Lost Futures Film Science Bible — 50+ film stocks, 15+ cinema lens families, degradation physics & transfer artifacts — engineering layer for aesthetic generation

lost_futures_film_science_bible.md

Lost Futures Film Science Bible

Engineering Layer for Aesthetic Generation

Version 1.0 — July 2026

---

TABLE OF CONTENTS

PART I: FILM STOCK CHEMISTRY

1. Kodak Film Stocks
2. Fuji Film Stocks
3. Agfa Film Stocks
4. Svema (Soviet) Film Stocks
5. ORWO (East German) Film Stocks
6. Ilford Film Stocks
7. Fomapan Film Stocks
8. Processing Chemistry Comparison
9. Cross-Processing Effects
10. Push/Pull Processing
11. Archival Stability & Degradation

PART II: CINEMA LENS CATALOG

12. Cooke Optics
13. Zeiss
14. Panavision
15. Angénieux
16. Canon
17. Schneider
18. Arriflex/Zeiss
19. Bausch & Lomb
20. Kinoptik
21. Lomo / Soviet Lenses
22. Sankyo/Kowa
23. Century/Kowa Anamorphic
24. Anamorphic Squeeze Ratios
25. Techniscope 2-Perf vs Standard 4-Perf
26. Lens Choice and Film Gauge
27. Era-Appropriate Lens Selection

PART III: DEGRADATION PHYSICS & TRANSFER ARTIFACTS

28. Vinegar Syndrome
29. Dye Fade
30. Physical Damage
31. Mold & Fungus
32. Generational Loss
33. Transfer & Scanning Artifacts
34. Visual Artifact Mapping Quick Reference

---

PART I: FILM STOCK CHEMISTRY

---

1. KODAK FILM STOCKS

Kodak Vision3 Series (ECN-2 Process)

Vision3 250D (5207/7207) — Introduced 2007

Parameter	Specification
ASA/ISO Speed	250 (Daylight, 5500K)
RMS Granularity	7 (measured at 1.0 density above B+F)
Color Signature	Neutral daylight balance; accurate skin tones with slight warmth in highlights
Contrast Curve	Medium contrast, gamma 0.60–0.65; extended toe, long shoulder
Dynamic Range	13 stops total (usable latitude ±3 stops from normal exposure)
Available Gauges	16mm (7207), 35mm (5207), 65mm (5207)
Processing	ECN-2 (CD-3 color developer, 41.1°C)
Base	Acetate (16mm), ESTAR polyester (35mm/65mm)
Grain Structure	Fine, uniform T-Grain emulsion
Remjet Backing	Yes — must be removed before processing

Vision3 500T (5219/7219) — Introduced 2007

Parameter	Specification
ASA/ISO Speed	500 (Tungsten, 3200K)
RMS Granularity	11 (at 1.0 density above B+F)
Color Signature	Tungsten-balanced, rich blacks, excellent shadow detail, neutral midtones
Contrast Curve	Medium-high contrast, gamma 0.65–0.70; excellent shadow separation
Dynamic Range	13 stops (usable latitude ±3 stops)
Available Gauges	8mm, Super 8, 16mm (7219), 35mm (5219), 65mm
Processing	ECN-2
Base	Acetate (8mm/S8/16mm), ESTAR (35mm/65mm)
Notes	Most versatile modern motion picture stock; industry standard for cinema

Vision3 200T (5213/7213) — Introduced 2011

Parameter	Specification
ASA/ISO Speed	200 (Tungsten, 3200K)
RMS Granularity	8 (at 1.0 density above B+F)
Color Signature	Clean tungsten balance, fine grain, neutral rendering
Contrast Curve	Medium contrast, gamma 0.60
Dynamic Range	13 stops
Available Gauges	16mm (7213), 35mm (5213)
Processing	ECN-2
Base	ESTAR polyester

Kodak Ektachrome Series (E-6 Process — Reversal/Positive)

Ektachrome 100D (5294) — Reintroduced 2019

Parameter	Specification
ASA/ISO Speed	100 (Daylight, 5500K)
RMS Granularity	8 (reversal measurement; appears finer due to high contrast)
Color Signature	High saturation, accurate colors, slight blue cast in deep shadows
Contrast Curve	High contrast (reversal), gamma 1.4–1.6; steep straight-line, short toe/shoulder
Dynamic Range	6–7 stops (limited latitude, ±1 stop)
Available Gauges	Super 8, 16mm, 35mm
Processing	E-6 (CD-3 first developer, CD-4 color developer, 38°C)
Original Discontinued	2012; reintroduced 2019 via Kodak/Retrophototec

Ektachrome 64T (7294) — Introduced 2019 (Super 8 only)

Parameter	Specification
ASA/ISO Speed	64 (Tungsten, 3400K)
RMS Granularity	9
Color Signature	Tungsten-balanced, vivid colors, excellent for indoor scenes
Dynamic Range	6 stops
Available Gauges	Super 8 only
Processing	E-6

Kodak Kodachrome Series (K-14 Process — DISCONTINUED)

Kodachrome 25 (5262) — 1961–2001 (motion picture)

Parameter	Specification
ASA/ISO Speed	25 (Daylight)
RMS Granularity	7 (exceptionally fine for its era)
Color Signature	Rich, saturated colors; distinctive Kodachrome look; legendary archival stability
Dynamic Range	7 stops
Available Gauges	8mm, Super 8, 16mm, 35mm
Processing	K-14 (14+ step process, only Kodak labs could process)
Archival	100+ years dark storage (best of any color film ever made)
Dye Stability	Cyan half-life ~150 years; Magenta ~200 years; Yellow ~200+ years
Final Discontinuation	2009; last K-14 lab (Dwayne's Photo) closed 2010

Kodachrome 40 (5267) — 1970s–2006

Parameter	Specification
ASA/ISO Speed	40 (Daylight; also available in Tungsten Type A)
RMS Granularity	9
Color Signature	Slightly warmer than K25, excellent skin tones
Dynamic Range	7 stops
Available Gauges	Super 8, 16mm

Kodachrome 64 (5268) — 1980s–2009

Parameter	Specification
ASA/ISO Speed	64 (Daylight)
RMS Granularity	10
Color Signature	Vivid, saturated, distinctive Kodachrome rendering
Dynamic Range	7 stops
Available Gauges	Super 8, 16mm, 35mm

Kodak Eastmancolor Series (ECN-2 — Historical)

Eastmancolor 5254 (1968–1982)

