KODAK VISION Color

Print Film / 2383

TECHNICAL DATA / COLOR PRINT FILM July 2015 • H-1-2383t
Clear, rich images on the theatre screen. With VISION Color Print Film, you’ll have the high
The colors you love, the rich blacks, and the "look" you’re quality motion picture color print film you expect from
used to. . . That’s KODAK VISION Color Print Film / 2383. Kodak.
The VISION Color Print Film from Kodak has the great
look you associate with Kodak films, with rich blacks and
STORAGE
neutral highlights. The film is durable and resistant to
scratches and dirt. This color print film is worthy of the Unexposed print film is not adversely affected by
KODAK VISION Film family name. short-term storage at room temperature (less than 25°C
With the excellent tonal scale, cinematographers can be (77°F). Store unexposed film at 13°C (55°F) or lower when
more creative with lighting and exposure, and still see storage exceeds 1 month. If refrigerated, allow the sealed
excellent results. can or foil bag to equilibrate to room temperature before
opening to avoid condensation. Rebag unused raw stock
BENEFITS FOR LABS BENEFITS FOR DISTRIBUTORS/ and seal it in film cans before returning it to refrigeration.
EXHIBITORS Process exposed film promptly. This film exhibits
• Polyester base provides • Polyester base allows cleaner, excellent latent image keeping. When exposed film must
greater tear strength, more durable prints be kept several days before processing, the tone scale of
durability, dimensional • No colored fringes in titles, and
stability, and archival improved safelight edgefog
VISION Color Print Film / 2383 shows little change.
keeping protection for digital sound track Depending on the storage temperature, labs can
• Elimination of rem-jet (no • Improved fades and dissolves, compensate for the small latent image speed loss by
carbon black or prebath- and less propensity to safelight
soluble binder) fog
increasing printer TRIMS slightly (a neutral increase of 1 to
• Potential for reduced • Improved blacks, and more 2 printer points) if there is a long delay between printing
chemical and water usage neutral highlights on projection and processing. You can slow changes in latent image by
in processing • Improved laser subtitling
• Improved cleanliness on
storing exposed film at lower temperatures. For critical
high-speed printers (less applications, such as sensitometric exposures used for
white dirt) process control, keep exposed film strips at 0°C (32°F) or
• Protection from static lower.
marks prior to printing
• Reduced dirt attraction to For short-term “active” storage and projection of
processed prints and static processed prints (e.g., commercial film exchanges and
protection prior to theatres), store at room temperature of 20 to 25°C (68 to
processing
• Better transport 77°F) at 50 to 60 percent relative humidity. Avoid
characteristics for prolonged unconditioned storage at high temperatures or
processed film excessive humidity. For medium-term storage, store at
• Superior halation
protection (no colored 10°C (50°F) or lower, at a relative humidity of 20 to 30
fringes in titles) percent. For extended-term storage (for preservation of
• Improved safelight edgefog material having permanent value), store at 2°C (36°F) or
protection for digital sound
track area lower, at a relative humidity of 20 to 30 percent. Molecular
• Improved fades and Sieves1 in a sealed can will provide additional benefit.
dissolves, and less Store processed film according to the recommendations
propensity to safelight fog
• Improved blacks and more
in ISO 18911:2010, Imaging Materials - Processed Safety
neutral highlights on Photographic Films - Storage Practices.
projection Processed prints made on this film will show less than
• Improved laser subtitling 10-percent image dye loss, even after several decades of
Like its counterpart KODAK VISION Premier Color Print storage at room temperature and 50-percent relative
Film, VISION Color Print Film is coated on a polyester base humidity.
without rem-jet, for a cleaner process and cleaner screen
images. We’ve incorporated a process-surviving, antistatic
1.Available from FPC, 6677 Santa Monica Boulevard, Hollywood, California
layer to reduce dirt attraction, and a scratch-resistant 90038, 218-468-5774.
backing layer for long projection life. And there are no color
shifts during fades and dissolves. So from set to lab to
screen, day to day, you’ll have more consistent
performance.

