KodakVision3 200T

Kodak Vision3 200T (5213 in 35 mm, 7213 in 16 mm) is a tungsten-balanced color negative motion picture film, rated EI 200 under 3200 K lamps and processed in ECN-2 [1]. Kodak presents it as the image structure of a 100-speed film with the versatility of a 200-speed one [1]. Still photographers meet it as cassettes of cut 35 mm film from retailers and as respools such as Silbersalz35 200T [4] [5] [8].

Look and color

• Balanced for lamplight. The film is made for 3200 K tungsten light; lamps within ±200 K need no filter. In daylight Kodak asks for a Wratten 85 filter and an exposure index of 125 [1].
• Blue without the filter. Two retailers warn that daylight shots without a filter come out with a blue cast, and suggest an 85B filter or a correction in editing software [4] [5]. A review of the sister stock 500T finds the blue shift of a tungsten film “less distracting and generally easier to fix than the green cast of a daylight film shot indoors” [6]. That review is about 500T, not 200T.
• A respool user liked it anyway. Phillip Reeve shot the Silbersalz35 200T in daylight without 85 filters and found its colors “surprisingly appealing”, and “very likable” in the dark and at the blue hour [7].
• Detailed reviews of this stock are scarce. We found no long review of 200T as a still film on the major film-photography sites. Most of what is written about its look comes from retailers, a respool review and one digital simulation. Treat the descriptions on this page as indicative.
• A simulation is not a scan. A photographer who built a digital film simulation of the Vision3 200T look describes “pastel-like colors”, “teal skies” and “golden-amber skin tones”, and notes that the warmth of the film look he imitates came from color grading in post-production [12]. This describes a digital recipe, not scans of the film.

Tonality

• Curve. On Kodak’s characteristic curves the three layers run parallel on an orange mask. The toe ends at about −4 stops, a long straight section follows and a gentle shoulder starts near +8 stops. The slope reads at about 0.5 (our reading of the graph) [1].
• Highlights. Kodak claims “unrivaled highlight latitude” and says up to two stops more image information can be extracted from scene highlights, provided the scan preserves the extended density range. It points to its scanning recommendations for extended dynamic range camera films [1]. A retailer also praises “excellent highlight latitude” [4].
• ECN-2 is flat, C-41 adds contrast. For the 500T, Analog.cafe reports that Vision3 developed in C-41 renders colors and contrast “somewhere in between Portra and Ektar” [6]. This is a statement about the 500T, which shares the Vision3 technology, not about 200T.
• Exposure. Reeve shot the Silbersalz35 200T at ISO 125 [7]. Kodak specifies no reciprocity correction from 1/1000 s to 1 s [1].

Grain and sharpness

Kodak publishes granularity only as curves, measured with “modified measuring techniques”. The readings below compare three Vision3 stocks on the same method; we do not compare them with the RMS figures of still films.

• Values are our reading of logarithmic graphs, so approximate; the 200T range is wider because the per-layer curves are close together and we did not separate them. Granularity peaks at low densities, that is in the shadows [1]. Kodak mentions “reduced grain in shadows” [1].
• Reviews and retailers disagree.
  • Fine: “insanely low grain in shadows” for a retailer [4]; “fine-grained” and smoother than 500T for another [5].
  • Coarser: “a bit higher grain than comparable still photography films” for Reeve, who found the trade-off acceptable for the dynamic range [7].
• Sharpness. Kodak publishes modulation transfer curves, with slightly lower response in the red layer than in blue and green, but no resolving power [1].

Spectral sensitivity

The blue layer is the most sensitive at its peak: about 2.85 near 440 nm, against about 2.47 for green at 550 nm and about 2.18 for red near 645 nm (our reading of the graph) [1]. That extra blue sensitivity is consistent with a film made for tungsten lamps, which emit little blue; in daylight the same film records a blue-heavy image, hence the 85 filter Kodak asks for [1].

Names, status and history

• Codes. 5213 is the 35 mm version, 7213 the 16 mm one [1]. We did not verify the year of introduction.
• Status. On September 30, 2026, Kodak listed 5213/7213 among its camera films, in 35 mm and 16 mm [2].
• 2025: anti-halation undercoat instead of rem-jet. Kodak announced in 2025 that its Vision3 color negatives would replace the rem-jet backing with an anti-halation undercoat [3]. The March 2026 datasheet describes 200T with this undercoat and a “process surviving antistat” to reduce dirt attraction [1].
• Sold as. Silbersalz35 lists Vision3 200T among the four Kodak Vision3 emulsions it respools for still cameras [8]; reviewers report ECN-2 processing and scanning included with it [7]. Flic Film reportedly sells respooled 200T under the name Cine Colour 200T; retailer listings vary in the exact name, and we could not open the listing we cite [9]. The German retailer 35mmdealer sells 36-exposure cassettes as “Dealer’s V3 200T” [5].
• Rem-jet: the retailers disagree. Analogue Revival says C-41 processing is possible “with Remjet removal” [4], while 35mmdealer says its rolls have “no remjet coating” and can go through any C-41 lab [5]. Kodak specifies ECN-2 [1].
• Related films. The faster tungsten stock is Kodak Vision3 500T, the daylight one Kodak Vision3 250D.

Also sold as

• 35mmdealer Dealer's V3 200T (35 mm cassette, 36 exposures) (reported) [5]