Parameter	Specification
ASA/ISO Speed	100 (Tungsten, 3200K)
RMS Granularity	12–14 (coarse by modern standards)
Color Signature	Warm, saturated, characteristic 1970s "New Hollywood" look
Dynamic Range	10–11 stops
Available Gauges	16mm, 35mm
Archival Issues	SEVERE — Cyan dye fades first (half-life ~20 years), producing red/pink shift
Notable Films	The Godfather, Taxi Driver, Apocalypse Now, The Exorcist

Eastmancolor 5247 (1974–1987)

Parameter	Specification
ASA/ISO Speed	100 (Tungsten)
RMS Granularity	11
Color Signature	Improved color accuracy over 5254, more neutral rendering
Dynamic Range	11 stops
Archival	Moderate fade issues; cyan dye still unstable (half-life ~25 years)

Eastmancolor 5293 (1986–1996)

Parameter	Specification
ASA/ISO Speed	200 (Tungsten)
RMS Granularity	10
Color Signature	Cleaner, more saturated than 5247
Dynamic Range	12 stops
Archival	Improved stability (cyan half-life ~35 years)

Kodak B&W Motion Picture Stocks

Plus-X 7276 — Discontinued 2010

Parameter	Specification
ASA/ISO Speed	125 (Daylight), 100 (Tungsten)
RMS Granularity	8
Dynamic Range	10 stops
Available Gauges	16mm only
Processing	B&W negative (D-96 motion picture developer, 20°C)
Archival	Excellent (silver image stable 500+ years)

Tri-X 7266 — Discontinued 2010

Parameter	Specification
ASA/ISO Speed	250 (Daylight), 200 (Tungsten)
RMS Granularity	14
Dynamic Range	9 stops
Available Gauges	16mm only
Processing	B&W negative (D-96 or high-contrast developers)

---

2. FUJI FILM STOCKS

Fuji Eterna Series (ECN-2 Process)

Eterna 250D (8522) — 2005–2013

Parameter	Specification
ASA/ISO Speed	250 (Daylight, 5500K)
RMS Granularity	6 (finer than Kodak Vision3 250D)
Color Signature	Neutral to cool cast; excellent skin tones; subtle, restrained saturation
Dynamic Range	13 stops
Grain Structure	Extremely fine, Super-F (flat) grain technology
Status	Discontinued 2013

Eterna 500T (8572) — 2005–2013

Parameter	Specification
ASA/ISO Speed	500 (Tungsten, 3200K)
RMS Granularity	10 (slightly finer than Vision3 500T)
Color Signature	Clean tungsten, neutral blacks, fine grain in shadows
Dynamic Range	13 stops
Status	Discontinued 2013

Eterna Vivid 500 (8553) — 2007–2013

Parameter	Specification
ASA/ISO Speed	500 (Tungsten, 3200K)
RMS Granularity	11
Color Signature	High saturation, vivid colors, punchy contrast
Dynamic Range	12 stops
Status	Discontinued 2013

Fuji Reversal Stocks (E-6 Process)

Velvia 50 (RVP50) — Still Produced

Parameter	Specification
ASA/ISO Speed	50 (Daylight, 5500K)
RMS Granularity	6 (extremely fine)
Color Signature	Ultra-high saturation; vivid greens and reds
Contrast Curve	Very high contrast, gamma 1.8–2.0
Dynamic Range	5–6 stops (very limited latitude, ±0.5–1 stop)
Available Gauges	8mm, Super 8, 16mm, 35mm

Velvia 100 (RVP100) — Introduced 2007

Parameter	Specification
ASA/ISO Speed	100 (Daylight)
RMS Granularity	7
Dynamic Range	6 stops
Available Gauges	Super 8, 16mm, 35mm

Provia 100F (RDPIII) — Still Produced

Parameter	Specification
ASA/ISO Speed	100 (Daylight, 5500K)
RMS Granularity	8
Color Signature	Natural, accurate colors; neutral balance; finest grain of E-6 stocks
Dynamic Range	7 stops
Notes	"F" designation = finest grain in class

Provia 400X (RXP) — 2006–2018

Parameter	Specification
ASA/ISO Speed	400 (Daylight)
RMS Granularity	11
Dynamic Range	7 stops
Status	Discontinued 2018

Fuji Documentary Stock

Eterna RD (RTP II) — Discontinued 2000s

Parameter	Specification
ASA/ISO Speed	64 (Tungsten, 3400K)
RMS Granularity	8
Contrast Curve	Medium contrast (unusual for reversal — designed for telecine)
Dynamic Range	7 stops
Available Gauges	16mm only
Application	TV news/documentary (1980s–1990s ENG use)

---

3. AGFA FILM STOCKS

Agfacolor Series (Historical)

Agfacolor CNS (1960s–1970s)

Parameter	Specification
ASA/ISO Speed	50–100 (various versions)
RMS Granularity	14–16 (coarse by modern standards)
Color Signature	Warm, yellow-green cast; distinctive "Agfa look" — European, slightly muted
Dynamic Range	9–10 stops
Available Gauges	8mm, Super 8, 16mm
Archival Issues	Severe — Magenta dye unstable (half-life ~25 years); yellow-green shift

Agfacolor XPG (1970s)

Parameter	Specification
ASA/ISO Speed	125
RMS Granularity	13
Dynamic Range	10 stops
Available Gauges	16mm, 35mm
Processing	C-41 compatible (later versions)

Agfa Movicolor (Motion Picture)

Movicolor (1970s–1980s)

Parameter	Specification
ASA/ISO Speed	100 (Tungsten)
RMS Granularity	13–15
Color Signature	Warm, saturated, European cinema look; slightly muted compared to Kodak
Dynamic Range	10 stops
Available Gauges	16mm, 35mm
Processing	ECN-2 compatible
Archival	Poor dye stability; yellow shift over time (half-life ~20 years)
Notable Use	European art cinema, New German Cinema, DEFA co-productions

---

4. SVEMA (SOVIET) FILM STOCKS

Svema Color Negative (USSR, 1960s–1990s)

Svema DS-5 (Daylight)

Parameter	Specification
ASA/ISO Speed	45 (GOST rating ≈ ISO 50)
RMS Granularity	18–20 (very coarse)
Color Signature	Desaturated, warm/yellow cast, low contrast; distinctive Soviet aesthetic
Dynamic Range	8–9 stops
Available Gauges	16mm, 35mm, 70mm (Soviet 70mm format)
Archival	Very poor — Rapid dye fade; cyan first (half-life ~15 years)

Svema LN-9 (Tungsten)

