New Motion Picture film: Eastman Kodak VERITA 200D Color Negative Film 5206/7206

Kodak has released a new Motion Picture film in April 10th 2026:


Not much of an official press release, but they did an instagram post which I embed here

IW published an introductory article about it, where "Kodak announces Veritas 200D, born from “Euphoria” cinematographer Marcell Rév’s desire for a more classical Hollywood rendition of colors and skin tones."

Ladies and gentleman, new kodak color film:

KODAK VERITA 200D Color Negative Film 5206/7206​

The brochure: https://www.kodak.com/content/pdfs/motion/KODAK-VERITA-200D-5206-7206-brochure.pdf
Technical info: https://www.kodak.com/content/pdfs/motion/KODAK-VERITA-200D-5206-7206-technical-information.pdf
Someone wants to make an order?: https://www.kodak.com/en/motion/page/order-film/

Video samples:

Cool!

Interesting. I wonder if they will develop it as a series of films, including tungsten-balanced films.

I often think the 1980s film emulsions were the most beautiful. So, this film stock could be interesting.

One thing I notice, though, in the technical data, is that it says it "is intended for a digital post-production workflow", and they don't include any information on traditional analog postproduction or their Laboratory Aim Density (LAD) control method. I wonder how it will work in traditional analog postproduction.

bfilm said:

Interesting. I wonder if they will develop it as a series of films, including tungsten-balanced films.

I often think the 1980s film emulsions were the most beautiful. So, this film stock could be interesting.

One thing I notice, though, in the technical data, is that it says it "is intended for a digital post-production workflow", and they don't include any information on traditional analog postproduction or their Laboratory Aim Density (LAD) control method. I wonder how it will work in traditional analog postproduction.

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Does analog postproduction of 35mm and 65mm actually happen anymore? I can’t imagine any editor wanting to go back to the days of flatbed machines, mag film, and splicing blocks. Nor can I imagine wanting a production ordering work prints and subsequent negative an and b roll editing. Do amateurs still shoot with 16mm? Doesn’t look like this will be available in super 8.

So, a more punchy alternative to Vision3, that's interesting! Not quite "the Ektar of motion picture film" due to the emphasis on skin tone rendition, but it does offer more punch and saturation than regular Vision3, apparently.

isaac7 said:

Does analog postproduction of 35mm and 65mm actually happen anymore?

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There's probably a masochist alive somewhere who does this, but for any serious production, I really doubt it.

Good that the new film is AHU and does not have remjet. Hopefully it will be easier for re-spoolers to still film, if the re-spoolers can get their hands on the film.

isaac7 said:

Does analog postproduction of 35mm and 65mm actually happen anymore? I can’t imagine any editor wanting to go back to the days of flatbed machines, mag film, and splicing blocks. Nor can I imagine wanting a production ordering work prints and subsequent negative an and b roll editing. Do amateurs still shoot with 16mm? Doesn’t look like this will be available in super 8.

Click to expand...

There are still a few feature film projects which made full analog prints for selected theaters. Oppenheimer being the most recent big one.

Analog prints also play a role in the art world, usually 16mm and Super8, but occasionally also 35mm.

Very few of them will still edit on analog workprints though.

isaac7 said:

Does analog postproduction of 35mm and 65mm actually happen anymore? I can’t imagine any editor wanting to go back to the days of flatbed machines, mag film, and splicing blocks. Nor can I imagine wanting a production ordering work prints and subsequent negative an and b roll editing. Do amateurs still shoot with 16mm? Doesn’t look like this will be available in super 8.

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Yes, there are still some that do analog postproduction. Not as many as I would like. I have been considering making a movie, and I would use full analog postproduction, including optical titles.

Several years ago, Christopher Nolan led a restoration of 2001: A Space Odyssey, completely analog.

"'A lot of the great film-restoration work throughout history was done entirely photochemically, including the mid-1980s release of Lawrence of Arabia that Steven Spielberg and Martin Scorsese were involved with,' Nolan says. '[Film is] the best analogy that’s ever been devised for the way the eye sees.'"

"'Because of trends with restoration, there are things people might choose to do now that in 20 years time would seem inappropriate or intrusive. We're not touching the original negative. We're working from an interpositive. Nothing is affecting the original material.'"

"the lab spent more than six months cleaning the 50-year-old negative and checking the splices, which included removing a number of older, imperfect repairs. Then they made an answer print, color-timed it by closely adhering to the original timing notes and documentation, and finally made an interpositive and an internegative in 65mm for striking prints."

"But while the photochemical process bears a certain alchemy and magic, the director contends that he's not attracted by the romance alone. 'That tends to obfuscate the greater truth, which is that photochemical is a much higher-quality image format,' he says."

dokko said:

There are still a few feature film projects which made full analog prints for selected theaters. Oppenheimer being the most recent big one.

Analog prints also play a role in the art world, usually 16mm and Super8, but occasionally also 35mm.

Very few of them will still edit on analog workprints though.

Click to expand...

One of the extra features included with the Oppenheimer Blu-ray we borrowed from the library included a fair bit on how they involved a woman from France who was one of the last people who works regularly doing analogue editing with the large format - 65mm? - motion pictiure film.
That Blu-ray is worth viewing.