©Eastman Kodak Company, 2015

COLOR BALANCE EXPOSING LIGHT
Color print film is balanced to be printed from a color
negative, duplicate negative, or internegative, using either
an additive or subtractive printer. Black-and-white (silver Gel Protective Coat (SOC)
image) negatives can be printed to yield a fairly neutral Green-Sensitive Emulsion
Clear Gelatin Interlayer
image, although slight coloration may be seen in highlights
Red-Sensitive Emulsion
or shadows.
Clear Gelatin Interlayer
Overall filtration should include a UV-absorbing filter, Blue-Sensitive Emulsion
such as a KODAK WRATTEN Gelatin Filter No. 2B.
Anti-Halation Dye Layer
Subbing Layer
U-Coat
FILM STRUCTURE Safety Film Base
4.7 Mil ESTAR Base
KODAK VISION Color Print Film / 2383 is coated on a U-Coat
Conductive Anti-Static Layer
120 micrometre (0.0047-inch) ESTAR Base featuring a Scratch Resistant T-Coat W/Lube
proprietary electrically conductive anti-static layer, a
This drawing illustrates only the relative layer arrangement of the
polymeric scratch-resistant backing layer, and a film and is not drawn to scale.
process-surviving backside lubricant. Unlike rem-jet, the F002_0698AC
anti-static layer remains with the film after processing,
eliminating the electrostatic attraction of dirt particles to
the processed print, even at very low relative humidity. A
very thin polymeric backing layer coated on top of the IDENTIFICATION
anti-static layer provides superior resistance to scratches, KODAK VISION Color Print Film / 2383 raw stock has the
cinch marks, and abrasion of both raw stock and processed typical blue-purple emulsion color of print film. Slight
film. The backing layer also contains process-surviving batch-to-batch variations in raw stock color are normal.
lubricant and matte to optimize winding and transport The back side of the raw stock has no rem-jet, appears dark
characteristics. blue to slate-gray, and has a slight iridescence.
An antihalation layer containing proprietary solid This film has slightly less surface gloss than processed
particle dyes is coated under the normal emulsion. These 2386 / E / 3386 / E Film. When viewed by reflected light,
dyes offer superior protection against exposure by light the back side exhibits a slight iridescence, with subtle color
reflected back from the support surfaces, minimizing color bands due to the dichroic nature of the very thin back-side
fringing in critical scenes like white titles and night scenes coatings.
with automobile headlights. The antihalation layer also After processing, “2383 KODAK” is visible along the
provides improved resistance to safelight edgefog, since it length of the film, along with strip number and date codes.
is coated between the support and the emulsion layers, This film is available on ESTAR Base only. Most 35 mm
and absorbs any support light-piping from the edge of the applications use KS-1870 (ISO type “P”) print perforations.
roll.
The imaging layers are coated on top of the antihalation
layer and they contain new patented emulsion and coupler DARKROOM RECOMMENDATIONS
technology. The bottom layer is sensitive to blue light, and You can use sodium-vapor lamps with a KODAK No. 13
produces the yellow dye image. An interlayer controls Safelight Filter / dark yellow in safelights providing general
diffusion of developer and development by-products. The darkroom illumination. The filtered sodium-vapor lamp
next layer is sensitized to red light, and yields the cyan dye provides the best visual efficiency with the least visual
image. Another interlayer is coated on top of it. The top effect on the film.
image-forming layer is sensitized to green light, and If you are using a low-wattage tungsten bulb for
produces magenta dye. The very thin topmost layer (SOC) task-lighting, filter it with a KODAK 13 Safelight Filter /
provides protection from scratches. Process-surviving dark yellow. You can use amber Light Emitting Diodes
lubricant and matte are used in the SOC to optimize (LEDs) (590 nm peak wavelength) for minimal task or
winding and transport characteristics. The emulsion layers path lighting; however, do not use them for prolonged or
also contain absorber dyes to precisely control film speed general darkroom illumination.
and reduce intragrain light scatter, increasing sharpness
and further reducing halation. These soluble absorber
dyes, which give the raw stock emulsion its familiar
purple-blue color, are washed out during processing.

