Kodak Vision 3 250D 5207/7207 is a color-negative film designed for motion picture cameras. Due to its ability to be bulk-loaded into 135 film canisters, it has increasingly been adopted by still photographers. When developed in ECN-2, its image quality is comparable to Kodak Portra 400 and other color-accurate, fine-grained, low-contrast emulsions. In this review, however, I am processing my Vision 3 250D rolls with C-41 chemicals, a common choice at local film labs, after removing the remjet using a Flic Film borax mix. Additionally, I will compare the 250D to CineStill 400D, which many claim is identical except for the remjet layer (spoiler: it's not). This review covers: an overview of Kodak Vision 3 250D 5207/7207, dynamic range and colors, grain and resolution, green noise and contrast issues with C-41, a comparison between Kodak Vision 250D 5207/7207 and CineStill 400D, and the impact of Kodak Alaris on motion picture film sales, along with purchasing options for Kodak Vision 3 250D 5207/7207 and more samples. Support this blog and access premium features with a GOLD membership!¹ — Refer to “The Kodak Alaris crackdown on motion picture film sales.”
Cinema Shorts 250D was shot with a Nikon F2 and Nikkor 28mm f/3.5 AI-S, scanned using the Nikon Super CoolScan 500ED, inverted with Film Q, and color corrected in Photoshop.
What is Kodak Vision 3 250D 5207/7207?
Kodak Vision 3 is a film specifically manufactured for movie cameras in various formats and lengths (from 50’ and upwards). It cannot be purchased directly from Kodak unless you provide proof that it is intended for video production. Even if you get some, shooting it in a 35mm (or medium format) camera requires a few additional steps. Nonetheless, there are alternative methods to obtain it that may be worth exploring. Vision 3 250D has been utilized in several recent major film productions, including Interstellar, Tenet, Dunkirk, and Killers of the Flower Moon. This film represents the pinnacle of cinema stock quality.
CineStill's new 400D/Dynamic film is believed by many to be the 250D without the remjet layer for simpler processing. Although the company has acknowledged that their 50D product is Kodak Vision 3 50D film without the remjet layer—similarly with the 800T (which is Vision 3 500T minus the remjet)—they assert that the CineStill 400D is something different. I will highlight the differences I discovered between CineStill 400D and Kodak Vision 3 250D below.
Dynamic range and colors.
A broad dynamic range is essential for capturing high-contrast scenes in full, with all shadow and highlight details intact. It can also assist in correcting exposure mistakes later. For instance, if the exposure is too high or too low for your preference, it can be adjusted during scanning, provided there's enough detail in the image. Kodak Vision 3 films are recognized for their extensive dynamic range. According to Kodak's specifications, the 250D offers around 9 stops of dynamic range, which is similar to or exceeds many color-negative films. However, films such as 50D or Kodak Portra 400 can deliver significantly more (11-12 stops).
Nine stops of dynamic range are closely aligned with how the human eye perceives the world, making the 250D user-friendly as it meets expectations. Keep in mind, though, that this nine-stop estimate is based on the ECN-2 development process, known for producing flatter images and broader dynamic range compared to the traditional C-41 process. In conventional color-negative film chemicals (with remjet removed), the 250D maintains its natural contrast throughout the exposure, except potentially in the shadows, which may require “crushing” in some instances.
The colors, whether developed in C-41 or ECN-2, appear nuanced and color-accurate. Scanned images may look warmer but can easily be adjusted to taste. I exposed this film at ISO 250 and do not recommend metering it at EI 400 since this can introduce color casts and worsen shadow issues when processed in C-41.
Grain and resolution.
Kodak Vision 3 films deliver remarkable color reproduction with natural colors and contrast that facilitate post-processing. One of the film's notable attributes is its resolution: the 250D is exceptionally fine-grained and can resolve details finer than Portra 400 (which claims to have the finest grain for its speed) and many other color films.
While I cannot determine if the
Kodak Vision 3 250D is a color-negative film designed for motion picture cameras. Its image quality matches that of Kodak Portra 400 and other color-accurate, fine-grained, low-contrast emulsions when developed using ECN-2. However, for this review, I am processing it with C-41. Additionally, I will compare my results to those of CineStill 400D, which many have asserted is essentially 250D without the remjet (which is not the case).