Kodak Film Camera 2393 User Manual

September 1998 H-1-2393t  
TECHNICAL DATA / COLOR PRINT FILM  
KODAK VISION Premier  
Color Print Film / 2393  
Like its counterpart KODAK VISION Color Print Film,  
VISION Premier Film is coated on a polyester base  
without rem-jet, for a cleaner process and cleaner screen  
images. We’ve incorporated a processing-surviving,  
anti-static layer to reduce dirt attraction, and a  
scratch-resistant backing layer to improve 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.  
These are not incremental improvements. They are  
quantum leaps forward in film technology. And with  
VISION Premier Film, you’ll have the finest motion  
picture color print film Kodak has ever made.  
RICHER COLORS ON THE SCREEN  
Now, there’s a new choice in motion picture print films—  
KODAK VISION Premier Color Print Film. A film with a  
different look. Richer blacks. More saturated colors.  
Cleaner performance. A film worthy of the KODAK  
VISION Film family name.  
The upper tone scale of VISION Premier Film is  
significantly higher in density than EASTMAN EXR  
Color Print Film, so shadows are deeper, colors are more  
vivid, and the image snaps and sizzles on the screen. The  
toe areas of the sensitometric curves are matched more  
closely, producing more neutral highlights on projection.  
Cinematographers can be more creative with lighting and  
exposure, and still see remarkable results.  
STORAGE  
BENEFITS FOR  
Unexposed print film is not adversely affected by  
short-term storage at room temperature (less than 25˚C  
(77˚F). Store unexposed film at 13˚C (55˚F) or lower when  
storage exceeds 1 month. If refrigerated, allow the sealed  
can or foil bag to equilibrate to room temperature before  
opening to avoid condensation. Rebag unused raw stock  
and seal it in film cans before returning it to refrigeration.  
Process exposed film promptly. This film exhibits  
excellent latent image keeping. When exposed film must  
be kept several days before processing, the tone scale of  
VISION Premier Color Print Film / 2393 shows little  
change. Depending on the storage temperature, labs can  
compensate for the small latent image speed loss by  
increasing printer TRIMS slightly (a neutral increase of 1  
to 2 printer points) if there is a long delay between printing  
and processing. You can slow changes in latent image by  
storing exposed film at lower temperatures. For critical  
applications, such as sensitometric exposures used for  
process control, keep exposed film strips at 0˚C (32˚F) or  
lower.  
For short-term “active” storage and projection of  
processed prints (e.g., commercial film exchanges and  
theatres), store at room temperature of 20 to 25˚C (68 to  
77˚F) at 50 to 60 percent relative humidity. Avoid  
prolonged unconditioned storage at high temperatures or  
excessive humidity. For medium-term storage, store at  
10˚C (50˚F) or lower, at a relative humidity of 20 to 30  
percent. For more information on long-term storage, see  
KODAK Publication No. H-23, The Book of Film Care.  
For extended-term storage (for preservation of material  
having permanent value), store at 2˚C (36˚F) or lower, at a  
relative humidity of 20 to 30 percent. Molecular Sieves* in  
a sealed can will provide additional benefit.  
BENEFITS FOR LABS  
DISTRIBUTORS/  
EXHIBITORS  
• Polyester base provides  
greater tear strength,  
durability, dimensional  
stability, and archival  
keeping  
• Polyester base allows  
cleaner, more durable  
prints  
• No colored fringes in  
titles, and improved  
safelight edgefog  
protection for digital  
soundtrack  
• Elimination of rem-jet (no  
carbon black or prebath-  
soluble binder)  
• Potential for reduced  
chemical and water usage  
in processing  
• Improved fades and  
dissolves, and less  
propensity to safelight fog  
• Improved cleanliness on  
high-speed printers (less  
white dirt)  
• Extremely rich blacks,  
higher color saturation,  
and more neutral  
highlights on projection  
• Protection from static marks  
prior to printing  
• Improved laser subtitling  
• Reduced dirt attraction to  
processed prints and static  
protection prior to  
processing  
• Better transport  
characteristics for  
processed film  
• Superior halation protection  
(no colored fringes in titles)  
• Improved safelight edgefog  
protection for digital  
soundtrack area  
• Improved fades and  
dissolves, and less  
propensity to safelight fog  
• Extremely rich blacks,  
higher color saturation, and  
more neutral highlights on  
projection  
• Improved laser subtitling  
©Eastman Kodak Company, 1998  
 
PROCESSING  
RECIPROCITY  
Process this film in Process ECP-2B. No change in process  
sequence is required.  