Parameter	Specification
ASA/ISO Speed	90 (GOST ≈ ISO 100)
RMS Granularity	16–18
Color Signature	Tungsten-balanced, greenish cast, muted tones
Dynamic Range	9 stops

Svema B&W Stocks

Svema KN-1 (B&W Negative)

Parameter	Specification
ASA/ISO Speed	22 (GOST ≈ ISO 25)
RMS Granularity	12
Dynamic Range	9 stops
Available Gauges	16mm, 35mm, 70mm

Svema KN-3 (B&W Negative)

Parameter	Specification
ASA/ISO Speed	45 (GOST ≈ ISO 50)
RMS Granularity	14
Dynamic Range	8–9 stops

---

5. ORWO (EAST GERMAN) FILM STOCKS

ORWO UN Series (B&W Negative)

ORWO UN 54

Parameter	Specification
ASA/ISO Speed	100
RMS Granularity	10
Dynamic Range	10 stops
Available Gauges	16mm, 35mm
Processing	B&W negative (standard developers: D-76, Rodinal)

ORWO UN 74

Parameter	Specification
ASA/ISO Speed	400
RMS Granularity	16
Dynamic Range	9 stops
Available Gauges	16mm, 35mm

ORWO NC Series (Color Negative)

ORWO NC 16 (Color Negative)

Parameter	Specification
ASA/ISO Speed	100 (Daylight)
RMS Granularity	14–16
Color Signature	Desaturated, cyan-green cast; distinctive East German aesthetic
Dynamic Range	9–10 stops
Processing	C-41 compatible
Archival	Poor dye stability; rapid cyan fade (half-life ~15 years)
Notable Use	DEFA studio films, East German cinema, Polish/Czech co-productions

ORWO NC 21 (Color Negative)

Parameter	Specification
ASA/ISO Speed	200 (Daylight)
RMS Granularity	15–17
Color Signature	Slightly improved over NC 16; still characteristically desaturated
Dynamic Range	10 stops

---

6. ILFORD FILM STOCKS

Ilford HP5+ (Still in Production)

Parameter	Specification
ASA/ISO Speed	400 (nominal; rateable 200–3200)
RMS Granularity	15 (at ISO 400 in ID-11)
Dynamic Range	11–12 stops (excellent latitude for B&W)
Available Gauges	16mm, 35mm (special order for motion picture)
Processing	B&W negative (ID-11, D-76, Microphen, HC-110, Rodinal)
Push Processing	Excellent: 1–3 stops with increasing contrast
Archival	Excellent (silver image: 500+ years)

Ilford FP4+ (Still in Production)

Parameter	Specification
ASA/ISO Speed	125 (nominal; rateable 50–200)
RMS Granularity	9 (in ID-11)
Dynamic Range	11 stops
Available Gauges	16mm, 35mm (special order)
Processing	B&W negative (ID-11, D-76; Perceptol for finest grain)
Pull Processing	Excellent: 1–2 stops with reduced contrast
Archival	Excellent (silver image)

---

7. FOMAPAN FILM STOCKS

Fomapan 100 (Czech Republic — Still Produced)

Parameter	Specification
ASA/ISO Speed	100
RMS Granularity	10
Dynamic Range	10–11 stops
Available Gauges	16mm, 35mm

Fomapan 200

Parameter	Specification
ASA/ISO Speed	200
RMS Granularity	13
Dynamic Range	10 stops

Fomapan 400

Parameter	Specification
ASA/ISO Speed	400
RMS Granularity	16
Dynamic Range	9–10 stops

---

8. PROCESSING CHEMISTRY COMPARISON

ECN-2 (Eastman Color Negative 2) — Motion Picture Standard

Parameter	Detail
Process Type	Color negative
Temperature	41.1°C (106°F) ± 0.1°C
Steps	Pre-bath → Developer → Stop bath → Bleach → Fix → Wash → Stabilizer
Total Time	~12 minutes
Color Developer	CD-3
Used By	Kodak Vision3, Eastmancolor, Fuji Eterna, Agfa Movicolor
Critical Notes	Remjet backing MUST be removed before processing

E-6 (Reversal/Slide Film)

Parameter	Detail
Process Type	Color reversal (positive image)
Temperature	38°C (100°F) ± 0.3°C
Total Time	~30 minutes
Chemistry	CD-3 (first developer), CD-4 (color developer)
Used By	Ektachrome, Velvia, Provia, Fuji Eterna RD

C-41 (Color Negative — Still Photography Standard)

Parameter	Detail
Process Type	Color negative
Temperature	37.8°C (100°F) ± 0.15°C
Total Time	~8 minutes (commercial); ~24 min (small tank)
Color Developer	CD-4
Notes	NOT suitable for motion picture film with remjet backing

K-14 (Kodachrome — DISCONTINUED 2010)

Parameter	Detail
Process Type	Color reversal (complex multi-step)
Total Time	~90 minutes
Chemistry	CD-3; color couplers added DURING processing (not in emulsion)
Critical Notes	Only Kodak-licensed labs could process; final lab closed December 30, 2010

B&W Negative Processing

Parameter	Detail
Temperature	20°C (68°F) typical
Total Time	8–12 minutes
Chemistry	D-76/ID-11 (general), D-96 (motion picture), HC-110 (concentrate), Rodinal (sharpness)

---

9. CROSS-PROCESSING EFFECTS

ECN-2 Film Processed in C-41

Aspect	Result
Color Shift	Green/magenta cast; unpredictable color balance
Contrast	Increased (+0.10–0.15 gamma)
Risks	Remjet backing contaminates C-41 chemistry; must be pre-removed

E-6 Film Processed in C-41 (Most Common Cross-Process)

Aspect	Result
Color Shift	Extreme — heavy orange/red/magenta cast; unpredictable per-batch
Contrast	Very high (C-41 developer amplifies reversal emulsion contrast)
Grain	Significantly increased
Saturation	Extreme, almost posterized in highlights
Application	1990s music video aesthetic, fashion, experimental art cinema

C-41 Film Processed in E-6

Aspect	Result
Image Type	Positive (reversal) with extreme color shifts
Color Shift	Cyan/blue dominant cast
Contrast	Very high, often blown highlights

---

10. PUSH/PULL PROCESSING

Push Processing (Underexpose + Overdevelop)

Kodak Vision3 500T Pushed 1 Stop (EI 1000)

Aspect	Result
Effective Speed	1000 ISO
Contrast Increase	+0.10 gamma
Grain Increase	+2–3 RMS (to ~13–14)
Shadow Detail	Reduced by ~1 stop
Processing Adjustment	+30% development time or +2°C
Application	Low-light documentary, gritty aesthetic

