FUJIFILM

MOTION PICTURE FILM

MANUAL

Ref.No.KB-0707E

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Contents
FUJICOLOR NEGATIVE FILM LIST........ 1
How to read labels ................................. 2

FUJICOLOR NEGATIVE FILM

Products..................................................10
FUJICOLOR NEGATIVE FILM
ETERNA Vivid 160 .........................................10

TUNGSTEN TYPE

DAYLIGHT TYPE

ETERNA 250..................................................14
ETERNA 400..................................................18
ITEM

ETERNA 500..................................................22
F-64D .............................................................26
ETERNA 250D ...............................................30
REALA 500D ..................................................34

FUJICOLOR INTERMEDIATE FILM

TYPE
No.

35mm

8543

8553

8583

8573

8522

8563

8592

16mm

8643

8653

8683

8673

8622

8663

8692

16

64

125

TUNGSTEN

160

250

400

500

ETERNA-CI ....................................................38

FUJICOLOR RECORDING FILM

ETERNA-RDI .................................................42

FUJICOLOR POSITIVE FILM

Kodak Daylight Filter No.80A

E.I.

F-CP ...............................................................46
ETERNA-CP...................................................50

100

250

320
64

250

500

Kodak Daylight Filter No.85

ETERNA-CP 3521XD.....................................54

Edge Marking of Films...........................58

160

DAYLIGHT

SIDEPRINT

FN43 FN53 FN83

35mm..........................................................58
16mm..........................................................62

FILM STORAGE ......................................66

Fujifilm Abroad.......................................74

FN73

FN22 FN63 FN92

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35mm TUNGSTEN TYPE

How to read labels

35mm

Original Tape

Film Identification Code

Type number of film

Recommended color
temperature of
light source
Exposure index

DAYLIGHT TYPE
Name of film
Master roll
number

Length of roll in
meters (in feet)

Emulsion
number

Slit number

Film width

Emulsion position
(Emulsion in)

Perforation pitch

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16mm TUNGSTEN TYPE

How to read labels

16mm

Name of film

Original Seal

Film Identification Code

DAYLIGHT TYPE
Exposure index

Film width

Length of roll in
meters (in feet)
Recommended color
temperature of light source

Type number of film

Original Seal
Perforation pitch
Emulsion position and
winding type
(Emulsion in and B winding)
Emulsion number
Master roll number

Type number of film

Name of film

Slit number

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35mm TUNGSTEN TYPE

16mm TUNGSTEN TYPE

Original Tape

Original Seal

Film Identification Code

Film Identification Code

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DAYLIGHT TYPE

How to read labels

35mm

Name of film
Length of roll in
meters (in feet)

Master roll number

Emulation number

Slit number
Exposure index

Film width
Type number of film

Recommended color
temperature of light source

Perforation pitch

Emulsion position
(Emulsion in)

16mm

Name of film

Exposure index

Film width
Length of roll in
meters (in feet)

Recommended color
temperature of light
source
Type number of film
1R-7.605
(1R-2994)

EI

201-01
Type number of film
Name of film

Emulsion position and winding type

(Emulsion in and B winding)
Emulsion number
Master roll number

8683

Slit number

101

Perforation pitch

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Exposure index

Tungsten light (3200K)... 160

Daylight ......................... 100 (with Kodak Daylight Filter No.85)

35mm Type 8543 / 16mm Type 8643

Numbers are for use with exposure meters marked for ISO/ASA
speeds. Please note, however, that recommended exposure indexes
may not apply due to differences in exposure meters, how they are
used, and processing conditions. For best results, test exposures
should be made based on instructions for the exposure meter to be
used.

Reciprocity characteristics

ETERNA Vivid 160 requires no filter corrections or exposure

adjustments for shutter speeds of 1/1000 to 1/10 second. For
exposures of 1 second, open the lens 1/3 of a stop.

High color saturation

Edge markings

The MR code system [edge number, film identification mark

(FN43), and machine-readable bar code for each, film name (FUJI
160), emulsion number, roll number, frame marks (4 perforations
apart for 35mm film; no frame marks for 16mm film)] is printed as
latent images.

High contrast
Exceptional image sharpness

Color balance

ETERNA Vivid 160 is color balanced for tungsten light (3200K),

and requires no filters for use in these conditions. When shooting
outdoors in daylight or under other light sources, the following
conversion filters and exposure adjustments should be made.

10

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Characteristic curves
Exposure

: 3200K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standard conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Filter Exposure index

Tungsten light (3200K)

None

160

Daylight
(sunlight + skylight)

Kodak Filter No.85

100

Metal halide lamps

(e.g. HMI)

Kodak Filter No.85

100

Ordinary fluorescent lamps

Kodak Filter CC30R
(White light type)

80

2.5

Density

2.0

1.5

1.0

0.5

(Daylight type)

Kodak Filter No.85

100

Three-band fluorescent lamps

White daylight type (5000K)

Kodak Filter CC30R

80

Daylight type (6700K)F

Kodak Filter CC40R

0.0
-6.0 -5.0 -4.0 -3.0

-2.0 -1.0

0.0

1.0

2.0

3.0

4.0

5.0

6.0

Camera stop

64

These filter recommendations will provide approximate color

temperature conversion. Final color correction should be done
when printing.

