Kodak Vision3 200T

Research-backed original, derived from the Kodak H-1-5213 datasheet (archived, March 2022). The tungsten stock that behaves like a slower film. Kodak's own pitch is "two films in one." Completes the bank's Vision3 line: 50D · 200T · 250D · 500T. Derivation in the notes. Movie mode in the notes.

The claim this recipe is built on

"a 200-speed tungsten film that provides the image structure of a 100-speed film with the versatility of a 200 speed product, offering you the benefits of two films in one." Kodak H-1-5213, p.1

That is a specific, falsifiable, product-defining claim, and no other stock in the Vision3 line makes it. 200T is sold on being finer-grained than its speed. Everything distinctive below follows from it.

Kodak also names the intended range explicitly: "performs superbly in both controlled interiors and in challenging high-contrast exteriors." That dual brief is why this recipe sits neutrally where 500T leans into night.

Why these values: and where it departs from its siblings

The Vision3 recipes share a chassis (Eterna, Weak/Small grain, CCE Strong, CCFXB Weak, DR400, Highlight −2, Color +2, Clarity 0, NR −4). Four values are set differently here, and each traces to the datasheet:

• Eterna base: the house standard for every cinema original. Fujifilm's own cinema simulation: low contrast, muted, rich shadows, 12 stops of dynamic range "comparable to F-Log" with room for post-production, and a documented shift of blue tones toward cyan. That last one matters. This base needs less cooling than instinct suggests, which is why the WB sits at 0/0 rather than being pushed cool for a tungsten stock.
• DR400 + Highlight −2, and here the claim is quantified. Kodak: "unrivaled highlight latitude", and specifically "up to two stops more image information can be extracted from scene highlights in VISION3 Films." Two stops is exactly what DR400 buys. This pair is the Vision3 signature and it is the least negotiable thing in the recipe.
• Color +2, CCE Strong. Eterna deliberately suppresses saturation. Fujifilm calls it "an art of omission," built so no single colour stands out across a sequence. A stills viewer has one frame to be moved by, so the line lifts colour modestly and takes richness from Color Chrome Effect, a gradation tool, rather than from saturation.
• Grain Weak, Small, the floor, and a honest limitation. The whole Vision3 line sits here because Weak/Small is the finest tier the camera offers above Off. That means the in-camera Grain control cannot express the difference between 50D, 200T, 250D and 500T: four films with genuinely different granularity all land on the same setting. For stills that is simply a ceiling on fidelity. For video it is solvable, because grain is added in post with continuous control, see the notes and Post-Production Film Grain, deriving settings from datasheets.
• ISO 500-6400. DR400 pins the floor at 500 on the X-T5.
• EC 0 to +1/3. A colour negative with two documented stops of extra highlight headroom rewards light. Matches the daylight siblings. 500T allows −1/3 because night work often wants the opposite.

The exposure-index table, and what the digital version deletes

Kodak publishes the full light-source table:

Two things worth taking from it.

1. The film tolerates ±200 K without correction. Kodak states you can shoot tungsten lamps "that have slightly higher or lower color temperatures (± 200 K) without correction filters." That is a specific tolerance figure, and it is why the fixed Incandescent preset is safe here rather than fussy. Practical tungsten sources drift, and the film was built for that.

2. Shooting it in daylight cost you 0.68 of a stop. On the X-T5 it costs nothing. Real 200T in daylight needs a 85 filter and drops from EI 200 to 125. The digital version has no filter and no speed loss. Change the WB preset and carry on. Same category of finding as SFX 200, where the digital translation deletes the filter-factor problem entirely. Cool-white fluorescent is the real penalty case. EI 64, a full 1.6 stops down, and the reason the fluorescent variant below exists.

Variants

Handling

• This is the interior stock that also goes outside. That is the whole point of it, and it is the reason to reach for 200T over its neighbours: 50D is a daylight-only fine-grain specialist, 500T is a night stock, and 250D is daylight. 200T is the one that crosses.
• Give it light. Two documented stops of highlight headroom on a negative stock means the failure mode is underexposure, not blowing out.
• Don't over-cool it. Eterna already shifts blues toward cyan by design. If interiors read too teal, nudge +Red / −Blue: adding cool makes it worse. This trips people up on every Eterna recipe in the bank.
• Where it sits: with this recipe the Vision3 line is complete: 50D, 200T, 250D, 500T, all four datasheet-derived, all on Eterna, differentiated by WB, tone curve, sharpness and ISO ceiling.
• Video: see the notes. As a cine stock this is a video-first recipe, and the movie-mode grain loss is recoverable in post with datasheet-derived settings.