2 KODAK VISION Color Print Film / 2383 • H-1-2383t

PROCESSING CONDITIONS RECIPROCITY
Process this film in Process ECP-2D. No change in process You can print this film on a variety of printers, ranging from
sequence is required. slow step-optical printers to very high-speed continuous
Because there is no rem-jet to remove, VISION Color contact printers used for release printing. Exposure times
Print Film offers the potential for eliminating the current may range from 1/10 of a second to almost 1/3000 of a
prebath chemicals and reducing water usage. However, second, with little or no change in tone scale. For printers
exercise care if the rem-jet removal steps are eliminated, that change exposure time during printing, new speed
as replenishment rates will change dramatically if dry film reciprocity correction should be used. KODAK VISION
enters the developer directly. Soluble dye buildup in the Color Print Film / 2383 has improved fade and dissolve
seasoned developer will also increase. Greatly reducing characteristics. Printers with mechanical fader cams will
water flow will lead to increased concentrations of total no longer need to use filter correction to achieve neutral
process effluent from the laboratory, which may have color balance with fades and dissolves. Printers with
regulatory implications. For further assistance, contact programmable light valves will need to reprogram the fade
your Kodak engineering representative. and dissolve algorithm in the printer to obtain neutral color
The antihalation dyes used in VISION Color Print Film balance with fades and dissolves. Consult the printer
are decolorized and removed during processing. Although manufacturer for the proper test procedure to obtain the
most of the dye is removed in the developer, complete appropriate corrections.
removal is also dependent on the “tail end” solutions, such
as the bleach.
To prevent static during projection, maintain a relative PRINTER RECOMMENDATIONS
humidity of 50 to 60 percent in the projection room. Pictorial Printing
It is important that you maintain a “clean” process: The printer setup for KODAK VISION Color Print
proper solution mix and storage procedures to minimize Film / 2383 is similar to EASTMAN Color Print Film 2386
“tar” formation, process machine and recirculation / E / 3386 / E, with little or no change required.
designed to minimize aeration (e.g., submerged racks), For example, if you use an additive-type printer, such as
periodic cleaning of racks and tanks, proper maintenance a Bell and Howell Printer, Model 6123, to print originals,
of squeegees and wiper blades, and efficient filtration. you can use a 90 V dc lamp, a KODAK WRATTEN Gelatin
For more information, see KODAK Publication No. Filter No. 2B, a KODAK Heat Absorbing Glass, No. 2043, a
H-24.09, Manual for Processing KODAK Motion Picture printer speed of 240 feet per minute, and the printer
Films, Process ECP-2D Specifications, Module 9. settings in the table below:

Beam TRIM Neutral-Density Filter TAPE

LABORATORY AIM DENSITIES (LAD) Red 14 0.40 25
To control your process, use Process ECP-2 control strips Green 14 0.50 25
for this product available through your local sales Blue 11 0.60 25
representative.
To aid in color timing and curve placement, negative You can also expose this film with a subtractive printer
originals should be timed relative to the Laboratory Aim with a KODAK WRATTEN Gelatin Filter No. 2B, a KODAK
Density (LAD) Control Film supplied by Eastman Kodak Heat Absorbing Glass, No. 2043, and suitable
Company. The LAD Control Film provides both objective color-balancing filters (KODAK WRATTEN Color
sensitometric control and subjective verification of the Compensating Filters).
duplicating procedures used by the laboratory.
For print films, the LAD patch is printed to a neutral gray
of 1.0 visual density (1.00 Equivalent Neutral Density) on
the processed print at the setup lights.
The Status A densities are:

R G B
Density 1.09 1.06 1.03

For more information, see KODAK Publication No. H-61,

LAD—Laboratory Aim Density.