In order to simulate conditions closest to practical use, exposure

was made under a 3200K tungsten light source, through a Fuji
SC-41 ultraviolet absorbing filter. Processing was carried out
under standard conditions and the three color densities were
measured, producing the results indicated in the graph above.

12

13

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Exposure index

Tungsten light (3200K)... 250

Daylight ......................... 160 (with Kodak Daylight Filter No.85)

35mm Type 8553 / 16mm Type 8653

Numbers are for use with exposure meters marked for ISO/ASA
speeds. Please note, however, that recommended exposure indexes
may not apply due to differences in exposure meters or the way
they are used, or variations in processing conditions. For best
results, test exposures should be made, following the instructions
for the exposure meter to be used.

Reciprocity characteristics

ETERNA 250 requires no filter corrections or exposure adjustments

for shutter speeds of 1/1000 to 1/10 second. For exposures of 1
second, open the lens 1/3 of a stop.

Enhanced latitude

Edge markings

MR code system [edge number, film identification mark (FN53),

and their machine-readable bar codes, film name (FUJI 250),
emulsion number, roll number, frame marks (5 perforations apart
for 65mm film; 4 perforations apart for 35mm film; no frame
marks for 16mm film)] is printed as latent images.

Enhanced gradation balance

Improved intercuttability

Color balance

Superb sharpness

ETERNA 250 is color balanced for tungsten light (3200K),

eliminating the need for filters in these conditions. When shooting
under other light sources, use the conversion filters and exposure
adjustments listed here.

14

15

Exceptional grain

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Characteristic curves
Exposure

: 3200K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standard conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index

Tungsten light (3200K)

None

250

Daylight
(sunlight + skylight)

Kodak Filter No.85

160

2.5

Metal halide lamps

(e.g. HMI)

Kodak Filter No.85

Ordinary fluorescent lamps

Kodak Filter CC30R
(White light type)

160

Density

2.0

B
1.5

G
1.0

125
0.5

(Daylight type)

Kodak Filter No.85

160

Three-band fluorescent lamps

White daylight type (5000K)

Kodak Filter CC30R

125

0.0
-6.0 -5.0 -4.0 -3.0

-2.0 -1.0

0.0

1.0

2.0

3.0

4.0

5.0

6.0

Camera stop

Daylight type (6700K)F

Kodak Filter CC40R

100

These filter recommendations will provide approximate color

temperature conversion. Final color correction should be done
during printing.

In order to simulate conditions closest to practical use, exposure

was made under a 3200K tungsten light source, through a Fuji
SC-41 ultraviolet absorbing filter. Processing was carried out
under standard conditions and the three color densities were
measured, producing the results indicated in the graph above.

16

17

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Exposure index

Tungsten light (3200K)... 400

Daylight ......................... 250 (with Kodak Daylight Filter No.85)

35mm Type 8583 / 16mm Type 8683

Numbers are for use with exposure meters marked for ISO/ASA
speeds. Please note, however, that recommended exposure indexes
may not apply due to differences in exposure meters, how they are
used, and processing conditions. For best results, test exposures
should be made based on instructions for the exposure meter to be
used.

Reciprocity characteristics

ETERNA 400 requires no filter corrections or exposure adjustments

for shutter speeds of 1/1000 to 1/10 second. For exposures of 1
second, open the lens 1/3 of a stop.

Enhanced shadow detail

Natural Color Reproduction
(atmospheric color)

Exceptionally fine grain

High speed, with smooth gradation
Excellent sharpness

Edge markings

The MR code system [edge number, film identification mark

(FN83), and machine-readable bar code for each, film name (FUJI
400), emulsion number, roll number, frame marks (4 perforations
apart for 35mm film; no frame marks for 16mm film)] is printed as
latent images.

Color balance

ETERNA 400 is color balanced for tungsten light (3200K), and

requires no filters for use in these conditions. When shooting
outdoors in daylight or under other light sources, the following
conversion filters and exposure adjustments should be made.

Enhanced telecine characteristics

18

19

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Characteristic curves
Exposure

: 3200K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standard conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index

Tungsten light (3200K)

None

400

Daylight
(sunlight + skylight)

Kodak Filter No.85

250

2.5

Metal halide lamps

(e.g. HMI)

Kodak Filter No.85

Ordinary fluorescent lamps

Kodak Filter CC30R
(White light type)

250

Density

2.0

B
1.5

G
1.0

200

R
0.5

(Daylight type)

Kodak Filter No.85

250

Three-band fluorescent lamps

White daylight type (5000K)

Kodak Filter CC30R

200

0.0
-6.0 -5.0 -4.0 -3.0

-2.0 -1.0

0.0

1.0

2.0

3.0

4.0

5.0

6.0

Camera stop

Daylight type (6700K)F

Kodak Filter CC40R

160

These filter recommendations will provide approximate color

temperature conversion. Final color correction should be done
when printing.