Test priority

1. A controlled tungsten interior with a bright window in frame. This is the stock's stated home and its headline latitude claim in one shot. Does DR400 + Highlight −2 hold the window, or does it clip?
2. A high-contrast exterior in the Daylight variant. Kodak names this as the second half of the "two films in one" pitch. Does the recipe hold up outdoors, or does it read as a tungsten recipe being used wrong?
3. A texture-heavy subject at 100 %. Tests whether Sharpness 0, one notch above its speed peers, justified by the "image structure of a 100-speed film" claim. Actually reads finer, or whether the difference is below the noise floor.
4. Cool-white fluorescent. The worst case in Kodak's own table (EI 64, CC40R). Worth knowing how bad it looks before relying on the variant.

Validation tier: Datasheet-validated + Characteristic. Grounded in the archived Kodak H-1-5213 (March 2022): the "image structure of a 100-speed film" claim, EI 200 tungsten / 125 daylight with a 85 filter, the full seven-source exposure-index table, the ±200 K colour-balance tolerance, the reciprocity range (no correction from 1/1000 s to 1 s), the "up to two stops more image information… from scene highlights" latitude claim, ECN-2 processing and rem-jet backing. Characteristic pass: consistent with the Vision3 family behaviour already scan-confirmed on 250D and 500T. No 200T-specific scan or frame-grab yet.

On granularity, stated honestly: Kodak's colour motion-picture sheets publish granularity as a curve (Sigma D against density, read off a chart and multiplied by 1000), not as a number. That chart has not been digitised, so no RMS figure is claimed for this stock, the "100-speed image structure" claim is prose, and it is treated as prose. Digitising the four Vision3 curves is the outstanding task flagged in Post-Production Film Grain, deriving settings from datasheets, and it would let this claim be checked rather than quoted.

Pro tip: The Vision3 line's grain is undifferentiated in-camera, and that is a real ceiling (2026-07-25). All four recipes run Weak/Small because that is the finest setting above Off, so the camera cannot express the genuine granularity spread between 50D and 500T. If grain fidelity across the line matters to you, shoot video and add grain in post, Post-Production Film Grain, deriving settings from datasheets derives the scale from the datasheets' own 48 µm measurement aperture and gives continuous control the stills pipeline does not have.

Measured contrast (2026-07-26): Kodak's sensitometric curve for this stock was traced from the archived datasheet. Γ 0.531 (B/G/R separately in Measuring film curves from datasheets, method, calibration, and its limits). Kodak has never published a gamma for any VISION3 stock, so these are the only numbers of their kind. They sit inside Kodak's own patent range of 0.45-0.7 for colour negative. Two things follow for this recipe: the whole family is built to a single contrast aim near γ 0.53, which is why the Eterna-based cinema recipes are so close to one another and should be. And the red record runs ~14 % shallower than green and blue, a result that held across seven estimators. No mechanism is claimed for the red result. It is an open question, not a licence to change a setting.

ISO 500 is the sweet spot, not a compromise (measured 2026-07-27). DR400 pins the ISO floor at 500, and that is exactly where the X-T5's conversion-gain step sits, so it is the cleanest ISO in that region, not a tax you pay for using DR400. ISO 640 is the expensive next click: roughly 0.35 EV of dynamic range for one third-stop, against about 0.02 EV for the step from 400 to 500. In good light, hold ISO at 500 and control exposure with aperture and shutter. Measured from published read-noise and PDR data, see Dynamic Range & Tone Curve, the contrast controls.

Movie-mode adaptation of the stills recipe. Target: standard film-simulation recording (baked-in look), not F-Log/HLG. Set in the movie shooting display → IMAGE QUALITY SETTING tab. Stored separately from stills, so every value must be re-entered.

This is a motion-picture stock. The video version is the primary one, the stills recipe is the adaptation, not the other way round.

What was dropped, and how it's handled

Losing in-camera Grain makes this recipe more faithful, not less

Counterintuitive, and specific to the Vision3 line.

All four Vision3 stills recipes are stuck on Grain Weak, Small, the finest tier above Off, because the in-camera control has no resolution left at the fine end. So 50D ("finest grain"), 200T ("image structure of a 100-speed film"), 250D and 500T all get the identical grain setting despite being four measurably different films. The stills pipeline cannot express the difference.

Movie mode removes the control entirely, which hands the problem to post, where it is solvable. Grain plugins offer continuous size and intensity, so the granularity spread across the line becomes expressible for the first time.

