Fuji's F-CP 3513DI

[robbie Land]

has anyone experienced this high-contrast reversal stock from Fuji?

can it be close to the quality of Kodachrome? or higher in contrast?

i ask because i need a high-contrast color stock that has rich saturated primary colors.

something that is more contrasty than kodachrome, but maintains color saturation.

thanks for any help.

[David Mullen ASC]

This isn't a camera reversal stock, it's a print stock. Somewhere between Kodak Vision 2383 and Vision Premier 2393 in terms of contrast. Was used for "Lord of the Rings: Return of the King" prints.

[John Pytlak RIP]

Here are the Kodak color reversal motion picture films:

 

http://www.kodak.com/US/en/motion/products/reversal/

 

http://www.kodak.com/US/en/motion/products...rsal/5285.shtml

 

The "Lord of the Rings" trilogy used Kodak camera films, but distributor New Line usually specifies Fujicolor print film for general release prints.

[Leon Rodriguez]

John,

Why do think New Line specifies Fujicolor for release prints? Economy, durability, color saturation or whatever. I'm asking from a position of inexperience with current print stocks. It's OK to ask this isn't it?

[David Mullen ASC]

Well, obviously John is going to believe and promote the superiority of his company's products, which are fine products. But it's not like the Fuji print stocks are obviously inferior to Kodak technically. They are a little cheaper and I believe New Line has some sort of deal with Fuji perhaps, which is why they insist on releasing films on the Fuji print stocks. Since Fuji just replaced their two print stocks with two new ones, I'm not sure how the price difference with Kodak's two print stocks currently stands.

 

To me, it's a matter of what contrast and black level you want. From least contrasty to most contrasty, it sort of goes: Fuji 3510, Vision 2383, Fuji 3513 D.I., Vision Premier 2393. Vision 2983 is the industry standard.

 

For the ultimate in color saturation and black level, then your choice is Vision 2393.

 

I got to speak to Eric Rodli of Kodak the other night and one of the suggestions I made was for them to stop selling Vision Premier at a higher price than Vision, because it guarantees endless conflicts between DP's and producers and studios, and this ridiculous compromise of releasing a couple hundred prints on '93 and the thousand others on '83. I know that Premier has a higher silver content, making it more expensive to make, but the price difference has made it a constant art-versus-commerce battle. If you take away the price difference, then filmmakers can feel free to pick the one best for their production.

[Leon Rodriguez]

Most of my stuff never gets to a release print. It goes to digital transfer for electronic medium of some sort. So this is new and welcomed insight. Great objective info, thanks a lot.

[John Pytlak RIP]

I'm a "technical guy", and rarely get into the "marketing" aspects of film choice. But David Mullen's discussion with Eric Rodli and others in Kodak's Entertainment Marketing area certainly can influence decisions about how Kodak can best meet customer needs. It's not only "what is in the can" that matters, but the service and support Kodak provides to its customers.

 

And yes, I really think Kodak products are the best. :) I've personally helped develop many of them. B)