In order to simulate conditions closest to practical use, exposure

was made under a 3200K tungsten light source, through a Fuji
SC-41 ultraviolet absorbing filter. Processing was carried out
under standard conditions and the three color densities were
measured, producing the results indicated in the graph above.

20

21

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Exposure index

Tungsten light (3200K)... 500

Daylight ......................... 320 (with Kodak Daylight Filter No.85)

35mm Type 8573 / 16mm Type 8673

Numbers are for use with exposure meters marked for ISO/ASA
speeds. Please note, however, that recommended exposure indexes
may not apply due to differences in exposure meters, how they are
used, and processing conditions. For best results, test exposures
should be made based on instructions for the exposure meter to be
used.

Reciprocity characteristics

ETERNA 500 requires no filter corrections or exposure adjustments

for shutter speeds of 1/1000 to 1/10 second. For exposures of 1
second, open the lens 1/3 of a stop.

Ultra-fine grain

Edge markings

The MR code system [edge number, film identification mark

(FN73), and machine-readable bar code for each, film name (FUJI
500), emulsion number, roll number, frame marks
(4 perforations apart for 35mm film; no frame marks for 16mm
film)] is printed as latent images.

Outstanding gradation balance

Excellent sharpness
Broad exposure latitude
Enhanced film-to-tape characteristics

22

Color balance

ETERNA 500 is color balanced for tungsten light (3200K), and

requires no filters for use in these conditions. When shooting
outdoors in daylight or under other light sources, the following
conversion filters and exposure adjustments should be made.

23

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Characteristic curves
Exposure

: 3200K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standard conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index

Tungsten light (3200K)

None

500

Daylight
(sunlight + skylight)

Kodak Filter No.85

320

2.5

Metal halide lamps

(e.g. HMI)

Kodak Filter No.85

320

Ordinary fluorescent lamps

Kodak Filter CC30R
(White light type)

250

Density

2.0

G
1.5

1.0

0.5

(Daylight type)

Kodak Filter No.85

320

Three-band fluorescent lamps

White daylight type (5000K)

Kodak Filter CC30R

250

0.0
-6.0 -5.0 -4.0 -3.0

-2.0 -1.0

0.0

1.0

2.0

3.0

4.0

5.0

6.0

Camera stop

Daylight type (6700K)F

Kodak Filter CC40R

200

These filter recommendations will provide approximate color

temperature conversion. Final color correction should be done
when printing.

In order to simulate conditions closest to practical use, exposure

was made under a 3200K tungsten light source, through a Fuji
SC-41 ultraviolet absorbing filter. Processing was carried out
under standard conditions and the three color densities were
measured, producing the results indicated in the graph above.

24

25

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Exposure index

Daylight ......................... 64

35mm Type 8522 / 16mm Type 8622

This number is appropriate for use with exposure meters marked

for ISO/ASA speeds. It should be noted, however, that the
recommended exposure index may not apply exactly due to
differences in processing, the usage of exposure meters, or other
conditions. For best results it is recommended that test exposures
be made prior to use, referring to instructions for the exposure
meter used.

Reciprocity characteristics

Fujicolor Negative Film F-64D does not need lens opening

adjustment nor filtration to avoid a shift of color balance when used
with shutter speeds of 1/1000 to 1/10 second. When the exposure
time is 1 second, use 1/ 3 stop larger lens opening.

Edge markings

MR code system [key number, film identification mark (FN22),

and machine-readable bar code for each; film name FUJI F-64D,
emulsion number, roll number, frame marks (5, 8, 15 perforations
apart for 65mm film, 4 perforations apart for 35mm film, no frame
marks for 16mm film), etc.] is printed as latent images.

Fine grain structure and sharpness

Long, smooth tonal scale
Superb digital output
Exceptional performance in high-contrast
outdoor lighting
Subtle shadow detail

Color balance

This film is color-balanced for exposure to daylight. No light

balancing or conversion filters are required with this light source.
Where the light source varies significantly from this color
temperature, as in tungsten light filming, the following filters and
exposure indexes are recommended.

Rich reproduction of greens, blues, and yellows

26

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Characteristic curves
Exposure

: 5400K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standardized conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index

Daylight
(sunlight + skylight)

None

64

Tungsten light

Kodak Daylight Filter No.80A

16

2.5

Metal halide lamps

(e.g. HMI)

None

64

Ordinary fluorescent lamps

(White light type)

None

64

White Daylight type

None

64

Three-band fluorescent lamps

White daylight type (5000K)

None

64

Density

2.0

B
1.5

G
1.0

R
0.5

0.0
4.0

4.5

3.0

3.5

2.0

2.5

1.0

1.5

0.0

0.5

Exposure [log H (lux x second)]

Daylight type (6700K)

None

64

The above filter recommendations should provide approximate

color conversion.
Final color correction should be made when making prints.