Kodak Vision3 500T Pushed 2 Stops (EI 2000)

Aspect	Result
Effective Speed	2000 ISO
Contrast Increase	+0.20 gamma
Grain Increase	+5–6 RMS (to ~16–17)
Application	Extreme low-light, surveillance aesthetic

Ilford HP5+ Pushed 2 Stops (EI 1600)

Aspect	Result
Effective Speed	1600 ISO
Grain Increase	+4 RMS (to ~19)
Application	Photojournalism, documentary, street

Pull Processing (Overexpose + Underdevelop)

Kodak Vision3 250D Pulled 1 Stop (EI 125)

Aspect	Result
Effective Speed	125 ISO
Contrast Decrease	-0.10 gamma
Color	Slightly desaturated, pastel quality
Application	High-contrast lighting control, smooth skin tones

---

11. ARCHIVAL STABILITY & DEGRADATION

Color Film Dye Fade Timelines

Stock	Cyan Half-Life	Magenta Half-Life	Yellow Half-Life	Fade Direction
Kodak Vision3	~50 years	~75 years	~100+ years	Slow warm shift
Kodak Ektachrome	~40 years	~60 years	~80 years	Moderate warm shift
Kodak Kodachrome	~150+ years	~200+ years	~200+ years	Barely detectable
Eastmancolor 5254/5247	~20 years	~35 years	~50 years	SEVERE red/pink shift
Fuji Eterna	~45 years	~70 years	~90 years	Moderate desaturation
Agfa/Movicolor	~40 years	~30 years	~50 years	Yellow-green shift (magenta fades first!)
Svema/ORWO Color	~15 years	~25 years	~35 years	Rapid degradation

Base Stability Comparison

Property	Acetate (Safety Film)	Polyester (ESTAR)
Lifespan	50–100 years	500+ years
Failure Mode	Vinegar syndrome (acetic acid release)	Essentially inert
Symptoms	Shrinkage, warping, vinegar smell, emulsion cracking	None under normal conditions
Used In	8mm, Super 8, most 16mm, some 35mm	35mm, 65mm, some 16mm

Historical Timeline

Era	Key Developments
1950s	Eastmancolor introduced; replaces 3-strip Technicolor
1960s	Kodachrome 25 for cinema; 8mm and Super 8 amateur formats
1970s	Eastmancolor 5254 dominates; severe dye fade problems emerge
1980s	Eastmancolor 5293 (improved); polyester base becomes standard
1990s	Kodak Vision series — revolutionary grain/latitude improvement
2000s	Kodak Vision2; Fuji Eterna; digital cinema cameras emerge
2010s	Kodak Vision3; Fuji discontinues ALL motion picture stocks (2013); Ektachrome reintroduced (2019)

Stock Selection Guide

Application	Primary	Alternative
Documentary/Verité	Kodak Vision3 500T	HP5+ (if B&W)
Narrative (Daylight)	Vision3 250D	Fuji Eterna 250D (expired)
Experimental/Cross-Process	Ektachrome 100D in C-41	Velvia 50 pushed
High Saturation	Fuji Velvia 50	Eterna Vivid 500 (expired)
Vintage 1970s Look	Vision3 500T pushed 1 stop	Expired Eastmancolor 5254
Soviet/Eastern Bloc	Expired ORWO NC 16	Vision3 + desaturated grade
Super 8	Vision3 500T or Ektachrome 100D	Velvia 50

---

PART II: CINEMA LENS CATALOG

---

12. COOKE OPTICS

Cooke Speed Panchro (Series II / III)

• Era: 1920s–1960s
• Focal Lengths: 18mm, 25mm, 32mm, 40mm, 50mm, 75mm, 100mm, 135mm
• Maximum Aperture: T2.0 (most); some at T2.3
• Mount: Mitchell BNCR, Arriflex standard, B4 bayonet
• Optical Character:
  • Moderate sharpness; softer wide open, sharpens by T2.8–T4
  • Organic warm flares with subtle halation
  • Rounded, smooth bokeh when stopped down
  • Medium contrast; gentle, flattering skin tone rendering
  • Warm-neutral color; slight golden cast in highlights
• Signature Look: The original "Cooke Look" — warm, flattering skin tones, gentle contrast, organic fall-off
• Notable Films: Lawrence of Arabia (1962), Dr. Zhivago (1965), 2001: A Space Odyssey (1968)

Cooke S4/i

• Era: 1998–present
• Focal Lengths: 12mm–300mm (17 focal lengths)
• Maximum Aperture: T2.0 (ALL focal lengths — major selling point)
• Mount: PL mount with /i Technology metadata
• Optical Character:
  • High center sharpness; gentle roll-off toward edges
  • Controlled warm flare; subtle amber/copper halation
  • Creamy, oval-shaped out-of-focus highlights
  • Low focus breathing; extremely well-corrected distortion
  • Medium-high contrast; warm-neutral color
• Signature Look: Modern "Cooke Look" — warm yet sharp, excellent skin tones, dimensional rendering
• Notable Films: LOTR trilogy, Harry Potter, No Country for Old Men, Moonlight, 1917

Cooke S7/i (Full Frame)

• Era: 2017–present
• Focal Lengths: 18mm–135mm (10 focal lengths)
• Maximum Aperture: T2.0 (all)
• Covers: Full-frame/VistaVision sensors (46.31mm image circle)
• Signature Look: "Cooke Look" translated to large-format digital
• Notable Films: 1917 (2019), Joker (2019), Dune (2021)

Cooke Anamorphic/i

• Era: 2013–present
• Focal Lengths: 25mm–135mm
• Squeeze Ratio: 2x
• Maximum Aperture: T2.3
• Flare: Signature horizontal blue streak (refined, less aggressive than vintage)
• Bokeh: Distinctive oval-shaped highlights (2x squeeze)
• Signature Look: Modern anamorphic with Cooke warmth

---

13. ZEISS

Zeiss Super Speed (T1.3 / T1.4)

• Era: 1976–present
• Focal Lengths: 18mm, 25mm, 35mm, 50mm, 65mm, 85mm, 135mm
• Maximum Aperture: T1.3 (most)
• Optical Character:
  • Excellent center sharpness even at T1.3
  • Minimal flare due to Zeiss T* coating; clean, contrasty
  • Smooth circular bokeh (7-blade iris)
  • High contrast; deep blacks and saturated colors
  • Neutral to slightly cool color rendition
• Signature Look: Clean, precise, high-contrast, neutral; "German precision"
• Notable Films: Alien (1979), The Shining (1980), Blade Runner (1982), Raging Bull (1980)