KODAK VISION Color Print Film / 2383 • H-1-2383t 3

Sound-Track Printing SPLICING
Analog and digital sound-track printer setup and control KODAK VISION Color Print Film / 2383 is manufactured
procedures for KODAK VISION Color Print Film / 2383 are on ESTAR base. Since ESTAR base is impervious to most
similar to Film 2386 / E / 3386 / E, with little or no change solvents, solvent-based “cement” splicing CANNOT be
required. used.
Analog variable area positive sound tracks of silver plus Thermal-weld ultrasonic splicers may be used on both
dye usually restrict the exposure to the top two emulsion raw stock and processed film. After cutting, the two pieces
layers by inserting KODAK WRATTEN Gelatin Filters of film are overlapped slightly and brought into contact
No. 12 and No. 2B2 in the light beam. The optimum with a horn that focuses acoustic energy from an ultrasonic
variable-area sound-track density for the print is between transducer to the film overlap. A pressure roller brings the
1.1 and 1.8 (read at 800 nm). You can achieve excellent film into intimate contact with the horn, causing localized
frequency response and a high signal-to-noise ratio in this heating and fusion of the polyester support, creating a
density range. strong weld and reliable splice. Key splicing parameters
For a variable area positive sound track of silver plus are the acoustic frequency and power output, roller
magenta dye only, printed from a negative sound track, pressure, and roller transit time. Although the emulsion
restrict the exposure to the top two emulsion layers by and back-side layers become part of the polyester weld,
inserting KODAK WRATTEN Gelatin Filter No.12 and there is usually no need to scrape them off prior to
KODAK Color Compensating Filter 110 Cyan in the light ultrasonic splicing. Splicing parameters and splicer setup
beam. The optimum variable-area sound-track density for for 2383 Film are very similar to those used for 2386, 3386
the print is between 0.8 and 1.1 (read at 800 nm). This Film.
print density will provide a good compromise between Adhesive tape splicing is often used in splicing rolls of
signal-to-noise ratio and frequency response. printed raw stock prior to processing. Clear adhesive
Use cross-modulation test procedures to determine the splicing tape is the most frequently used method of
density of the sound-track negative required to produce splicing processed prints in theatres, producing reliable
minimum cross-modulation distortion at the optimum splices on relatively inexpensive splicers that are simple to
print density. use. Current splicing procedures using high-quality
Digital sound-on-film soundtracks (e.g., Dolby Digital splicing tapes will work equally well on both 2383 Film and
and Sony SDDS) are dye only. Consult the system vendor 2386, 3386 Film.
for performance recommendations.

IMAGE STRUCTURE
This film’s excellent sharpness captures the detail in the
printing negative for projection onto the largest of theatre
screens. Fine-grained emulsions, an ultra-thin layer
2. You can omit the No. 2B Filter without affecting the sound quality. Using this
structure, intragrain absorbing dyes, and superior halation
filter is an operational convenience to protection contribute to its performance.
conform with printer setup for other products that require it.

4 KODAK VISION Color Print Film / 2383 • H-1-2383t

CURVES
Sensitometric Curves Diffuse rms Granularity Curves
4.0
6.0 Process: ECP-2D
Exposure: 1/500 sec Tungsten plus KODAK Densitometry: Status A
Heat Absorbing Glass, No. 2043 (plus Series 1700 Filter);
Process: ECP-2D; Status A Densitometry B
5.0
G
3.0 R

4.0

DENSITY
B
DENSITY

2.0
3.0 .100

B .050
.040
G .030
2.0 R .020
1.0 G .010
.009
.007.008
1.0 .005
R .004
.003
.002

0.0 .001
0.0
0.0 1.0 2.0 3.0
-3.0 -2.0 -1.0 0.0 1.0 2.0 3.0
F010_0295AC LOG EXPOSURE (lux-seconds)
F002_1254AC LOG EXPOSURE (lux-seconds)

The curves describe this film's response to red, green, To find the rms Granularity value for a given density, find
and blue light. Sensitometric curves determine the change the density on the left vertical scale and follow horizontally
in density on the film for a given change in log exposure.3 to the characteristic curve and then go vertically (up or
down) to the granularity curve. At that point, follow
Modulation-Transfer Function Curves
horizontally to the Granularity Sigma D scale on the right.
Read the number and multiply by 1000 for the rms value.
200 Note: This curve represents granularity based on modified
measuring techniques.3
100
G
70
50
R
30
B
20
RESPONSE (%)

10
7
5
Exposure: Tungsten 3200 K 3.NOTE: Sensitometric and Diffuse RMS Granularity curves are produced on
3 Process: ECP-2D different equipment. A slight variation in curve shape may be noticed.
2 Densitometry: Status A
35% Modulation Target
1
1 2 3 4 5 10 20 50 100 200 600
SPATIAL FREQUENCY (cycles/mm)
F010_0292AC

This graph shows a measure of the visual sharpness of

this film. The x-axis, “Spatial Frequency,” refers to the
number of sine waves per millimeter that can be resolved.
The y-axis, “Response,” corresponds to film sharpness.
The longer and flatter the line, the more sine waves per
millimeter that can be resolved with a high degree of
sharpness—and, the sharper the film.