In order to simulate conditions closest to practical use, exposure

was made under a 5400K light source, through a Fuji SC-41
ultraviolet absorbing filter. Processing was carried out under
standard conditions and the three color densities (status M) were
measured. The results of measurements are plotted as
characteristic curves.

28

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Exposure index

Tungsten light (3200K)... 64 (with Kodak Daylight Filter No.80A)

Daylight ......................... 250

35mm Type 8563 / 16mm Type 8663

Numbers are for use with exposure meters marked for ISO/ASA
speeds. Please note, however, that recommended exposure indexes
may not apply due to differences in exposure meters or the way
they are used, or variations in processing conditions. For best
results, test exposures should be made, following the instructions
for the exposure meter to be used.

Reciprocity characteristics

ETERNA 250D requires no filter corrections or exposure adjustments

for shutter speeds of 1/1000 to 1/10 second. For exposures of 1 second,
open the lens 1/3 of a stop.

Enhanced latitude

Edge markings

MR code system [edge number, film identification mark (FN63),

and their machine-readable bar codes, film name (FUJI 250D),
emulsion number, roll number, frame marks (5 perforations apart
for 65mm film; 4 perforations apart for 35mm film; no frame
marks for 16mm film)] is printed as latent images.

Enhanced gradation balance

Improved intercuttability

Color balance

Superb sharpness

ETERNA 250D is color balanced for daylight, eliminating the need

for filters in these conditions. When shooting under other light
sources, use the conversion filters and exposure adjustments listed
here.

30

31

Exceptional grain

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Characteristic curves
Exposure

: 5400K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standardized conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index
2.5

Daylight
(sunlight + skylight)

None

250

Tungsten light
Metal halide lamps
(e.g. HMI)

Kodak Daylight Filter No.80A

None

64
250

Density

2.0

B
1.5

G
1.0

R
Ordinary fluorescent lamps
(White light type)

None

250

0.5

(Daylight type)

None

250

0.0
-6.0 -5.0 -4.0 -3.0

Three-band fluorescent lamps

White daylight type (5000K)

-2.0 -1.0

0.0

1.0

2.0

3.0

4.0

5.0

6.0

Camera stop

None

250

These filter recommendations will provide approximate color

temperature conversion.
Final color correction should be done during printing.

32

In order to simulate conditions closest to practical use, exposure

was made under a 5400K tungsten light source, through a Fuji SC41 ultraviolet absorbing filter. Processing was carried out under
standard conditions and the three color densities were measured,
producing the results indicated in the graph above.

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Exposure index

Tungsten light (3200K)... 125 (with Kodak Daylight Filter No.80A)

Daylight ......................... 500

35mm Type 8592 / 16mm Type 8692

These numbers are appropriate for use with exposure meters marked
for ISO/ASA speeds. It should be noted, however, that the
recommended exposure index may not apply exactly due to
differences in processing, the usage of exposure meters, or other
conditions. For best results it is recommended that test exposures be
made prior to use, referring to instructions for the exposure meter
used.

Reciprocity characteristics

No filter corrections nor exposure adjustments needed for shutter

speeds of 1/1000 to 1/10 second. When exposure is 1 second, use 1/
3 stop larger lens opening.

The world's first high-speed (E.I. 500)

daylight-type motion picture film
4th Color Layer for natural,
faithful color reproduction
Smooth, lifelike skin-tones
Outstanding performance in mixed lighting

Edge markings

MR code system [key number, film identification mark (FN92),

and machine-readable bar code for each; film name FUJI 500D,
emulsion number, roll number, frame marks (4 perforations apart
for 35mm film, no frame marks for 16mm film), etc.] is printed as
latent images.

Color balance

This film is color-balanced for exposure to daylight. For other light

sources, use the conversion filters in the table below.

Excellent telecine transfer characteristics

for high-quality video
34

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Characteristic curves
Exposure

: 5400K light source for 1/50 second

with Fuji Filter SC-41
Processing
: Specified standardized conditions
Densitometry : Three color densities (status M)
3.0

Light source

Filter

Exposure index
2.5

Daylight
(sunlight + skylight)

None

500

Tungsten light

Kodak Daylight Filter No.80A

125

Metal halide lamps

(e.g. HMI)

None

500

Ordinary fluorescent lamps

(White light type)

None

500

(Daylight type)

None

500

Three-band fluorescent lamps

White daylight type (5000K)

Density

2.0

G
1.5

R
1.0

0.5

0.0
4.0

4.5

3.0

3.5

2.0

2.5

1.0

1.5

0.0

0.5

Exposure [log H (lux x second)]

None

500

These filter recommendations should provide approximate color

conversion.
Final color correction should be made at the time of printing.

In order to simulate conditions closest to practical use, exposure

was made under a 5400K light source, through a Fuji SC-41
ultraviolet absorbing filter. Processing was carried out under
standard conditions and the three color densities (status M) were
measured. The results of measurements are plotted as characteristic
curves.

