Kodak Ektachrome 100D

A color reversal (slide/positive) motion-picture stock. Structurally different from every Vision3 stock in this collection (which are all negatives). Daylight-balanced, EI 100, marketed by Kodak as offering "moderately enhanced color saturation... While maintaining a neutral gray scale and accurate flesh reproduction" with "exceptional sharpness... Unsurpassed by any other 100-speed reversal film." Notably used in Poor Things (2023), where its elevated colour and contrast were central to the film's sensory visual style. Provia base. Fuji's own balanced-slide profile is the correct structural analogue to a reversal stock, distinct from the negative-modelled Eterna used for the Vision3 recipes. Grounded in the Kodak technical data sheet (archived). See the notes.

Stills settings

This stills recipe uses the grain and Color Chrome effects that movie mode can't. For the movie-mode adaptation see the notes.

Why these values

• Provia base, not Eterna: this is the one colour capture stock in the cinema folder that is deliberately not Eterna. The two other non-Eterna cinema recipes are a different case in each instance: 2383 Print models a release-print stock rather than a capture negative, and Double-X 5222 is black and white, so neither faces this choice. Eterna models negative-film cinema tonality (low contrast, soft shoulder). Ektachrome 100D is a reversal stock, structurally a slide film, so it needs Provia's balanced-slide character, the same reasoning used for the still Kodak Ektachrome E100 original.
• DR200 + Highlight 0 + Shadow 0 (not DR400 + Highlight −2 like the Vision3 negatives). Reversal film has a shorter, firmer tonal latitude than a negative. There's no long soft shoulder to model, so the tone curve stays neutral rather than softened.
• Color +2, CCE Strong: the sheet's own words: "moderately enhanced color saturation", a clear step up from neutral, but not Velvia-level. This is echoed by Poor Things' use of the stock for "elevated colour, contrast... Sensory" imagery.
• WB +1R/−1B: a small warm nudge to protect the sheet's stated "accurate flesh reproduction" against Fuji's native cool lean.
• Sharpness +1: the sheet calls its sharpness "unsurpassed by any other 100-speed reversal film."
• Grain Weak, Small: "excellent" grain performance per the sheet, in the same fine-grain tier as the still Ektachrome E100.
• ISO ceiling 800 (higher than the still E100 original's cap, lower than the negative cinema stocks), a 100-speed reversal stock is sometimes pushed a stop or two in practice, but doesn't have Vision3's extreme speed range.
• Slight underexposure bias: universal reversal-film discipline: protect the highlights, since there's no negative-style latitude to save them in.

A stylised "Poor Things" variant

For a heavier, more overtly "sensory"/stylised push closer to that film's specific grade: Grain Strong, Large, Clarity +2, Color +3. Trades the emulsion-faithful reading for a more dramatic, grain-forward interpretation.

Validation tier: Datasheet-validated (saturation/sharpness/balance language, archived PDF) + characteristic-validated against a specific, well-documented, recent production (Poor Things, 2023) rather than a generic review, a strong, independently-checkable evidence class. No Commons frame-grabs exist for actual cinema footage. Scan-validation would need an user-supplied reference.

Pro tip: Velvia vs Color Chrome Effect (2026-07-20, official). Fujifilm states Velvia "maintains colour balance so that no colour is emphasised more than another", its saturation lift is a uniform gain across all hues. Color Chrome Effect does the opposite: it adds density only where colour is already saturated. Stacking a strong CCE onto Velvia is the fastest route to a plastic-looking frame, on this base prefer CCE Weak/Off and let the simulation carry the colour. Also official: Velvia is hard at both ends of the curve ("deep shadows… bold impression"), so Highlight/Shadow at 0 is already a high-contrast recipe. Negative values here buy you normal contrast, not flatness.

Movie-mode version of the stills recipe. Movie mode drops Grain, Color Chrome Effect, Color Chrome FX Blue, and Clarity (see Video / Movie Mode, settings, differences, and photo→video translation video-mode-settings). Target: standard film-simulation recording, not F-Log/HLG.