→ Post-Production Film Grain, deriving settings from datasheets derives this from primary data:

• Grain scale is exact geometry. Every datasheet measures granularity through the same 48 µm aperture. Projected onto the delivery raster that is 3.7 px @1920 / 7.4 px @UHD for Super 35: and double for Super 16.
• A grain setting dialled at 1920 is wrong by 2× at 3840. Set grain at delivery resolution.
• The X-T5's sensor (23.5 mm) is within 5.6 % of Super 35 (24.89 mm): sub-pixel at UHD, so X-T5 footage and Super 35 origination want identical grain geometry.
• Free DaVinci Resolve: ResolveFX Film Grain is Studio-only. Use the Fusion Film Grain node: start from the 35mm preset, set blue > green > red, and enable Log Processing (the docs specify it "when matching film").
• Premiere Pro: use Noise HLS Auto with the Noise type set to Grain: not the plain Noise effect, which has no size control at all.

Relative intensity for this stock: 200T should sit finer than 250D and 500T, near 50D, per Kodak's "image structure of a 100-speed film." No RMS number is claimed. Kodak publishes colour cine granularity as a curve, not a figure, and it has not been digitised. Treat the ordering as prose-derived and calibrate by eye.

Shooting notes specific to video

• The DR400 / ISO 500 floor bites harder here. The 180° shutter rule pins you to 1/50 s (25p) or 1/60 s (30p), so you cannot shorten exposure to compensate. In bright daylight at ISO 500 you will need ND. No ND available → drop to DR200 and set Highlight −1. You lose some of the documented two-stop highlight margin, but a correctly exposed shot beats a faithful blown one.
• Interframe NR AUTO by default, OFF for motion. It averages across frames and can ghost. On a stock whose brief is controlled interiors, often static or slow-moving. AUTO is usually safe.
• The ± 200 K tolerance is a real production convenience. Kodak specifies the film handles tungsten sources ±200 K off 3200 K without correction. Practical lamps drift, and dimmed tungsten drifts warm. The fixed Incandescent preset absorbs that rather than fighting it shot to shot.
• Daylight exteriors: switch WB to Daylight 0/0 and lose nothing. Real 200T needs a 85 filter outdoors and drops EI 200 → 125. Digitally there is no filter and no speed penalty: which makes the "two films in one" pitch more true on the X-T5 than it was on film.
• Don't over-cool interiors. Eterna shifts blues toward cyan by design. If a tungsten interior reads teal, nudge +Red / −Blue. Adding cool makes it worse.

If you shoot F-Log / F-Log2 instead

Treat this as a target look, not a bake-in. Eterna's own 12-stop range is described by Fujifilm as "comparable to F-Log" with "room for post production", so for a graded pipeline the argument for log capture is weaker here than on most bases, and baking Eterna in is a legitimate finishing choice rather than a compromise. Kodak's own scanning note points the same way: "if traditional 10-bit… encoding schemes are used to digitize films having this extended density range, highlight information… could be lost." The highlight margin is real and worth protecting at capture, whichever path you take.

Grain in post (video): movie mode has no Grain control. 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 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).

Datasheet-derived original. Primary source: Kodak H-1-5213, March 2022. Archived at the datasheet archive, 4 pages, read in full. Settings in the notes. Movie mode in the notes.

What the datasheet says

The full exposure-index table, which is unusually complete for any datasheet in this archive:

The finding: this is the only Vision3 stock sold on being finer than its speed

Every other film in the line is positioned by speed and balance, 50D is the fine daylight one, 250D the everyday daylight one, 500T the fast tungsten one. 200T is positioned by a mismatch between its speed and its grain, and Kodak states it in the first sentence: "the image structure of a 100-speed film with the versatility of a 200 speed product."

That is the only claim in the whole line that says this film behaves better than its ISO implies, and it is what makes 200T worth having alongside 250D, the two are within a third of a stop of each other in speed, so without the image-structure claim there would be little reason for both to exist.

How it becomes a setting. The obvious lever is Grain, but the whole line already sits at Weak/Small, the finest tier above Off, so there is nowhere finer to go. The claim therefore lands on Sharpness instead: its speed peers 250D and 500T run −1, and 200T takes a notch back to 0, matching 50D. Finer structure supports more acutance without grain becoming objectionable.

That is an interpretation, and a modest one. The datasheet makes a grain claim and the recipe answers with a sharpness value, because the grain control has no room left. Flagged as such rather than presented as direct derivation.

