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Black-and-white reversal · Black & white

Kodak Tri-X Reversal 7266

Black-and-white you project straight from the camera.

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Planned media

Newsreel black-and-white: a 16 mm reversal image viewed directly, with visible grain, gentle softness and a weaving frame. Original vs Ashigrain.

Kodak Tri-X Reversal 7266

stock
Kodak Tri-X Reversal 7266
mode
Reversal
film_format
16mm
weave_enabled
Auto (format default)
Exposure index
200
EI 200 daylight / EI 160 tungsten
Introduced
2003
In production
Process
KODAK B&W Reversal Process
Prints on
Reversal, viewed directly

About the film

Juho Kuosmanen's The Happiest Day in the Life of Olli Mäki, which won the top prize in Cannes' Un Certain Regard in 2016, was shot in 2015 on 16 mm Tri-X Reversal 7266 by J-P Passi, to evoke the newsreels and photographs of 1962.

Passi told The Hollywood Reporter that the production bought up all the Tri-X in Europe, then all of it in the United States, until Kodak had to make more. Tri-X Reversal 7266 is Kodak's high-speed black-and-white reversal camera film, sold in 16 mm rolls and Super 8 cartridges; processed as reversal, the camera original itself becomes the positive, with higher contrast than a negative and no print stage. Kodak made 7266 available on 2 September 2003 to replace its older Tri-X Reversal 7278, with the same ratings, EI 200 in daylight and 160 under tungsten, and for the same interior and low-light sports work that a 1999 data sheet recommends for 7278; Kodak introduced its first Tri-X reversal film in 1955. That older 7278, with Plus-X reversal, gave Darren Aronofsky's Pi its stark 16 mm black and white: Matthew Libatique says the director wanted the most contrasty black and white possible. At its launch Kodak presented 7266 as finer-grained and sharper than its earlier black-and-white reversal films, with KeyKode edge numbers, a lower-static base and no need for a bleach containing heavy metals, as its April 2013 data sheet still does. An antihalation undercoat beneath the emulsion takes the place of a rem-jet backing, and the film can also be developed as a negative at some cost in speed and grain. Kodak still aims it at sport filmed in weak light, under an overcast sky or late in the day, and revised its technical sheet in March 2026.

Sources for this history
  1. KODAK TRI-X Reversal Film 7266 Technical Information, Eastman Kodak Company
  2. KODAK TRI-X Reversal Film 7266, Eastman Kodak Company
  3. KODAK TRI-X Reversal Film 7266 Technical Data (April 2013), Eastman Kodak Company
  4. The Essential Reference Guide for Filmmakers, Eastman Kodak Company
  5. Chronology of Film, Eastman Kodak Company
  6. EASTMAN TRI-X Reversal Film 7278 Technical Data (February 1999), Eastman Kodak Company
  7. TRI-X Black & White Reversal Film 7266, Eastman Kodak Company
  8. KODAK TRI-X Reversal Film 7266 200D/160T, Eastman Kodak Company
  9. Pi: Numerical Delusions, American Society of Cinematographers
  10. Kodak 16mm B&W packs a punch on 'The Happiest Day in the Life of Olli Mäki', Eastman Kodak Company
  11. 'Olli Maki' Cinematographer Approached Project as a Love Story, Not Boxing Movie, The Hollywood Reporter
  12. 'Olli Mäki,' 'Captain Fantastic' Win Big in Un Certain Regard at Cannes, Variety
  13. New KODAK Black-and-White Reversal Films: Information Sheet (archived August 2003), Eastman Kodak Company
  14. KODAK TRI-X Reversal Film 7266 (product page, archived October 2003), Eastman Kodak Company

Shot on Kodak Tri-X Reversal 7266

  • Feature film · 2016

    Hymyilevä mies

    Cinematographer J-P Passi

    Juho Kuosmanen's Cannes-winning boxing biopic was shot primarily on 16 mm Tri-X reversal to evoke early-1960s newsreels.

    1. Eastman Kodak Company
    2. The Hollywood Reporter

The look

Kodak Tri-X Reversal 7266 is a fast black-and-white reversal film in 16 mm and Super 8. The developed camera film is itself the positive, with harder contrast than a negative and no print stage. Kodak rates it EI 200 in daylight and 160 under tungsten.

Planned media

Home-movie black-and-white on Super 8: bigger grain and softer detail.

Kodak Tri-X Reversal 7266

stock
Kodak Tri-X Reversal 7266
mode
Reversal
film_format
Super 8

Planned media

A sunlit portrait in direct-view black-and-white reversal.

Kodak Tri-X Reversal 7266

stock
Kodak Tri-X Reversal 7266
mode
Reversal
film_format
16mm

Best for

  1. Super 8 sport in fading light
  2. Handheld 16 mm documentary
  3. Hard-contrast music-video inserts

Among the films

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

Science & sources

Kodak Tri-X Reversal 7266 calibration chart: OriginalKodak Tri-X Reversal 7266 calibration chart: Processed
Synthetic test chart (grey ramp, ColorChecker, hue sweep, point highlights) before and after the full Ashigrain pipeline: reversal branch, Super 35 4-perf, default controls, exposure +0.58 stops to match the original's mid-grey, frame 0.

A black-and-white reversal film. Its positive image is shown directly, without a separate 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 N. 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.−3.5−3.0−2.5−2.0−1.5−1.0−0.50.0log H (lux-seconds)0.01.02.03.0Density

RMS granularity

RMS granularity (σD) against Density for channels N. 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.0.00.51.01.52.0Density0.00.010.020.030.040.05RMS 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
N0.30.0079390.008226
N0.60.0140930.014602
N10.0240550.024925
N1.50.0406470.042116
N20.0481730.049914

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 source gives daylight and tungsten exposure indices but no colour balance. Daylight calibration, silver-clump size and spectrally neutral silver density are assumptions; the single-layer halation response is not measured.
  • The granularity chart uses a relative exposure axis, and its accompanying density curve was not extracted. Alignment of granularity to density is therefore assumed, not measured.

Film guide: assumptions and practical choices

Sources

  1. Exposure index: KODAK TRI-X Reversal Film 7266 Technical Data, H-1-7266t, Revised 7-15, p. 2
  2. Process: KODAK TRI-X Reversal Film 7266 Technical Data, H-1-7266t, Revised 7-15, p. 2
  3. Characteristic curves: KODAK TRI-X Reversal Film 7266 Technical Data, H-1-7266t, Revised 7-15, p. 3
  4. Diffuse RMS granularity: KODAK TRI-X Reversal Film 7266 Technical Data, H-1-7266t, Revised 7-15, p. 4

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