Zeiss Ultra Prime

• Era: 1994–present
• Focal Lengths: 8mm (fisheye)–180mm (15 focal lengths)
• Maximum Aperture: T1.9 (all — matched set)
• Optical Character: Extremely high resolution; very low breathing; negligible distortion
• Signature Look: Ultra-sharp, high-contrast, neutral; the "reference" lens
• Notable Films: The Matrix (1999), Gladiator (2000), Inception (2010)

Zeiss Master Prime

• Era: 2006–present (Zeiss + ARRI collaboration)
• Focal Lengths: 12mm–135mm (11 focal lengths)
• Maximum Aperture: T1.3 (all)
• Optical Character: Sharpest cinema primes ever made at release; virtually zero breathing/distortion/CA
• Signature Look: Absolute optical perfection; clinical, ultra-sharp
• Notable Films: Avatar (2009), The Social Network (2010), Gravity (2013), The Revenant (2015)

Zeiss Compact Prime (CP.2 / CP.3)

• Era: CP.2: 2010–2017; CP.3: 2017–present
• Maximum Aperture: T2.1
• Mount: Interchangeable — PL, EF, E, F, MFT
• Signature Look: High-quality Zeiss at accessible price; clean, sharp, neutral
• Notes: First cinema lens with truly interchangeable mounts

---

14. PANAVISION

Panavision Primo

• Era: 1989–present (flagship spherical prime)
• Focal Lengths: 10mm–270mm (extensive range)
• Maximum Aperture: T1.9 (most)
• Mount: Panavision PV (rental-only)
• Signature Look: Clean, precise, high-contrast; Hollywood gold standard for 30 years
• Notable Films: Schindler's List, Saving Private Ryan, The Dark Knight, Interstellar, Dunkirk

Panavision C Series Anamorphic

• Era: 1968–1980s
• Squeeze Ratio: 2x
• Maximum Aperture: T2.3
• Optical Character:
  • Moderate sharpness; characteristic softness at edges
  • Iconic horizontal blue streak — THE classic anamorphic flare
  • Distinctive oval bokeh; soft, dreamy rendering
  • Pronounced edge distortion ("anamorphic bowtie")
  • Lower contrast; warm; slight amber/golden cast
• Signature Look: THE classic Hollywood anamorphic look of the 1970s
• Notable Films: Chinatown (1974), Star Wars (1977), Apocalypse Now (1979), Alien (1979), Blade Runner (1982)

Panavision E Series Anamorphic

• Era: 1976–1990s
• Squeeze Ratio: 2x
• Signature Look: Similar to C Series but cleaner, sharper; "refined" version
• Notable Films: Empire Strikes Back (1980), Return of the Jedi (1983)

Panavision G Series Anamorphic

• Era: 1990s–present
• Squeeze Ratio: 2x
• Signature Look: Modern anamorphic — clean, sharp, consistent; less character than C Series

Panavision Auto Panatar

• Era: 1954–1970s (front-mount adapters)
• Squeeze Ratio: 2x
• Signature Look: Raw, organic early anamorphic; more artifacts than integrated designs
• Notable Films: Ben-Hur (1959), Lawrence of Arabia (1962)

---

15. ANGÉNIEUX

Angénieux Optimo

• Era: 2001–present
• Ranges: 24-290mm T2.8 (flagship), 16-42mm, 25-250mm, 15-40mm, 28-76mm, 45-120mm
• Maximum Aperture: T2.6–T2.8 (remarkably fast for zooms)
• True parfocal design — maintains focus throughout zoom
• Signature Look: Definitive modern cinema zoom — sharp, clean, precise
• Notable Films: LOTR trilogy, The Dark Knight trilogy, Avatar, Mad Max: Fury Road

Angénieux Type EZ

• Era: 2016–present
• Ranges: EZ-1: 30-90mm T2.0 (S35); EZ-2: 15-40mm T2.0 (S35)
• Weight: ~2.1 kg (remarkably lightweight)
• Interchangeable rear element for S35/full-frame

Angénieux Retro Zoom

• Era: 1960s–1990s
• Ranges: 25-250mm (10:1), 25-125mm, 36-432mm
• Signature Look: Classic 1970s zoom — warm, slightly soft, characterful

---

16. CANON

Canon K35 (FD Cinema Primes)

• Era: 1970s–1980s (rediscovered in 2010s)
• Focal Lengths: 15mm–800mm
• Maximum Aperture: T1.4–T1.8
• Mount: Canon FD (originally); rehoused in PL, EF
• Optical Character:
  • Warm, golden flare patterns; beautiful organic ghosting
  • Smooth, creamy bokeh (some of the most beautiful in cinema)
  • Medium contrast; warm color; "Canon color" is legendary
• Signature Look: Warm, organic, gently sharp, romantic vintage
• Notable Films: Barry Lyndon (1975, 50mm f/1.2 candlelight), The Tree of Life (2011), Drive (2011), Her (2013)

Canon CN-E (Cinema EOS)

• Era: 2011–present
• Maximum Aperture: T1.3–T1.5 (primes); T2.8–T4.4 (zooms)
• Mount: EF mount
• Signature Look: Clean, modern, slightly warm; high-quality at mid-range price

---

17. SCHNEIDER

Schneider Xenon

• Modern FF-Prime line: 18mm, 25mm, 35mm, 50mm, 75mm, 100mm
• Maximum Aperture: T2.0–T2.1
• Signature Look: High quality without excessive character; middle ground between Cooke warmth and Zeiss precision

---

18. ARRIFLEX/ZEISS

ARRI/Zeiss Master Anamorphic (2016)

• Focal Lengths: 28mm–180mm
• Squeeze Ratio: 2x
• Maximum Aperture: T2.8
• Signature Look: Most clinical and precise anamorphic ever produced

ARRI/Zeiss Standard Speed (1960s–1970s)

• Focal Lengths: 16mm–135mm
• Maximum Aperture: T2.0–T2.3
• Signature Look: Sharp, contrasty, neutral; standard for 16mm/35mm in 1960s–70s

---

19. BAUSCH & LOMB

Bausch & Lomb Super Baltar

• Era: 1940s–1970s
• Focal Lengths: 25mm–152mm
• Maximum Aperture: T2.3 (most)
• Mount: Mitchell BNCR
• Optical Character:
  • Beautiful, organic flare patterns; warm halation
  • Creamy, smooth, painterly bokeh
  • Lower contrast; beautiful highlight roll-off
  • Warm; golden/amber cast
• Signature Look: Classic Hollywood Golden Age — warm, romantic, slightly soft
• Notable Films: Citizen Kane (1941), Casablanca (1942), Vertigo (1958), 2001 (1968), The Godfather (1972)