The line's real limitation, now stated plainly

Four Vision3 films, four genuinely different granularities, and all four recipes are forced onto the same Grain setting, because Weak/Small is the floor above Off. The in-camera control simply has insufficient resolution at the fine end.

For stills this is a hard ceiling on fidelity. For video it is solvable, and that is a genuine argument for shooting these recipes as video rather than stills: movie mode drops Grain entirely, so grain is added in post with continuous control, and Post-Production Film Grain, deriving settings from datasheets derives the scale from the datasheets' own 48 µm measurement aperture. The stills pipeline cannot express the difference between these four films. The video pipeline can.

Where each setting comes from

• Eterna base: house standard for the cinema originals, and the right one: Fujifilm's cinema simulation with low contrast, muted saturation, rich shadows, a documented 12-stop dynamic range "comparable to F-Log" with room for post, and blue tones shifted toward cyan by design.
• DR400 + Highlight −2: the direct translation of "up to two stops more image information… from scene highlights." Two stops is precisely what DR400 buys, so this pair is the least arbitrary thing in the recipe.
• WB Incandescent, 0 Red & 0 Blue. Tungsten-balanced like 500T, but neutral where 500T runs +1 Blue. The reasoning: 500T is used under uncorrected practicals at night and benefits from the correction. 200T's stated home is "controlled interiors" where the lamps are what the film expects. The ± 200 K tolerance is what makes a fixed preset safe here. Practical tungsten drifts, and Kodak built the film to absorb that.
• Shadow 0. 500T runs +1 for night work. 200T's brief is explicitly dual-purpose, so it stays neutral with the daylight siblings. The family's "reduced grain in shadows" claim is about grain, not tone, and should not be read as licence to deepen the shadow end.
• Color +2, CCE Strong. Eterna suppresses saturation deliberately. Fujifilm's "art of omission", built so no single colour stands out across a sequence. A stills frame has one shot at the viewer, so the line lifts colour modestly and takes richness from Color Chrome Effect (a gradation tool, adding density inside already-saturated colour) rather than from the saturation slider.
• ISO 500-6400. DR400 floors at 500. The ceiling matches 250D, its near speed-peer. 500T keeps 12800 as the dedicated low-light stock.
• EC 0 to +1/3. Two documented stops of highlight headroom on a negative make underexposure the failure mode.

What the digital translation deletes: and what it doesn't

Deleted: the 85-filter penalty. Real 200T shot in daylight needs a Wratten 85 and drops EI 200 → 125, a loss of about 0.68 of a stop. On the X-T5 there is no filter and no speed loss. Switch the WB preset and shoot. The same category of finding as SFX 200, where the digital version removes the filter-factor arithmetic entirely.

Not deleted: the fluorescent problem. Cool-white fluorescent costs 1.6 stops (EI 64) and needs a CC40R on film. Digitally you keep the speed, but you still face a green-spiked source that no white balance fully fixes. Fluorescent and LED sources have gaps in their spectrum, and no amount of channel gain recovers wavelengths that were never emitted. That is the same physical argument as the SFX 200 red-edge finding: you cannot recover information the sensor never received.

Where it sits: the line is now complete

200T is the one that crosses. 50D and 250D are daylight-only. 500T is a night stock. 200T is the stock you load when the day involves both an interior and a street.

Worth noting from the 500T scan work: that recipe's daylight-vs-artificial pair proved the "500T look" is really the stock used out of balance. Neutral under tungsten, teal-orange only in uncorrected daylight. The same logic applies here. Shot under 3200 K, 200T is a neutral, accurate film. The cinematic teal-orange people associate with tungsten stock is what happens when you don't correct it, which is a style choice, not the film's character, and the Daylight variant is the honest way to shoot it outside.

Validation status

Datasheet-validated + Characteristic, no scan. Every setting traces to H-1-5213 or to the Vision3 family behaviour already scan-confirmed on 250D and 500T.

Two honest gaps:

1. No 200T-specific frame. The cinema stocks are structurally hard to evidence. Real footage is not Commons material and frame-grabs of released films carry the DI grade, so they are neither free nor faithful (Validation Methodology. Proof of Faithfulness lists this as structurally blocked). The realistic route is a frame from a known 200T production with a documented near-neutral grade, or user-shot footage.
2. No granularity number. The curve is in the archived PDF and has not been digitised, so the "100-speed image structure" claim is quoted, not verified. Digitising it would let the Sharpness 0 decision be checked against a real figure rather than an inference.

Derived: 2026-07-25