• Grain unavailable → this is a fine-grain stock anyway. Add subtly in post only if styling toward the heavier "Poor Things variant."
• Clarity was 0 already. Nothing lost.
• This is the one cinema recipe built on Provia rather than Eterna, which follows from the reversal-film source. Keep that in mind if grading further in post (its native tonal response is firmer/shorter than the Eterna-based negatives).

Grain in post (video): movie mode has no Grain control, so grain must be added in the edit. Post-Production Film Grain, deriving settings from datasheets derives the correct grain scale in pixels for your format and delivery raster from the datasheet's own 48 µm measurement aperture, gives the inter-stock intensity ratios from published RMS granularity, and documents the verified tool paths for Premiere Pro (Noise HLS Auto, not Noise) and free DaVinci Resolve (Fusion Film Grain node, ResolveFX Film Grain is Studio-only).

Original (datasheet + characteristic validated). See the notes, the cinema README, and the Knowledge base.

The stock

Kodak Ektachrome 100D Color Reversal Film (5294/7294) is a positive/reversal motion-picture stock. Process E-6, the same reversal chemistry as still-photo slide film. This is structurally different from every other cinema stock in this bank: Vision3 (250D/500T/50D) and Double-X are all negatives. Kodak's datasheet (archived, pub. H-1-5294) describes it as offering "moderately enhanced color saturation while maintaining a neutral gray scale and accurate flesh reproduction," with "exceptional sharpness that is unsurpassed by any other 100-speed reversal film," recommended for "advertising, nature cinematography, documentaries, music videos... Telecine transfers and television filming."

Why it's on the "most notable and pleasing" list

Researched directly, not assumed: Ektachrome's cinema reversal stock has a specific, well-documented recent credential. Poor Things (2023) used it, and critical/technical writeups describe its "elevated colour, contrast and grain" as central to the film's sensory visual style. That's a strong, checkable signal distinct from generic "people like slide film" reasoning.

Why Provia, not Eterna

Every other cinema recipe in this bank (Vision3 250D/500T/50D, Double-X) is built on a negative-modelled base (Eterna for colour, Acros for B&W). Eterna specifically exists to mimic the low-contrast, soft-shouldered character of negative motion-picture stock. Ektachrome 100D is the opposite kind of film: a reversal stock with the firmer, shorter latitude and punchier response characteristic of slide film. Provia. Fuji's own balanced-slide simulation. Is the structurally correct analogue, the same logic used for the still Kodak Ektachrome E100 original (which is also Provia-based). This is a deliberate, documented exception to "cinema recipes use Eterna."

How the settings embody it

DR200 + neutral Highlight/Shadow (rather than the Vision3 family's DR400 + Highlight −2) reflect the reversal stock's shorter latitude, there's no long negative-style shoulder to protect. Color +2 + Color Chrome Effect Strong deliver the "moderately enhanced saturation" the sheet describes, more than a neutral reading, short of Velvia-level punch. The small warm WB nudge (+1R/−1B) protects "accurate flesh reproduction" against Fuji's cooler native lean. Sharpness +1 reflects the sheet's own "unsurpassed" sharpness claim. A slight underexposure bias in the EC guidance follows universal reversal-film shooting discipline: protect highlights, since (unlike a negative) there's no latitude to recover them afterward.

The Poor Things variant

The film's specific grade reportedly pushed further. Heavier grain, more saturation, than the stock's native, accurate-flesh-tone character. The recipe notes a stylised variant (Grain Strong/Large, Clarity +2, Color +3) for anyone chasing that particular film's look specifically, while keeping the primary recipe faithful to the emulsion as Kodak documents it.

vs the rest of the cinema collection

Validation status

Datasheet-validated (saturation/sharpness/balance language, archived PDF) + characteristic-validated against a specific, recent, well-documented production (Poor Things), an independently-checkable evidence class. No Commons frame-grabs exist for cinema footage. Scan-validation would need an user-supplied reference.