36

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Aim Density in Printing

This film is designed to allow the same printing aim density for both
master positives and duplicate negatives. Adjust the density settings on
the printer so that the following density values (status M densitometry)
may be obtained when a color negative of an 18% reflectance gray
patch is appropriately exposed and processed under standard
conditions.
Red Density
Green Density
Blue Density

35mm Type 8503/4503 / 16mm Type 8603

Dmin + 1.0 0.1

Dmin + 1.0 0.1
Dmin + 1.0 0.1

Edge Markings

The MR. CODE system [key number, film identification code (FI 03),
machine-readable bar code, film name (FUJI FCI), emulsion number,
roll number, frame marks (4 perforations apart for 35mm stock, no
frame mark for 16mm stock) etc.] is printed as latent images.

Cinematic impact!
Natural color and tonal reproduction.

Film Base Safelight

Clear safety base (TAC) or polyester base (PET) is used. This film
should be handled in total darkness or under safelight conditions. In
the latter case a Fuji Safelight Filter No.4 or a Kodak Safelight Filter
No.3 (both are dark green) should be used in combination with a 10watt light, keeping the film at a distance of 1m or more from it. This
film can also be handled under the same safelight conditions that are
essential to color positive film in which case a Fuji Safelight Filter No.
101A or Kodak Safelight Filter No.8 (both are dark orange) should be
used. If the film is to be exposed to these safelight conditions for
extended periods, sufficient safety factor testing should be carried out
before using the film.

Printing

In master position production, contact printers are usually employed.

In the interest of image stability, however, it is desirable that a step
contact printer be used. For duplicate negative production an optical
printer can be used. In this case it is desirable to use an optical
printer in conjunction with a wet gate projector to inhibit graininess
38

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deterioration due to the matting agent on the emulsion surface. Insert

an ultraviolet absorbing filter (Fuji Filter SC-42 or Kodak Wratten
Filter No.2E) and a heat-absorbing filter (Fuji Filter No.2043) in the
light beam of the printer.

Characteristic curves
Exposure

: 2854K light source for 1/50 second

with Fuji Filter SC-42 and correction filter
Processing
: Specified standardized conditions
Densitometry : Three color densities (status M)

Packaging Units and Perforations

Film
Width

Film Length and

Winding Type

Core / Spool

3.5

Shape, Pitch and

Specification
of Perforations

3.0

35 x 50 mm core

305m (Polyester base)

35 x 50 mm core N-4.740 mm
(Negative perforations
35 x 75 mm core with short pitch)
[ISO 491 : 1988]
35 x 75 mm core

35mm
610m (Cellulose triacetate base)
610m (Polyester base)

Density

2.5

305m (Cellulose triacetate base)

2.0

B
1.5

G
1.0

*305m x 2
(Single-perforated, type A winding) 16 x 50 mm core
*305m x 2
1R-7.605 mm
(Single-perforated, type B winding) 16 x 50 mm core (Single perforations
with short pitch)
16mm *305m x 2
16 x 50 mm core
(Double-perforated)
2R-7.605 mm
(Cellulose
(Double perforations
triacetate *610m x 2
with short pitch)
16
x
75
mm
core
base)
(Single-perforated, type A winding)
[lSO 69 : 1972]
*610m x 2
(Single-perforated, type B winding) 16 x 75 mm core
*610m x 2
(Double-perforated)

16 x 75 mm core

R
0.5

0.0
4.0

3.5

3.0

2.5

2.0

1.5

0.5

0.0

0.5

1.0

1.5

In order to simulate conditions closest to practical use, exposure

was made under a 2854K light source, through a Fuji SC-42
ultraviolet absorbing filter as well as a correction filter which
corresponds to the color negative film mask. Processing was
carried out under standard conditions and the three color densities
(status M) were measured. The results of measurements are
plotted as characteristic curves here.

Items marked with * are supplied on a special order basis.

40

1.0

Exposure [log H (lux x second)]

41

00_motionpicture 07.11.13 0:57 AM 42

Film Base Safelight

Clear safety base (TAC) or polyester base (PET) is used. This film
should be handled in total darkness.

35mm Type 8511 / 4511 (PET)

Digital Recording

The recommended code values for a digital LAD patch are :

For Digital Recording, currently
offered calibration aims are
available. Carlos aim, CINEON
calibration aim and so on

code values
Red
Green
Blue

Exceptional sharpness and significant

reduction of color cross talk.

42

445
445
445

Edge Markings

The MR. CODE system [key number, film identification code (FD
11), machine-readable bar code, film name (FUJI RDI), emulsion
number, roll number, frame marks (4 perforations apart) etc.] is
printed as latent images.

