AshigrainColour print · Print film
Eastman Color SP Print Film 5383
Kodak's 1970s print for high-volume release printing.
Eastman Color SP Print 5383, printed from Eastman Color Negative 5247. Original vs Ashigrain.
At a glance
- Introduced
- 1974
- Discontinued 1983
- Process
- ECP-2A
- Maximum density
- ≈ 5.0
About the film
Eastman Color SP Print Film 5383, with its 16 mm version 7383, is a colour print film for the higher-temperature Process ECP-2.
Kodak's chronology lists it under 1974, and the Timeline of Historical Film Colors, independent of Kodak, dates it from the same year. Kodak made it for more efficient release printing in larger laboratories, with quality similar to print film 5381. The two films were sold side by side. A December 1982 paper in the SMPTE Journal described the new 5384 and 7384 as designed to replace 5383 and 7383, along with the LFSP print film 7379. Kodak's chronology likewise lists 5384 as replacing 5381, 5383, 7378 and 7379. Both Kodak and the Timeline date the end of 5383 to 1983.
Sources for this history
- Chronology of Film, Eastman Kodak Company
- Eastman Color SP Print Film 5383 / 7383, Timeline of Historical Film Colors, University of Zurich
- Eastman Color Print Film 5384 (SMPTE Journal 91(12), December 1982), abstract, Society of Motion Picture and Television Engineers
The look
Eastman Color SP Print Film 5383 was Kodak's colour print film for the higher-temperature Process ECP-2, made for efficient release printing in large laboratories. Its blue layer reaches into the near ultraviolet, which made it prone to static marks; 5384 replaced it in the early 1980s.
Best for
- 1970s release-print looks
- Dense, deep print blacks
- Comparing 5383 with its successor 5384
Compare print films
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between blue-green and red-orange: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the reds and greens print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the red neon and skin print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between a blue and a red dye: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Kodak Vision3 500T night frame, printed on each film.
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Science & sources
A colour print film, shown after Eastman Color Negative 5247. The result combines the response of the negative and the print. Its data are traced from a 1982 journal paper that compares it with 5384.
Response curves and the evidence behind the model
Compare manufacturer data with Ashigrain’s response on the same axes. These curves show how the model is calibrated to its sources; they do not establish a match to photographed film.
Characteristic response
Model limits
These images show the film model in use. Spectral response, lighting and viewing conditions include approximations. Halation, bloom, grain size, weave and flicker are not fully measured for each film. The look of real film also depends on development and print timing.
- The characteristic curves, spectral sensitivities, dye densities and visual MTF are traced from a 1-bit scan of the charts in a December 1982 SMPTE Journal paper (Carl et al.), not from a Kodak datasheet. Tracing accuracy is limited by the scan.
- Where the paper prints a curve only once for both 5384 and 5383, that shared trace is used for both films.
- The paper prints a laboratory aim only for 5384. The Status A grey aim is assumed: the model prints scene grey to a neutral mid-density.
- The available sources do not measure veiling flare during projection. The model approximates its contribution to lifted blacks on screen, so the result is not a measured projection contrast.
Reciprocity: not modelled. Exposure time has no effect on this film.
Film guide: assumptions and practical choices
This preview combines the print film with the named camera negative. In this comparison, the print has no separate exposure index or measured grain response.
Sources
- Characteristic curves: Eastman Color Print Film 5384, SMPTE J. 91(12), Dec. 1982, pp. 1161-1170, p. 5
- Process: Eastman Color Print Film 5384, SMPTE J. 91(12), Dec. 1982, pp. 1161-1170, p. 5