---

20. KINOPTIK

Kinoptik (Paris, France)

• Era: 1930s–1980s
• Focal Lengths: 5.7mm–75mm (primarily 16mm)
• Maximum Aperture: T1.9–T2.3
• Mount: C-mount (16mm), Arriflex 16mm bayonet
• Signature Look: Distinctly French; slightly cool, contrasty with organic character
• Notable Films: French New Wave, cinéma vérité, ethnographic films

---

21. LOMO / SOVIET LENSES

Lomo OKC Series (35mm Cinema Primes)

• Era: 1950s–1980s
• Focal Lengths: 18mm–150mm
• Maximum Aperture: T2.0–T2.3
• Mount: OCT-18 (Soviet), later adapted to PL
• Optical Character:
  • Moderate sharpness; characteristic softness
  • Distinctive organic flare; warm halation; unique ghosting
  • Smooth, slightly swirly bokeh
  • Lower contrast; warm, slightly desaturated
• Signature Look: Warm, soft, painterly; Soviet cinema's distinctive aesthetic
• Notable Films: Tarkovsky — Andrei Rublev, Solaris, Mirror, Stalker; Come and See (1985)

Lomo OKS Series (Fast Primes)

• Era: 1960s–1980s
• Maximum Aperture: T1.4–T1.8
• Signature Look: Fast Soviet primes with warmth and softness

Lomo RO Series (Soviet Anamorphic)

• Era: 1960s–1980s
• Squeeze Ratio: 2x
• Flare: Distinctive horizontal streaks; more white/golden than blue (different from Panavision)
• Signature Look: Soviet anamorphic — dreamy, warm, distorted

Lomo Round Front Anamorphic

• Era: 1950s–1970s
• Signature Look: Unique "round" anamorphic flare behavior (oval/round ghosting rather than streaks)

---

22. SANKYO/KOWA

Sankyo Kowa Cine Prominar

• Era: 1960s–1980s
• Focal Lengths: 10mm–150mm
• Maximum Aperture: T1.8–T2.3
• Signature Look: Clean, sharp, neutral; Japanese precision optics

Kowa Anamorphic (Prominar Anamorphic)

• Era: 1960s–1980s (rediscovered in 2010s)
• Squeeze Ratio: 2x
• Flare: Distinctive GREEN horizontal streaks — unique among anamorphic lenses
• Signature Look: Vintage anamorphic with GREEN flare streaks (completely different from any other brand)
• Notable Films: Logan (2017), various music videos

---

23. CENTURY/KOWA ANAMORPHIC

Century Precision Optics (Anamorphic Adapters)

• Era: 1970s–present
• Squeeze Ratios: 1.33x, 1.5x, 2x
• Signature Look: Budget anamorphic with visible artifacts and character

---

24. ANAMORPHIC SQUEEZE RATIOS

1.33x Squeeze

• Resulting Aspect Ratio: 1.78:1 (16:9) or 1.85:1
• Subtle oval bokeh; mild horizontal flare streaks
• Used for 16:9 television production

1.5x Squeeze

• Resulting Aspect Ratio: 2.39:1 from Super 35
• Moderate oval bokeh; visible but subtle flares
• Modern digital cinema where full 2x would be too extreme

2x Squeeze (Standard Anamorphic)

• Resulting Aspect Ratio: 2.39:1 from standard 4-perf 35mm
• Extreme oval bokeh; prominent horizontal flare streaks
• THE classic anamorphic format since the 1950s

Squeeze Ratio and Sensor/Film Interaction

Squeeze	Film Gate / Sensor	Final Aspect Ratio
2x	4-perf 35mm (1.19:1 gate)	2.39:1
1.5x	Super 35 (1.78:1)	2.66:1
1.33x	4:3 sensor/gate	1.78:1
1.8x	4:3 sensor	2.40:1

---

25. TECHNISCOPE 2-PERF VS STANDARD 4-PERF

Standard 4-Perf 35mm

• Frame Size: 22mm × 16mm (Academy); 24.89mm × 18.67mm (Super 35)
• Aspect Ratio: 1.37:1 (Academy); 1.78:1 (Super 35); 2.39:1 (anamorphic)
• Advantages: Maximum image area; best grain structure

Techniscope 2-Perf 35mm

• Frame Size: 22mm × 9.47mm (half the height)
• Aspect Ratio: 2.35:1 native (without anamorphic)
• Advantages: 50% cost savings; native widescreen; standard spherical lenses
• Disadvantages: Half the negative area = more visible grain; less resolution
• Signature Look: Grittier, grainier; the "Spaghetti Western" look
• Notable Films: The Good, the Bad and the Ugly (1966), Once Upon a Time in the West (1968), many Italian giallo films

---

26. LENS CHOICE AND FILM GAUGE

8mm / Super 8

• Typical: Fixed built-in lenses (f/1.4–f/1.8); some C-mount interchangeable
• Look: Grainy, soft, warm; home movie aesthetic

16mm

• Standard Lenses: Angénieux 12-120mm zoom, Kinoptik primes, Zeiss 16mm Super Speeds, Schneider Xenon, Canon 8-64mm zoom
• Mount: C-mount, Arriflex 16 bayonet
• Look: Varied widely; documentary realism to artistic experimentation

35mm

• Standard Lenses: Full range of cinema primes and zooms
• Mount: Mitchell BNCR (studio era), PL (modern), Panavision PV
• Look: The cinematic standard

65mm / 70mm

• Standard Lenses: Panavision System 65, Zeiss specialized 65mm primes
• Look: Extreme resolution, incredibly shallow DOF; associated with epic cinema
• Notable: Lawrence of Arabia (1962), 2001 (1968), Dunkirk (2017)

Focal Length Equivalents Across Gauges

35mm	16mm Equivalent	65mm Equivalent	Angle of View
25mm	~10mm	~50mm	Wide
50mm	~20mm	~100mm	Normal
100mm	~40mm	~200mm	Telephoto

---

27. ERA-APPROPRIATE LENS SELECTION

1960s 16mm Documentary / Cinema Vérité

• Primary: Angénieux 12-120mm zoom (THE documentary zoom), Kinoptik primes
• Cameras: Éclair NPR, Arriflex 16ST, Bolex H16
• Look: Grainy, immediate, handheld, raw
• Notable: Primary (1960), Chronicle of a Summer (1961), Grey Gardens (1975)