43

00_motionpicture 07.11.13 0:57 AM 44

Characteristic curves
Exposure

: Digital exposed by ARRILASER

Maximum exposure values Red 1750
Green 800 Blue 40
Processing
: Specified standardized conditions
Densitometry : Three color densities (status M)

Packaging Units and Perforations

Film
Width

Film Length and

Winding Type

305m
(Cellulose triacetate base)

Core / Spool

Shape, Pitch and

Specification
of Perforations

3.5

3.0

35 x 50 mm core

305m
(Polyester base)

35 x 50 mm core

35mm
610m
(Cellulose triacetate base)

35 x 75 mm core

610m
(Polyester base)

35 x 75 mm core

N-4.740 mm
(Negative perforations
with short pitch)
[ISO 491 : 1988]

Density

2.5

2.0

R
1.5

1.0
0.5

0.0
0.5

1.0

1.5

2.0

2.5

3.0

3.5

Log (Digital exposure)

44

45

4.0

4.5

5.0

5.5

00_motionpicture 07.11.13 0:57 AM 46

Film Base

The polyester (PET) safety base does not allow splicing with film
cement. Use splicing tape or an ultrasonic splicing device for
splicing.

35mm Type 3510 / 16mm Type 3610

Safelight

This film should be handled at a distance of 1m (31/2ft) or more

from a 10-watt electric bulb by the use of a Fuji Safelight Filter
No.101A (dark orange) for color positive film. When the film is
exposed to safelight for prolonged periods of time, a sufficient test
should be performed to ensure safety.

Printing

Image
When prints are to be made from Fujicolor motion picture negative
film (processed UL bleach) using a printer with an additive color
light source, such as Bell & Howell Model C, the printer conditions
are approximately as follows.
Printer light source : 1000W, DC70V
Filters : Fuji Filter SC41+Heat-absorbing Filter No.2043
Printer speed : 55m/min (180ft/min)

Printer settings :

Advanced image quality and

handling ease for total
cinematic versatility.

46

Light

Trimmer

Tape

ND Filter

Red
Green
Blue

15
15
15

25
25
25

0.50
0.55
0.90

Aim Print Density: Normally expose a negative film normally to

18% reflectance gray card and process the negative film under
standard conditions. Print the negative image of the gray card onto
the Fujicolor positive film. Fine adjustments should then be made
to the printer settings so that the following density values of status
A may be obtained with the gray card on the positive film.
(The aim density values are based on the assumption that the film
will be projected with a xenon lamp projector.)
R 1.10
G 1.05
B 1.05
47

00_motionpicture 07.11.13 0:57 AM 48

Analog Sound Track

Insert Fuji Filter SC-50 in the light path of the printer to record a
sound image in the top two emulsion layers. The optimum density of
the variable-area type sound track of the color positive film is
determined by the combination of its density and the sound track
density of the sound negative film. Obtain the optimum density of the
variable-area type sound track by performing a cross modulation test.
The sound track density of color positive film usually ranges from
1.1 to 1.6 when measured at a wavelength of 800nm.
Digital Sound Track
Refer to the specifications of each digital recording system.

Processing

Fujicolor Positive Film F-CP is designed to be processed in Process

ECP-2B for Eastman Color Print Film. The process steps of
prebath and rem-jet removal & rinse may be omitted.

Processed Film Storage

Fujicolor Positive Film F-CP is designed to resist color fading.

However, to avoid changes in dye image due to high temperatures and
humidities during prolonged storage, it is recommended that processed
films be kept at a temperature of 15C (59F) with 30% to 40% RH for
long-term storage (about 100 years), and at a temperature of 20C
(68F) with 40% to 50% RH for medium-term storage (about 50
years). Furthermore, it is also recommended that processed films in
storage should be checked by visual inspection for changes (e.g.,
deformation, color fading, adhesion, mold) at intervals of a few years.

Characteristic curves
Exposure

: 2854K tungsten light source for 1/100 second

with Fuji Filter SC-41 and Color Correction Filter
Processing
: Specified standardized conditions
Densitometry : Three color diffusion densities (status A)
4.0

Edge Markings

3.5

Film identification marks (FUJICOLOR, Type No, Lot No, Roll

No, Slit No and Perforating Machine No) are printed as latent
images. For edge markings, a magenta coloring is used in order not
to interfere with the SDDS soundtracks.

Raw Stock Storage

Like other color films, Fujicolor Positive Film F-CP may undergo
certain changes in photographic properties when stored for extended
periods. Since these changes can be accelerated, particularly through
the action of heat and moisture, it is recommended that raw stock be
stored at temperatures below 13C (55.4F) in the package. A package
containing film that has been refrigerated should remain sealed until it
reaches equilibrium with the ambient temperature. If packages are
opened too soon, moisture from outside the package may condense on
the film surface before and during use.

Exposed Film Handling

Exposed films should be processed as soon as possible. If exposed

films cannot be processed within 3 days of exposure, they should be
stored below 10C (50F) and processed as soon as circumstances
permit.
48

2.5

Density

3.0

2.0
1.5

1.0
0.5

0.5

Exposure [log H (lux x second)]

In order to simulate conditions closest to practical use, exposure was

made under a 2854K Tungsten light source, through CC-90Y and
CC-60M print color correction filters and a Fuji SC-41 ultraviolet
absorbing filter in combination. Processing was carried out under
standard conditions and the three color densities (status A) were
measured. The results of measurements are plotted as characteristic
curves. Curves G and B are shifted 1.0 Log H to avoid overlapping.
49

00_motionpicture 07.11.13 0:57 AM 50

Film Base

The polyester (PET) safety base does not allow splicing with film
cement. Use splicing tape or an ultrasonic splicing device for
splicing.

