NORTH HOLLYWOOD—An estimated 400 cinematographers and industry leaders packed the Academy of Television Arts and Sciences’ Leonard H. Goldenson Theatre in North Hollywood last week for the unveiling of Eastman Kodak Company’s new film stocks incorporating its Vision2 color negative film technology. The Rochester, N.Y.-headquartered company also took the opportunity to restate its commitment to film development, debunking concerns that had arisen in the professional community.
Kodak’s Entertainment Imaging president Eric Rodli opened the program by expressing the company’s dedication to film. Next, a pre-recorded statement from Dan Carp, chairman/CEO, Eastman Kodak, underscored the importance of that message. "Kodak’s future includes important roles for both film and digital businesses," Carp said. "However, feedback I’ve received … noted that some have interpreted our growth strategy as a statement that Kodak is walking away from film. I want you to know that nobody loves film like Kodak loves film."
American Society of Cinematographers (ASC) president Richard Crudo, ASC, told SHOOT that the concern stemmed from a recent Kodak announcement regarding its consumer market strategy. "The phones at the ASC headquarters were ringing off the hooks," Crudo recalled.
In the statement, Carp addressed the situation directly, stating, "We are continuing to dedicate over seventy percent of our motion picture R&D budget to film technology. And you’ll be seeing additional announcements later in the year that extend our capabilities and yours. As you’ve told us so many times, nothing approaches film for its quality, resolution, dynamic range, flexibility and archivability. I’d like you to take away from tonight’s session the conviction that Kodak remains passionate about film building."
VISION2
Reinforcing its message of commitment to film, Kodak then demonstrated three new Vision2 film stocks, all of which are now available. That included the first public announcement and demonstration of Kodak Vision2 100T color negative film 5212/ 7212, which is rated for an exposure index of 100 in 3200 degrees Kelvin tungsten light; and Kodak Vision2 200T color negative film 5217/7217, which is rated for an exposure index of 200 in 3200 degrees Kelvin tungsten light.
For both, Kodak execs said users would find advantages in over and under exposure latitude, extremely fine grain, and enhanced capabilities for recording subtle details in highlights and shadows. They are both available in 16mm and 35mm formats; 65mm will soon follow.
Kodak’s Entertainment Imaging VP Michael Morelli reported that the new films offer more range and more latitude, and are optimized for optical or digital postproduction. He called the 100-speed film "the sharpest motion picture film ever made."
"The 200-speed film is ideal for such visual effects applications as blue and green screen photography, where well defined edges and accuracy in color reproduction are crucial," added Robert Mayson, general manager of image capture and VP of Entertainment Imaging. "There is built-in protection against unwanted light absorption, which helps visual effects practitioners maker the clean separations needed for seamless compositing."
Also now shipping and demoed at the event was the Kodak Vision2 500T Expression color negative film 5229/7229, designed to render images with a somewhat softer look, including smoother skin tones and more subdued range of contrast and color saturation. This film was announced last December. The first member of the Vision2 family was introduced nearly 18 months ago—the Vision2 500T color negative film 5218/7218.
During the event, Kodak screened a short demonstration film that was lensed using the two newly announced stocks. The footage was scanned using Thomson’s Grass Valley Spirit Datacine and Filmlight’s Northlight, and went through a digital intermediate (DI) process at Hollywood-based Cinesite.
From there, the filmmakers created a 35mm internegative, from which the demonstration print was produced. It was projected in 35mm.
REACTIONS
Peter Deming, ASC, who shot much of the demo material, said that advantages of the new 100-speed film included "truer color saturation and an improved range of contrast"; and advantages of the new 200-speed film were "improved skin tones and more details in shadows and highlights."
Bill Taylor, ASC, who co-owns Van Nuys, Calif.-based Illusion Arts, supervised the visual effects on the production. He reported, "The new Vision2 5217 film produces a flawless composite with no sign of fringing. The film has another advantage in that it is innately compatible with the other members of the Vision2 family. It doesn’t require any special color correction to match surrounding footage."
Among those in attendance at the launch event was commercial cinematographer David Darby, who praised the previously released Vision2 film stock and expressed interest in trying the new stocks, particularly for grain reduction. "In commercials, we use the telecine bay where we can control color and contrast, but grain was the last remaining thing," he explained.
John Toll, ASC, was in attendance but withheld judgment, saying that he is excited about new stocks and the ability to create new looks, but he did not believe the demonstration was conclusive. "Cinematographers need to see original negative prints," he said. "We know what we can do with digital. … We have to see it without the DI process."
Morelli reported that a film print without the DI work would be available next week to be viewed either at scheduled times or by appointment at Kodak’s Hollywood offices.