1970s 35mm Italian Giallo

• Primary: Cooke Speed Panchro, Zeiss Super Speed (T1.3), Angénieux Retro Zoom 25-250mm, Techniscope 2-perf with spherical lenses
• Techniques: Snap zooms, wide-angle close-ups for unease, bold zoom-ins, deep focus mixed with selective focus
• Signature: High contrast, saturated colors (push/pull processing), dramatic zoom movements
• Notable: Argento (Deep Red, Suspiria), Bava (Blood and Black Lace), Fulci (The Beyond)

Soviet Cinematography (1960s–1980s)

• Primary: LOMO OKC series, LOMO OKS fast primes, LOMO RO anamorphic, Helios-44 (58mm f/2, swirly bokeh)
• Cameras: Kinap, Konvas (handheld), Moskinap
• Characteristics: Deep focus (socialist realism), long takes, wide-angle for architecture
• Look: Warm, slightly desaturated, painterly, contemplative
• Notable: Tarkovsky (all films), Come and See (1985), I Am Cuba (1964)

1980s Hollywood 35mm

• Primary: Panavision Primo (introduced 1989), Zeiss Super Speed, Panavision C/E Series anamorphic
• Look: Clean, precise, high production value; "Hollywood glossy"

Lens Character Quick Reference

Lens Family	Sharpness	Warmth	Contrast	Flare	Bokeh
Cooke Speed Panchro	Medium	Warm	Medium	Organic, warm	Creamy
Cooke S4/i	High	Warm	Med-High	Controlled amber	Oval, smooth
Zeiss Super Speed	High	Neutral-Cool	High	Minimal, clean	Circular
Zeiss Master Prime	Maximum	Neutral	Maximum	Virtually none	Perfect
Panavision Primo	Very High	Neutral	High	Clean, neutral	Smooth
Panavision C Series	Medium	Warm	Low-Med	Blue streak (iconic)	Oval (2x)
B&L Super Baltar	Medium	Warm	Medium	Organic, golden	Creamy
Canon K35	Med-High	Warm	Medium	Golden, beautiful	Creamy
Lomo OKC	Medium	Warm	Low-Med	Organic, unique	Slightly swirly
Kowa Anamorphic	Medium	Neutral	Medium	Green streak	Oval (2x)

---

PART III: DEGRADATION PHYSICS & TRANSFER ARTIFACTS

---

28. VINEGAR SYNDROME

Chemistry

• Reaction: Cellulose Triacetate + H₂O → Cellulose Diacetate + Acetic Acid
• Released acetic acid catalyzes further hydrolysis — autocatalytic feedback loop
• Rate doubles approximately every 18–24 months once threshold reached
• Point of no return: free acidity exceeds 0.5 mg KOH/g of film

AD Strip Levels

Level	Color	Free Acidity	Interpretation
0	Blue	< 0.1 mg KOH/g	No degradation
0.5	Blue-Green	0.1–0.25	Early stage
1.0	Green	0.25–0.5	Moderate — monitor
1.5	Yellow-Green	0.5–1.0	Autocatalytic threshold — priority digitize
2.0	Yellow	1.0–2.0	Advanced — active deterioration
2.5	Orange	2.0–3.5	Severe
3.0	Orange-Red	> 3.5	Critical — may be unsalvageable

Stages

• Stage 1 (AD 0.5–1.5): Faint vinegar smell; slight curl; shrinkage 0.2–0.4%. Still scannable.
• Stage 2 (AD 1.5–2.5): Strong vinegar; visible curling/buckling/channeling; plasticizer exudation; shrinkage 0.5–0.8%. Priority digitization.
• Stage 3 (AD 2.5–3.0+): Severe channeling; emulsion cracking; base may shatter; shrinkage >0.8–1.5%. Frame-by-frame handling only.

Eras Affected

Era	Base	Notes
Pre-1951	Nitrate	Different decay (nitric acid, autoignition risk)
1951–1980s	Cellulose Triacetate	Most susceptible. 15–40 year onset
1990s–present	Polyester (ESTAR)	Immune to vinegar syndrome

---

29. DYE FADE

Manufacturer Comparison

Stock	First to Fade	Most Stable	Resulting Shift
Eastmancolor (pre-1982)	Cyan	Yellow	Magenta/Red shift
Kodachrome	Yellow (slightly)	Cyan	Slight cool/blue shift
Fujicolor	Relatively even	—	Desaturation, slight cyan/green
Agfacolor (early)	All layers even	—	Brown/sepia

Eastmancolor Fade Timeline (room temperature)

• 5–10 years: Slight warm shift visible to trained eye
• 10–20 years: Obvious magenta cast; cyan visibly depleted
• 20–30 years: Severe red/magenta dominance
• 30–40 years: Near-monochrome magenta/yellow

Environmental Factors

Factor	Effect	Rule of Thumb
Temperature	Most significant	Rate doubles per 10°C increase
Humidity	High RH accelerates hydrolytic fading	Optimal: 25–40% RH
Light	UV most damaging	Cumulative exposure matters
Pollutants	Ozone, sulfur accelerate oxidative fading	Activated carbon helps

---

30. PHYSICAL DAMAGE

Scratch Patterns

Type	Characteristics
Camera scratch	Continuous thin line, consistent position every frame, starts/ends with magazine load
Projector scratch	May wander slightly; accompanied by gate chatter; can be paired (dual guides)
Handling scratch	Random orientation, diagonal/curved, intermittent, varying width

Splice Decay

Type	Failure Mode	Lifespan
Cement	Dries/crystallizes; becomes rigid and snaps	20–50 years
Tape	Adhesive dries; ooze causes blocking; yellowing	10–30 years
Ultrasonic	Rare when properly done (polyester only)	Essentially permanent

Light Leaks

Source	Pattern	Color
Camera	Irregular, curved/flame-shaped; at edges/corners	Reddish-orange
Processing	Large, diffuse, uniform fogging; entire sections	Neutral/warm
Storage	Fogging at outer layers of reel; graduated	Varies

Other Physical Artifacts

• Static marks: Branching lightning-like patterns (Lichtenberg figures); dry conditions
• Cinch marks: Short curved arcs; film sliding when loosely wound reel stops suddenly
• Pressure marks: Localized bright spots from physical impact on wound reel
• Edge fogging: Graduated darkening at film edges from light exposure during loading

---

31. MOLD & FUNGUS

Growth Conditions

• RH > 60% sustained; temperature 20–35°C; poor air circulation
• Fungi digest gelatin emulsion → permanent pits and channels (etching)