35mm Type 3513DI / 16mm Type 3613DI

Safelight

This film should be handled at a distance of 1m (31/2ft) or more

from a 10-watt electric bulb by the use of a Fuji Safelight Filter
No.101A (dark orange) for color positive film. When the film is
exposed to safelight for prolonged periods of time, a sufficient test
should be performed to ensure safety.

Printing

Image
When prints are to be made from Fujicolor motion picture negative
film (processed UL bleach) using a printer with an additive color
light source, such as Bell & Howell Model C, the printer conditions
are approximately as follows.
Printer light source : 1000W, DC70V
Filters : Fuji Filter SC41+Heat-absorbing Filter No.2043
Printer speed : 55m/min (180ft/min)

Printer settings :

Advanced image quality and

handling ease for total
cinematic versatility.

50

Light

Trimmer

Tape

ND Filter

Red
Green
Blue

13
13
13

25
25
25

0.50
0.55
0.90

Aim Print Density: Normally expose a negative film normally to

18% reflectance gray card and process the negative film under
standard conditions. Print the negative image of the gray card onto
the Fujicolor positive film. Fine adjustments should then be made
to the printer settings so that the following density values of status
A may be obtained with the gray card on the positive film. (The
aim density values are based on the assumption that the film will be
projected with a xenon lamp projector.)
R 1.10
G 1.05
B 1.05
51

00_motionpicture 07.11.13 0:57 AM 52

Analog Sound Track

Insert Fuji Filter SC-50 in the light path of the printer to record a
sound image in the top two emulsion layers. The optimum density of
the variable-area type sound track of the color positive film is
determined by the combination of its density and the sound track
density of the sound negative film. Obtain the optimum density of the
variable-area type sound track by performing a cross modulation test.
The sound track density of color positive film usually ranges from
1.1 to 1.6 when measured at a wavelength of 800nm.
Digital Sound Track
Refer to the specifications of each digital recording system.

Processing

Fujicolor Positive Film ETERNA-CP is designed to be processed in

Process ECP-2B for Eastman Color Print Film. The process steps of
prebath and rem-jet removal & rinse may be omitted.

Processed Film Storage

Fujicolor Positive Film ETERNA-CP is designed to resist color fading.

However, to avoid changes in dye image due to high temperatures and
humidities during prolonged storage, it is recommended that processed
films be kept at a temperature of 15C (59F) with 30% to 40% RH for
long-term storage (about 100 years), and at a temperature of 20C
(68F) with 40% to 50% RH for medium-term storage (about 50 years).
Furthermore, it is also recommended that processed films in storage
should be checked by visual inspection for changes (e.g., deformation,
color fading, adhesion, mold) at intervals of a few years.

Characteristic curves
Exposure

: 2854K tungsten light source for 1/100 second

with Fuji Filter SC-41 and Color Correction Filter
Processing
: Specified standardized conditions
Densitometry : Three color diffusion densities (status A)
4.0

Edge Markings

3.5

Film identification marks (FUJICOLOR, Type No, Lot No, Roll No,
Slit No and Perforating Machine No) are printed as latent images.
For edge markings, a magenta coloring is used in order not to
interfere with the SDDS soundtracks.

Raw Stock Storage

Like other color films, Fujicolor Positive Film ETERNA-CP may

undergo certain changes in photographic properties when stored for
extended periods. Since these changes can be accelerated, particularly
through the action of heat and moisture,it is recommended that raw
stock be stored at temperatures below 13C (55.4F) in the package. A
package containing film that has been refrigerated should remain
sealed until it reaches equilibrium with the ambient temperature. If
packages are opened too soon, moisture from outside the package may
condense on the film surface before and during use.

Exposed Film Handling

Exposed films should be processed as soon as possible. If exposed

films cannot be processed within 3 days of exposure, they should be
stored below 10C (50F) and processed as soon as circumstances
permit.
52

2.5

Density

3.0

2.0
1.5

1.0
0.5

0.5

Exposure [log H (lux x second)]

In order to simulate conditions closest to practical use, exposure was

made under a 2854K Tungsten light source, through CC-90Y and
CC-60M print color correction filters and a Fuji SC-41 ultraviolet
absorbing filter in combination. Processing was carried out under
standard conditions and the three color densities (status A) were
measured. The results of measurements are plotted as characteristic
curves. Curves G and B are shifted 1.0 Log H to avoid overlapping.
53

00_motionpicture 07.11.13 0:57 AM 54

Film Base

The polyester (PET) safety base does not allow splicing with
filmcement. Use splicing tape or an ultrasonic splicing device for
splicing.