KODAK VISION Color Print Film / 2383 • H-1-2383t 5

 Spectral Sensitivity Curves Spectral Dye Density Curves

1.0 1.4
Exposure: Tungsten exp 1/50 sec Normalized dyes to form a visual neutral density of
Process: ECP-2D 1.0 for a xenon-arc viewing illuminant;
D=1.0 1.2 Process: CP-2D
Visual Neutral
0.0
Magenta-
1.0
*

Yellow- Forming Cyan

DIFFUSE SPECTRAL DENSITY

Forming Layer
LOG SENSITIVITY

Layer
-1.0 0.8

0.6
Cyan- Yellow
-2.0 Forming
Layer Magenta
0.4

-3.0
0.2
250 300 350 400 450 500 550 600 650 700 750
WAVELENGTH (nm)
2
*Sensitivity = reciprocal of exposure (erg/cm ) required 0.0
250 300 350 400 450 500 550 600 650 700 750
to produce specified density
F010_0293AC
F010_0294AC WAVELENGTH (nm )

These curves depict the sensitivity of this film to the These curves depict the spectral absorptions of the dyes
spectrum of light. They are useful for determining, formed when the film is processed. They are useful for
modifying, and optimizing exposure for blue- and adjusting or optimizing any device that scans or prints the
green-screen visual effects work. film.
Note: Cyan, Magenta, and Yellow Dye Curves are
peak-normalized.

NOTICE: The sensitometric curves and data in this

publication represent product tested under the conditions
of exposure and processing specified. They are
representative of production coatings, and therefore do
not apply directly to a particular box or roll of photographic
material. They do not represent standards or specifications
that must be met by Eastman Kodak Company. The
company reserves the right to change and improve

6 KODAK VISION Color Print Film / 2383 • H-1-2383t

KODAK VISION Color Print Film / 2383

SIZES AVAILABLE
Standard Products Available

Format and Specification Length Core Description Perforation/Pitch

No. Meters (Feet) Metric (Imperial)
35 mm VCP242 610 (2000) Y BH-4740 (BH-1866)
35 mm VCP666 610 (2000) Y KS-4750 (KS-1870)
35 mm VCP701 610 (2000) Y BH-4750 (BH-1870)
35 mm VCP779 610 (2000) Y KS-4750 (KS-1870)
35 mm VCP779 915 (3000) Y KS-4750 (KS-1870)
35 mm VCP779 1220 (4000) Y KS-4750 (KS-1870)
35 mm VCP789 1830 (6000) Y KS-4750 (KS-1870)
16 mm VCP618 915 (3000) Z Winding A 1R-7620 (1R-3000)
16 mm VCP452 915 (3000) Z 2R-7620 (2R-3000)
70 mm VCP542 760 (2500) S KS-4750 (KS-1870)

Note: For availability of non-standard products, contact

your Kodak location.

MORE INFORMATION
Outside the United States and Canada, please contact your
Kodak representative.
You can also visit our web site at www.kodak.com/go/
motion for further information. You may want to bookmark
our location so you can find us easily the next time.

Films Cinematographer’s Field Guide

KODAK Publication No. H-2
Image Structure KODAK Motion Picture Film
KODAK Publication No. H-1
Specification Numbers Cinematographer’s Field Guide
KODAK Publication No. H-2
Storage KODAK Motion Picture Film
KODAK Publication No. H-1

The Book of Film Care

KODAK Publication No. H-23
LAD LAD—Laboratory Aim Density
KODAK Publication No. H-61
Transfer KODAK Telecine Analysis Film User’s Guide
KODAK Publication No. H-822

KODAK Telecine Exposure Calibration Film User’s Guide

KODAK Publication No. H-807

KODAK VISION Color Print Film / Kodak, Eastman, EXR, Estar, Vision, and Wratten are trademarks. Revised 7-15
2383 Printed in U.S.A.
KODAK Publication No. H-1-2383t