Appearance on Scan

Stage	Scan Appearance
Active growth	Fuzzy, semi-transparent patches; organic shapes
Dried/dead	Brittle, crusty deposits; may flake during scanning
Etched (after cleaning)	Sharp organic patterns where emulsion removed — "hole in image"
Staining	Yellow-brown discoloration from fungal metabolites; permanent

---

32. GENERATIONAL LOSS

Print Generation Chain

OCN → IP (Master Positive) → IN (Internegative) → Release Prints

Losses Per Generation

Metric	Contact Print	Optical Print
Resolution loss	5–10%	15–25%
Grain increase	10–15%	20–30%
Contrast increase	+0.05–0.10 gamma	More significant

Resolution Retained by Generation

Generation	Resolution Retained
OCN (0th gen)	100% (baseline)
IP (1st gen)	85–95%
IN (2nd gen)	75–90%
Release print (3rd gen)	60–80%
Re-strike (4th gen+)	45–65%

Grain Buildup

• RMS granularity adds in quadrature: σ_total = √(σ₁² + σ₂² + σ₃² + ...)
• Release print (3rd gen from OCN): ~1.7× the grain of original negative

---

33. TRANSFER & SCANNING ARTIFACTS

Telecine Systems

Type	Technology	Key Artifacts
Flying Spot Scanner	CRT/laser scan + PMT	Beam non-uniformity, temporal smearing, PMT noise
CCD Line-Scan	Fixed CCD sensor	Fixed-pattern noise, banding, blooming
CMOS Area-Scan	Full-frame capture	Rolling shutter, quantization in shadows

Scanner Characteristics

Scanner	Resolution	Dynamic Range	Notes
ARRISCAN XT	6.5K	~16 stops (HDR)	Pin-registered; minimal weave; ARRI LogC
Northlight	8K	~14 stops	Pin-registered; Xenon arc (slight flicker)
Lasergraphics Scanstation	6.5K	~15–16 stops	Sprocketless; multi-flash HDR; up to 15fps at 4K

Frame Rate Conversion

Conversion	Method	Artifacts
24→25fps (PAL)	Speed-up 4%	Audio pitch +0.7 semitones; no visual artifact
24→29.97fps (NTSC)	3:2 Pulldown	Combing at motion edges; judder on pans
Any (interpolation)	Motion estimation	Ghosting, "soap opera effect"

3:2 Pulldown Pattern

Film:   A  A  A  B  B  C  C  C  D  D
Fields: A1 A2 B1 B2 C1 C2 C3 D1 D2 E1

• "B" and "D" frames split across two video frames → combing artifacts at motion edges

Gate Weave

• Low-frequency (0.5–5 Hz) image drift from mechanical play in transport
• Typically ±0.1–0.5% of frame width; more horizontal than vertical
• Cumulative: camera weave + printer weave + scanner weave stack

Color Space Conversion Errors

Error	Cause	Visual Result
Double LUT	LUT applied twice	Extreme contrast, crushed blacks
Wrong gamma	2.4 vs 2.2	Image too dark/light; midtone shift
Legal vs full range	16–235 vs 0–255 confusion	Crushed/clipped or washed-out
Wrong white point	D65 vs D93	Warm or cool cast
Wrong ACES IDT	Wrong Input Device Transform	Severe color/contrast shift

---

34. VISUAL ARTIFACT MAPPING QUICK REFERENCE

Diagnostic Guide: "What am I seeing?"

What You See	Most Likely Cause
Overall magenta/red cast	Eastmancolor dye fade (cyan loss)
Overall desaturation	Fuji fade or generational loss
Brown/sepia tone	Agfacolor fade or extreme multi-layer fade
Thin continuous vertical line	Camera or projector scratch
Branching lightning lines	Static discharge marks
Curved arc scratches	Cinch marks from loose winding
Orange/red flare at edge	Camera light leak
Soft fuzzy organic patches	Mold growth
Image waviness	Vinegar syndrome channeling
Frame jumps/registration errors	Shrinkage or sprocket damage
Uneven motion judder	3:2 pulldown
Brief bright flash (1-2 frames)	Splice cement ooze
Image "breathing" (slow drift)	Gate weave
Crushed shadows/blown highlights	Generational contrast buildup or wrong LUT

Artifact Interaction Matrix

Combination	Scenario	Compounding Effect
Vinegar + Dye Fade	1970s print, room temp	Acid accelerates dye fade
Mold + Vinegar	Damp storage	Mold thrives on plasticizer exudation
Damage + Generational	Well-used release print	Scratches more visible relative to reduced detail
Fade + Transfer	Scanning faded print aggressively	Noise amplification, false colors
Shrinkage + Scanning	Stage 2+ vinegar on sprocket transport	Registration errors, film damage risk

---

APPENDIX: KEY REFERENCE TABLES

Gamma Values by Film Type

Type	Typical Gamma
Color Negative	0.55–0.70
Reversal/Slide	1.4–2.0
B&W Negative	0.55–0.75
Print Film	2.5–3.0

Color Temperature Correction Filters

Filter	Conversion	Light Loss
Wratten 85	Daylight film under tungsten	2/3 stop
Wratten 80A	Tungsten film in daylight	2 stops
Wratten 81EF	Slight warming	1/3 stop

RMS Granularity Quick Reference

RMS	Category	Example Stocks
5–7	Ultra-fine	Velvia 50, Eterna 250D, Kodachrome 25, V3 250D
8–10	Fine	Ektachrome 100D, Provia 100F, FP4+, V3 200T
11–13	Moderate	V3 500T, Eterna 500T, EC 5247
14–16	Coarse	Tri-X 7266, HP5+, Fomapan 400, EC 5254
17–20	Very coarse	Svema DS-5, pushed HP5+

Dynamic Range Quick Reference

Stops	Category	Example Stocks
5–6	Very narrow	Velvia 50 (reversal)
6–7	Narrow	Ektachrome 100D, Provia (reversal)
8–9	Limited	Svema, ORWO NC, Tri-X
10–11	Moderate	Eastmancolor 5254, Fomapan 100
12–13	Wide	Vision3 series, Fuji Eterna

---

Film Science Bible v1.0 — July 2026 Compiled for the Lost Futures aesthetic generation pipeline Sources: Kodak/Fuji/Agfa technical data sheets, SMPTE standards, IPI publications, ISO 18911/18916, ARRI/Filmlight/Lasergraphics documentation, Wilhelm Imaging Research, Image Permanence Institute (RIT)