularity (σD)

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

ChannelDensityDatasheet-based σDModel σD
R0.30.0085070.008779
G0.30.0131260.013559
B0.30.0370860.038342
R0.60.0067410.006956
G0.60.00940.009709
B0.60.0293420.030336
R10.0066660.006878
G10.009120.009421
B10.0208240.02153
G1.50.0098020.010126
B1.50.0167180.017285

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 spectral transmission of the conversion filter the source prescribes (80A for daylight films under tungsten, 85 for tungsten films in daylight) is modelled, not supplied by the source.
  • Peak-normalised dye curves do not establish dye amounts per unit 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.
  • The characteristic response beyond log H −3.90 to 0.00 is extrapolated.
  • 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 VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, H-1-5229, New 10-2005, p. 2
  2. Process: KODAK VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, H-1-5229, New 10-2005, p. 2
  3. Characteristic curves: KODAK VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, H-1-5229, New 10-2005, p. 3
  4. Diffuse RMS granularity: KODAK VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, H-1-5229, New 10-2005, p. 3
  5. Granularity density: KODAK VISION2 Expression 500T Color Negative Film 5229 / 7229 Technical Data, H-1-5229, New 10-2005, p. 3

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