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Colour negative · Vintage & odd

Eastman Color Negative 5247

The mid-eighties day-exterior partner to 5294.

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Planned media

Eastman 5247 printed on EXR 5386. Original vs Ashigrain.

Eastman Color Negative 5247, Eastman EXR Color Print Film 5386

stock
Eastman Color Negative 5247
mode
Print
print_film
Eastman EXR Color Print Film 5386
film_format
Super 35 (4-perf)
Exposure index
125
Tungsten
Introduced
c. 1983
Discontinued
Process
ECN-2
Prints on
5386
Eastman EXR Color Print Film 5386

About the film

In the mid-1980s 5247 was the day-exterior half of a standard pairing with Kodak's high-speed 5294: Bill Butler shot the day exteriors of Rocky IV (1985) on it, and Don McAlpine switched to it for the wide clearings of Predator (1987).

Alec Mills used it for the exteriors of The Living Daylights (1987) because the two stocks matched well. Akira Kurosawa's Ran (1985) used around 100,000 feet of 5247 and 5294, the faster film taking the interiors and night scenes. The code is older than this emulsion: Kodak first used 5247 in 1950 for its original Eastman Color Negative, a daylight film of speed 16. In 1974 Kodak reused it for Eastman Color Negative II, a tungsten EI 100 film for the new ECN-2 process, which Kodak discontinued in March 1983. The later emulsion is rated EI 125: Kodak published its curves in June 1983, and in November 1983 Kodak engineers presented it to the SMPTE as the medium-speed choice against 5294. Ernest Dickerson picked it for Spike Lee's School Daze (1988) for its colour saturation and fine grain. At ILM, effects crews kept shooting bluescreen on 5247 even when first-unit photography used 5294, as on Back to the Future (1985), because 5294 had failed their bluescreen tests.

Sources for this history
  1. EASTMAN Color Negative Film 5247 Technical Information, Eastman Kodak Company
  2. Chronology of Film, Eastman Kodak Company
  3. Eastman Color Negative, type 5247, Timeline of Historical Film Colors
  4. Eastman Color II Negative, type 5247 / 7247, Timeline of Historical Film Colors
  5. Eastman Color Negative, ASA 125, type 5247, Timeline of Historical Film Colors
  6. Choosing Eastman Color Negative Film 5247 or Eastman Color High-Speed Negative Film 5294, Society of Motion Picture and Television Engineers
  7. KODAK Motion Picture Products Price Catalog for the United States (effective 28 August 2026), Eastman Kodak Company
  8. Rocky IV: A Photographic Dazzler, American Society of Cinematographers
  9. Predator Dispenses Invisible Terror, American Society of Cinematographers
  10. New Bond Fills Bill in The Living Daylights, American Society of Cinematographers
  11. The Japanese Method for Ran, American Society of Cinematographers
  12. School Daze — Black College is Background, American Society of Cinematographers
  13. Back to the Future: Wheels on Fire, American Society of Cinematographers

Shot on Eastman Color Negative 5247

  • Feature film · 1988

    Who Framed Roger Rabbit

    Cinematographer Dean Cundey

    5247 carried most of the live action destined for compositing with the cartoon characters, much of it shot in VistaVision, because ILM relied on it for bluescreen work.

    1. American Cinematographer
    2. Variety

The look

Eastman Color Negative 5247 is the EI 125 tungsten negative of the mid-1980s, the medium-speed partner to high-speed 5294. Cinematographers prized its colour saturation and fine grain for daylight exteriors and cut it with 5294 for interiors and night. It prints on Eastman EXR 5386 by default.

Planned media

An early-1990s cine negative in daylight.

Eastman Color Negative 5247, Eastman EXR Color Print Film 5386

stock
Eastman Color Negative 5247
mode
Print
print_film
Eastman EXR Color Print Film 5386
film_format
Super 35 (4-perf)

Planned media

Tungsten colour printed on Eastman EXR 5386.

Eastman Color Negative 5247, Eastman EXR Color Print Film 5386

stock
Eastman Color Negative 5247
mode
Print
print_film
Eastman EXR Color Print Film 5386
film_format
Super 35 (4-perf)

Best for

  1. Daylight exteriors with an 85 filter
  2. Eighties action and period looks
  3. Saturated colour with fine grain

Among the films

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

Science & sources

Eastman Color Negative 5247 calibration chart: OriginalEastman Color Negative 5247 calibration chart: Processed
Synthetic test chart (grey ramp, ColorChecker, hue sweep, point highlights) before and after the full Ashigrain pipeline: print branch on Eastman EXR Color Print Film 5386, Super 35 4-perf, default controls, exposure +0.33 stops to match the original's mid-grey, frame 0.

A tungsten-balanced motion-picture colour negative with an exposure index of 125. It prints on Eastman EXR 5386 by default. Its individual dye shapes are borrowed from Kodak Vision3 200T and its grain from Kodak Vision3 50D, because the sheet does not publish them.

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.−3.0−2.5−2.0−1.5−1.0−0.50.00.5log 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.0.20.40.60.81.0Density0.00.00250.0050.00750.010.0125RMS 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
R0.30.0046650.004853
G0.30.0050590.005274
B0.30.0100310.010401
R0.60.0046970.004886
G0.60.0043390.004523
B0.60.008970.009301
R10.0037080.003857
G10.0048270.005032
B10.0083080.008614

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.

  • Custom lighting spectra, camera metering and the spectral reflectance inferred from fixed-white-balance footage are modeled assumptions, not measurements of this film.
  • Colour-print timing and scan balance under arbitrary lighting are modeled. Scanner colour balance has no standard physical unit.
  • The source specifies a 3200 K tungsten design light, not its spectrum. The modeled design-light spectrum and conversion-filter transmission are approximations.
  • The spectral transmission of the conversion filter the source prescribes (80A for daylight films under tungsten, 85 for tungsten films in daylight) is modeled, not supplied by the source.
  • Only a midscale neutral and a minimum-density spectrum are printed, not separate cyan, magenta and yellow dye spectra. The individual dye shapes are borrowed from Kodak Vision3 200T (5213), a proxy rather than this film's dyes.
  • The source prints one visual MTF curve, not separate red, green and blue curves. The model applies it to all three layers.
  • The source gives RMS granularity only as "less than 5", an upper bound with no density stated. Grain is proxied from Kodak Vision3 50D (5203), which stays within that bound on the red and green layers but not on blue.
  • The characteristic curves are printed only from log H −2.65 to about 0.03; the response outside that range is extrapolated.
  • Printer-light timing on this film can differ from the full spectral calculation by up to 0.72 printer points. The error grows under lights far from the 3200 K design light.
  • Under custom lights the fast rendering path follows the full spectral calculation less closely for this film than for most others.
  • Halation strength, radius and layer weights are not quantified by the datasheet. The effect of removing antihalation and the bloom response are also approximations.
  • The printer lamp and filter spectra and the Status A grey aim used in this preview are approximated; the source does not publish the required spectral or laboratory aim data.

Film guide: assumptions and practical choices

Sources

  1. Exposure index: EASTMAN Color Negative Film 5247 Technical Information, TI0835, Revised 6-93, p. 1
  2. Process: EASTMAN Color Negative Film 5247 Technical Information, TI0835, Revised 6-93, p. 3
  3. Diffuse RMS granularity: EASTMAN Color Negative Film 5247 Technical Information, TI0835, Revised 6-93, p. 4
  4. Characteristic curves: EASTMAN Color Negative Film 5247 Technical Information, TI0835, Revised 6-93, p. 7

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