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

[Prest_400]

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

VERITA 200D Color Negative Film 5206/7206

This daylight‑balanced color negative film delivers bold colors, warm skin tones, and deep blacks for classically cinematic results.

www.kodak.com

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."

Inside the New Film Stock Kodak Created for ‘Euphoria’ Season 3

Kodak announces Veritas 200D, from ‘Euphoria’ cinematographer Marcell Rév’s desire for a more classical Hollywood rendition of colors and skin tones.

www.indiewire.com

 

[arturo_rs]

Ladies and gentleman, new kodak color film:

KODAK VERITA 200D Color Negative Film 5206/7206​

Kodak expands motion picture portfolio with KODAK VERITA 200D Color…

Kodak expands portfolio with VERITA 200D 5206/7206, a new color negative motion picture film stock offered in 65mm, 35mm, and 16mm formats.

www.kodak.com

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:

 

[mshchem]

Cool!

 

[bfilm]

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.

 

[isaac7]

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.

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.

 

[koraks]

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.

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

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

 

[blee1996]

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.

 

[dokko]

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.

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.

 

[bfilm]

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.

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."

 

[MattKing]

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.

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.

 

[gbroadbridge]

Headline: Camera manufacturers in shock, both cine and still.

 

[dokko]

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.

I haven't seen the Blu-ray extras, but I suspect strongly that the point was about the final negative cutting (to match the digital edit) rather than analog editing.

 

[DF]

Maybe some worthwhile movies to be shot on this new film.
Where did the 90's go.....?

 

[cmacd123]

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.

on the data sheet,
"The initial scans from images captured with this stock will
be less neutral in the highlights, which tend to shift toward
magenta. This can be adjusted in color grading and is due
to this stocks' alternative linear response in higher
densities – a signature characteristic, which also provides
rich depth and warmth to a range of flesh tones."

sounds to me like they expect digital correction to be applied to avoid a cross-over error.


also noticed that it has key-kode ET. that is shared with long discontinued 5223/7223 Vision3 640T

 

[cmacd123]

Maybe some worthwhile movies to be shot on this new film.
Where did the 90's go.....?

well, it was announced at the start of the new 3d season of "HBO's original drama series Euphoria." which used a million feet of the stuff in both 35 and 65 mm.

also the press release mentioned A24's upcoming The Death of Robin Hood,

as well as the typical music videos and commercials.

 

[Fish soup]

sounds to me like they expect digital correction to be applied to avoid a cross-over error.

There is some speculation on reddit that it's basically Portra 400. I will follow with interest.

 

[Alan Edward Klein]

Why would Hollywood select this film over current Kodak films they use?

 

[Fish soup]

A different look?

 

[koraks]

There is some speculation on reddit that it's basically Portra 400.

This mostly shows that:
1: Spectral sensitivity only tells part of the story; curve shape per color layer is another crucial aspect - and combined, they also still are not a complete picture
2: Difference that appear as very slight are actually the meaningful ones; put these two curves next to some wildly different films and note that they still look kind of similar - because that's just how CN spectral sensitivity curves look, even across very different products
3: People don't realize that this is an ECN2 film and that it's thus fundamentally different from Portra.

Hence, I'm skeptical to the point of being dismissive of this bit of speculation.

There of course are overlaps in technology between the Portra films and the motion picture films, and this particular new film won't be different in that regard. I've explained before where, in general, these technological similarities originate from and how (very simply put) the dynamics are in how technology ends up in distinct products. The explanation boils down to the notion that "product x is 'basically' product Y" is virtually always, and particular in the case of color films, a meaningless one. It has no clear basis in fact, nor any relevant practical implication. It's in all honesty just people trying to sound interesting and sophisticated without understanding how technological evolution and new product development work.

 

[Fish soup]

Yes, I'm also not completely sold. But I also know there were rumors during the last year or so, of people in the industry trying out an experimental Portra 400 modified to work in a cinema workflow. So I'm just going to wait and see. It will either way be a slightly different emulsion just because of the AHU layer I guess.

 

[koraks]

Portra 400 is a C41 film. If you've ever processed ECN2 and C41 films and compared the color rendition, you'll have noticed how dramatically dissimilar they are. There's no such thing as a "modified Portra 400" that becomes an ECN2 film.

 

[Fish soup]

It seems to have crossover error in the highlights though. But I'm also skeptical. I would think archival stability could be a big concern. But I'm also not that knowledgeable in this area.

 

[polaromar]

This sounds like that rumor that Kodacolor 100 is relabeled ProImage 100, that hype merchants on social media keep pushing for clicks, despite it being obvious for a long time that it is just a Colorplus emulsion related to Lomography's CN100.

I wouldn't be surprised if there is some shared technology with Portra 400. Fundamentally however, you can't just rerate a film for a different ISO and dev chemistry, and call it a day. It still has to be its own emulsion even if it turns out to be part of the wider Portra family.

Looking forward to this though! A punchier cine film would be lots of fun to try, I prefer more saturated films like Ektar and Velvia when I shoot.

 

[koraks]

It seems to have crossover error in the highlights though.

Yes; apparently this is intentional, by design or 'intentionally embraced misbehavior' (a.k.a. 'it's not a bug, it's a feature!')

Note also how fundamentally different this is from Portra 400, and indeed most/all of Kodak's other CN films, which are invariably incredibly well-behaved in terms of avoiding any crossover. This new product is fundamentally different from those, and I think it kind of echoes what's going on in a broader sense in the analog photo & film community, which tends towards embracing the imperfections - sometimes to the point of purposefully creating them (Lomo products, Phoenix Redscale etc.)