You can print this film on a variety of printers, ranging  
from slow step-optical printers to very high-speed  
continuous contact printers used for release printing.  
Exposure times may range from 1/10 of a second to almost  
1/3000 of a second, with little or no change in tone scale.  
For printers that change exposure time during printing,  
new speed reciprocity correction should be used. KODAK  
VISION Premier Color Print Film / 2393 has improved  
fade and dissolve characteristics. Printers with mechanical  
fader cams will no longer need to use filter correction to  
achieve neutral color balance with fades and dissolves.  
Printers with programmable light valves will need to  
reprogram the fade and dissolve algorithm in the printer to  
obtain neutral color balance with fades and dissolves.  
Consult the printer manufacturer for the proper test  
procedure to obtain the appropriate corrections.  
Because there is no rem-jet to remove, VISION Premier  
Color Print Film offers the potential for eliminating the  
current prebath chemicals and reducing water usage.  
However, exercise care if the rem-jet removal steps are  
eliminated, as replenishment rates will change  
dramatically if dry film enters the developer directly.  
Soluble dye buildup in the seasoned developer will also  
increase. Greatly reducing water flow will lead to  
increased concentrations of total process effluent from the  
laboratory, which may have regulatory implications. For  
further assistance, contact your Kodak engineering  
representative.  
The antihalation dyes used in VISION Premier Color  
Print Film are decolorized and removed during  
processing. Although most of the dye is removed in the  
developer, complete removal is also dependent on the “tail  
end” solutions, such as the bleach.  
PRINTER CONDITIONS  
Pictorial Printing  
To prevent static during projection, maintain a relative  
humidity of 50 to 60 percent in the projection room.  
It is important that you maintain a “clean” process:  
proper solution mix and storage procedures to minimize  
“tar” formation, process machine and recirculation  
designed to minimize aeration (e.g., submerged racks),  
periodic cleaning of racks and tanks, proper maintenance  
of squeegees and wiper blades, and efficient filtration.  
For more information, see KODAK Publication No.  
H-24.09, Manual for Processing KODAK Motion Picture  
Films, Process ECP-2B Specifications, Module 9.  
The printer setup for KODAK VISION Premier Color  
Print Film / 2393 is similar to EASTMAN Color Print  
Film 2386 / E / 3386 / E, with little or no change required.  
For example, if you use an additive-type printer, such as  
a Bell and Howell Printer, Model 6123, to print originals,  
you can use a 90 V dc lamp, a KODAK WRATTEN  
Gelatin Filter No. 2B, a KODAK Heat Absorbing Glass,  
No. 2043, a printer speed of 240 feet per minute, and the  
printer settings in the table below:  
Beam  
Red  
TRIM  
14  
Neutral-Density Filter  
TAPE  
25  
0.40  
0.50  
0.60  
LABORATORY AIM DENSITY (LAD)  
CONTROL METHOD  
Green  
Blue  
14  
25  
11  
25  
To control your process, use Process ECP-2 control strips  
for this product available through your local sales  
representative.  
You can also expose this film with a subtractive printer  
with a KODAK WRATTEN Gelatin Filter No. 2B, a  
KODAK Heat Absorbing Glass, No. 2043, and suitable  
color-balancing filters (KODAK WRATTEN Color  
Compensating Filters).  
To aid in color timing and curve placement, negative  
originals should be timed relative to the Laboratory Aim  
Density (LAD) Control Film supplied by Eastman Kodak  
Company. The LAD Control Film provides both objective  
sensitometric control and subjective verification of the  
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 Premier Color Print Film / 2393H-1-2393t  
3
 
Sound-Track Printing  
STANDARD PRODUCTS AVAILABLE  
Analog and digital sound-track printer setup and control  
procedures for KODAK VISION Premier Color Print  
Film / 2393 are similar to Film 2386 / E / 3386 / E, with  
little or no change required.  
Analog variable area positive sound tracks of silver plus  
dye usually restrict the exposure to the top two emulsion  
layers by inserting KODAK WRATTEN Gelatin Filters  
No. 12 and No. 2B* in the light beam. The optimum  
variable-area sound-track density for the print is between  
1.1 and 1.8 (read at 800 nm). You can achieve excellent  
frequency response and a high signal-to-noise ratio in this  
density range.  
