AshigrainColour print · Print film
Svema TsP-11
Свема ЦП-11
A sharper Soviet colour positive for release prints.
The late-Soviet colour positive that followed TsP-8R, reconstructed from handbook figures with TsP-8R's dyes. Original vs Ashigrain.
At a glance
- Introduced
- by 1979
- Process
- Svema cold colour-positive development (18-22 °C)
- Maximum density
- ≈ 3.0
About the film
Svema TsP-11 (Свема ЦП-11) was a Soviet colour print film for release prints from masked negatives and duplicate negatives.
A 1979 cinematographer's handbook gives its figures in a table of domestic colour positive films, and a 1980 textbook lists the same characteristics. The handbooks give a contrast of 3.0 ± 0.3, fog of at most 0.15, a maximum density of 3.0 and a speed of 0.75 GOST units. Unusually, its layers were displaced: the green-sensitive layer lay on top, the red in the middle and the blue at the bottom, which the 1979 handbook says raised resolution and sharpness. Its sharpness was specified at 30 lines per millimetre, at least 0.75 for the green layer and 0.4 for the red. It was processed in the same domestic colour-positive developer as TsP-8R. A 1990 handbook still describes it, crediting it with better sharpness, physical properties and colour separation than its predecessor, but with revised figures: a speed of at least 0.30 and a maximum density of 2.6.
Sources for this history
- Гордийчук И. Б., Пелль В. Г. Справочник кинооператора (1979), Internet Archive
- Иофис Е. А. Кинофотопроцессы и материалы (1980), Internet Archive
- Журба Ю. И. Краткий справочник по фотографическим процессам и материалам (1990), djvu.online
The look
Svema TsP-11 was a Soviet colour print film for release prints from masked and duplicate negatives, documented from 1979. A 1990 handbook credits it with better sharpness and colour separation than its predecessor. Ashigrain reconstructs it from handbook figures, with dyes borrowed from TsP-8R.
Best for
- Printing Svema LN-9 negatives
- Late-Soviet release-print looks
- Comparing TsP-11 with TsP-8R
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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- Ansco Color Print 848
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- Svema TsP-11
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- ORWO PF 2 Positive Print Film
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- Svema TsP-8R
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Science & sources
A Soviet colour print film, shown after Svema LN-9. No curve of TsP-11 is published: its characteristic curves and MTF are reconstructed from handbook figures, its spectral sensitivity follows the TsP-8R reconstruction, and its dyes are borrowed from Svema TsP-8R, a proxy.
The following trademark notice is provided in English.
Svema is named only to identify the film; its trademarks belong to their respective owners, whose identity is unknown.
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.
- Свема ЦП-11 has no published curve. Its characteristic curves and MTF are reconstructed from Soviet handbooks (Гордийчук & Пелль 1979; Иофис 1980; Журба 1990), not digitised from a datasheet.
- The dyes are borrowed from Свема ЦП-8Р (digitised from Konovalov 1997), a proxy rather than this film's dyes; no ЦП-11 dye curve is printed.
- The spectral sensitivities reuse the ЦП-8Р reconstruction, based on the handbooks' general statements about Soviet positive films, not data specific to ЦП-11.
- The sources conflict on speed (0.75 in 1979 and 1980, at least 0.30 in 1990) and maximum density (3.0 against 2.6); the model uses the 1979 and 1980 values.
- The displaced layer order (green on top) is recorded but not modelled.
- The MTF is reconstructed from two values at 30 lines/mm, for the green and red layers; no blue value is published. Granularity is not modelled.
- The Status A grey aim is assumed: no laboratory aim densities are published. No lamp or filter spectrum has been published.
- 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
- Process: Артюшин Л. Ф., Барский И. А., Винокур В. А. Справочник кинооператора (1999), 1999 edition, p. 117
- Reconstructed: Гордийчук И. Б., Пелль В. Г. Справочник кинооператора (1979), 1979 edition, p. 189