Length in Feet  
(Metres)  
Perforation  
Format  
Pitch  
35 mm SP666  
35 mm SP779  
35 mm SP789  
2000 (610)  
4000 (1220)  
6000 (1829)  
KS-1870  
KS-1870  
KS-1870  
Note: For availability of non-standard products, contact  
your Kodak location.  
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  
structure, intragrain absorbing dyes, and superior halation  
protection contribute to its performance.  
Note: With the same soundtrack negative, the print  
density of VISION Premier Color Print Film / 2393 is  
about .1 higher than VISION Color Print Film / 2383.  
For a variable area positive sound track of silver plus  
magenta dye only, printed from a negative sound track,  
restrict the exposure to the top two emulsion layers by  
inserting KODAK WRATTEN Gelatin Filter No.12 and  
KODAK Color Compensating Filter 110 Cyan in the light  
beam. The optimum variable-area sound-track density for  
the print is between 0.8 and 1.1 (read at 800 nm). This  
print density will provide a good compromise between  
signal-to-noise ratio and frequency response.  
Use cross-modulation test procedures to determine the  
density of the sound-track negative required to produce  
minimum cross-modulation distortion at the optimum  
print density.  
MODULATION-TRANSFER CURVE  
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 millimetre that can be resolved. The  
y-axis, “Response,” corresponds to film sharpness. The  
longer and flatter the line, the more sine waves per  
millimetre that can be resolved with a high degree of  
sharpness — and, the sharper the film.  
Modulation-Transfer Curves  
Digital sound-on-film soundtracks (e.g., Dolby Digital  
and Sony SDDS) are dye only. Consult the system vendor  
for performance recommendations.  
200  
100  
70  
50  
G
R
SPLICING  
30  
20  
B
Use tape splices for this film. Since ESTAR Base is  
impervious to most solvents, cement splices will not work.  
Keep the knife on the tape splicer sharp and properly  
aligned with the splicer platen. As the knife is lowered to  
cut the film, slight leftward pressure will help ensure a  
tight mesh of the cutting edges to give a clean cut. Taping  
both sides of the film is recommended to minimize fold-up  
or stretching. An ultrasonic weld splicer (Metric splicer)  
also may be used.  
You can use tape splices to intercut triacetate and  
ESTAR Base film. However, because ESTAR Base prints  
are 20 micrometres thinner, there may be a slight focus  
difference when projecting on a large screen. To assure  
compatibility, order the same type of film stock for all  
prints used in a production.  
10  
7
5
3
2
1
1
2
3
4 5  
10  
20  
50  
100 200  
600  
SPATIAL FREQUENCY (cycles/mm)  
F010_0058AC  
*
You can omit the No. 2B Filter without affecting the sound quality.  
Using this filter is an operational convenience to  
conform with printer setup for other products that require it.  
4
KODAK VISION Premier Color Print Film / 2393H-1-2393t  
 
SENSITOMETRIC CURVES  
DIFFUSE RMS GRANULARITY CURVES  
The curves describe this film’s response to red, green, and  
blue light. Sensitometric curves determine the change in  
density on the film for a given change in log exposure.  
The emulsion granularity of this film is similar to Film  
2386 / E / 3386 / E. VISION Premier Color Print  
Film / 2393 does have a higher level of very small matte.  
The matte particles may be visible at extremely close  
viewing distance to the screen, especially in clear (D-min)  
areas of the print.  
To find the rms granularity value for a given density,  
find the density on the left vertical scale and follow  
horizontally to the sensitometric curve and then go  
vertically (up or down) to the granularity curve. At that  
point, follow horizontally to the Granularity Sigma D  
scale on the right. Read the number and multiply by 1000  
for the rms value.  
Sensitometric Curves  
6.0  
1/500 sec Tungsten plus KODAK  
Exposure:  
G
R
Heat Absorbing Glass, No. 2043  
(plus Series 1700 Filter)  
Process: ECP-2B  
5.0  
4.0  
3.0  
2.0  
1.0  
Densitometry: Status A  
B
Diffuse RMS Granularity Curves  
4.0  
Process: ECP-2B  
3.8  
3.6  
3.4  
3.2  
3.0  
2.8  
2.6  
2.4  
2.2  
2.0  
1.8  
1.6  
1.4  
1.2  
1.0  
0.8  
0.6  
0.4  
0.2  
0.0  
Densitometry: Status A  
B
G
R
0.0  
1.0  
F010_0057AC  
0.0  
1.0  
2.0  
3.0  
LOG EXPOSURE (lux-seconds)  
.100  
B
.050  
.040  
SPECTRAL-SENSITIVITY CURVES  
These curves depict the sensitivity of this film to the  
spectrum of light. They are useful for adjusting optical  
printers and film recorders and for determining,  
modifying, and optimizing exposure.  
.030  
.020  
R
G
.010  
.009  
.008  
.007  
.005  
.004  
.003  
.002  
.001  
Spectral-Sensitivity Curves  
1.0  
0.0  
1.0  
2.0  
3.0  
F010_0061AC  
Tungsten exp. 1/50 sec  
Effective Exposure:  
Process: ECP-2B  
Density: 1.0  
LOG EXPOSURE (lux-seconds)  
Spectral-Dye-Density Curves  
0.0  
1.0  
2.0  
3.0  
1.4  
Typical densities for a midscale neutral subject  
and D-min.  
Yellow-  
Forming  
Layer  
Magenta-  
Forming  
Layer  
1.2  
1.0  
0.8  
Process:  
ECP-2B  
Visual Neutral  
Cyan-  
Forming  
Layer  
Cyan  
Yellow  
0.6  
0.4  
Magenta  
250 300 350 400 450 500 550 600 650 700 750  
WAVELENGTH (nm)  
*Sensitivity = reciprocal of exposure (ergs/cm2) required  
to produce specified density  
0.2  
0.0  
F010_0059AC  
The spectral sensitivity of VISION Premier Color Print  
Film / 2393 more closely matches EASTMAN EXR Color  
Intermediate Film 5244, 2244. This gives a better match  
between direct prints and prints from a duplicate negative  
produced on EASTMAN EXR Color Intermediate Film.  
350  
F010_0060AC  
400  
450  
500  
550  
600  
650  
700  
750  
WAVELENGTH (nm)  
KODAK VISION Premier Color Print Film / 2393H-1-2393t  
5
 
KODAK VISION Premier Color Print Film / 2393™  
ADDITIONAL INFORMATION  
For assistance, call the Kodak Information Center in the  
U.S. at 1-800-242-2424 between 8 a.m. and 8 p.m.  
(Eastern time), Monday–Friday; or in Canada at  
1-800-465-6325 between 8:30 a.m. and 5 p.m. (Eastern  
time).  
KODAK LOCATIONS  
FOR DIRECT ORDERING IN CANADA:  
FOR DIRECT ORDERING IN THE UNITED STATES:  
1-800-621-FILM  
1-800-621-FILM  
MONTREAL, CANADA  
ATLANTA, GEORGIA  
Kodak Canada Inc.  
4 Place du Commerce  
Ile des Soeurs  
Verdun, Quebec, H3E 1J4, Canada  
Information: 514-761-3481  
4 Concourse Parkway  
Suite 300  
Atlanta, Georgia 30328-5379  
Information: 800-800-8398  
CHICAGO, ILLINOIS  
TORONTO, CANADA  
815 West Van Buren, Suite 320  
Chicago, Illinois 60607  
Kodak Canada Inc.  
3500 Eglinton Avenue West  
Toronto, Ontario, M6M 1V3, Canada  
Information: 416-766-8233  
Information: 312-492-1423  
DALLAS, TEXAS  
11337 Indian Trail  
Dallas, Texas 75229  
VANCOUVER, CANADA  
Kodak Canada Inc.  
Information: 972-481-1150 or 312-492-1423  
4185 Still Creek Drive  
Burnaby, British Columbia, V5C 6G9, Canada  
Information: 604-320-1777  
HOLLYWOOD, CALIFORNIA  
6700 Santa Monica Boulevard  
P. O. Box 38939  
Hollywood, California 90038-1203  
Information: 323-464-6131  
KODAK On Line At:  
NEW YORK, NEW YORK  
360 West 31st Street  
New York, New York 10001-2727  
Information: 212-631-3450  
LATIN AMERICAN REGIONAL OFFICE  
8600 NW 17th Street, Suite 200  
Miami, Florida 33126  
Information: 305-507-5656  
Professional  
Motion Imaging  
KODAK VISION Premier Color Print  
Film / 2393™  
Kodak, Vision, Estar, Eastman, EXR, 2244, 2386, 2393, 3386, 5244,  
Keykode, and Wratten are trademarks.  
New 9-98  
Printed in U.S.A.  
KODAK Publication No. H-1-2393t  
CAT 118 6618  
 

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