35mm Type 3521XD

Safelight

This film should be handled at a distance of 1m (31/2ft) or more

from a 10-watt electric bulb by the use of a Fuji Safelight Filter
N0.101A (dark orange) for color positive film. When the film is
exposed to safelight for prolonged periods of time, a sufficient test
should be performed to ensure safety.

Printing

Image
When prints are to be made from Fujicolor motion picture negative
film (processed UL bleach) using a printer with an additive color
light source, such as Bell & Howell Model C, the printer conditions
are approximately as follows.
Printer light source : 1000W, DC70V
Filters : Fuji Filter SC41+Heat-absorbing Filter No.2043
Printer speed : 55m/min (180ft/min)

Printer settings :

Crisp blacks and remarkable shadow detail.

54

Light

Trimmer

Tape

ND Filter

Red
Green
Blue

13
13
13

25
25
25

0.50
0.55
0.90

Aim Print Density: Normally expose a negative film normally to

18% reflectance gray card and process the negative film under
standard conditions. Print the negative image of the gray card onto
the Fujicolor positive film. Fine adjustments should then be made
to the printer settings so that the following density values of status
A may be obtained with the gray card on the positive film. (The
aim density values are based on the assumption that the film will be
projected with a xenon lamp projector.)
R 1.10
G 1.05
B 1.05
55

00_motionpicture 07.11.13 0:57 AM 56

Analog Sound Track

Insert Fuji Filter SC-50 in the light path of the printer to record a
sound image in the top two emulsion layers. The optimum density of
the variable-area type sound track of the color positive film is
determined by the combination of its density and the sound track
density of the sound negative film. Obtain the optimum density of the
variable-area type sound track by performing a cross modulation test.
The sound track density of color positive film usually ranges from
1.1 to 1.6 when measured at a wavelength of 800nm.
Digital Sound Track
Refer to the specifications of each digital recording system.

Processing

Fujicolor Positive Film ETERNA 3521XD is designed to be processed

in Process ECP-2B for Eastman Color Print Film. The process steps of
prebath and rem-jet removal & rinse may be omitted.

Processed Film Storage

Fujicolor Positive Film ETERNA 3521XD is designed to resist color

fading. However, to avoid changes in dye image due to high
temperatures and humidities during prolonged storage, it isrecommended
that processed films be kept at a temperature of 15C (59F) with 30% to
40% RH for long-term storage (about 100 years), and at a temperature of
20C (68F) with 40% to 50% RH for medium-term storage (about 50
years). Furthermore, it is also recommended that processed films in
storage should be checked by visual inspection for changes (e.g.,
deformation, color fading, adhesion, mold) at intervals of afew years.

Characteristic curves
Exposure

: 2854K tungsten light source for 1/100 second

with Fuji Filter SC-41 and Color Correction Filter
Processing
: Specified standardized conditions
Densitometry : Three color diffusion densities (status A)
5

Edge Markings

Film identification marks (FUJICOLOR, Type No, Lot No, Roll No,
Slit No and Perforating Machine No) are printed as latent images.
For edge markings, a magenta coloring is used in order not to
interfere with the SDDS soundtracks.

Raw Stock Storage

Like other color films, Fujicolor Positive Film ETERNA 3521XD may
undergo certain changes in photographic properties when stored for
extended periods. Since these changes can be accelerated, particularly
through the action of heat and moisture,it is recommended that raw
stock be stored at temperatures below 13C (55.4F) in the package. A
package containing film that has been refrigerated should remain
sealed until it reaches equilibrium with the ambient temperature. If
packages are opened too soon, moisture from outside the package may
condense on the film surface before and during use.

Exposed Film Handling

Exposed films should be processed as soon as possible. If exposed

films cannot be processed within 3 days of exposure, they should be
stored below 10C (50F) and processed as soon as circumstances
permit.
56

Density

0.5

Exposure [log H (lux 5 second)]

In order to simulate conditions closest to practical use, exposure was

made under a 2854K Tungsten light source, through CC-90Y and
CC-60M print color correction filters and a Fuji SC-41 ultraviolet
absorbing filter in combination. Processing was carried out under
standard conditions and the three color densities (status A) were
measured. The results of measurements are plotted as characteristic
curves. Curves G and B are shifted 1.0 Log H to avoid overlapping.
57

00_motionpicture 07.11.13 0:57 AM 58

Edge Markings of 35mm Film

35mm Film
(Example : Fujicolor Negative Film ETERNA-500 Type 8573)
Emulsion Up
Tails

Fujicolor
negative Film
ETERNA-500
Type 8573

FN 73 5566 7788

32

FUJI 500 100 049 070E41

B C D E

Heads

FN 73

5566

7788

Film Travel
G

H
58

I J K L
59

00_motionpicture 07.11.13 0:57 AM 60

Edge Markings of 35mm Film

A Mid-Foot Key Number and MR. CODE
The number and barcode with 32-perforation offset are placed
at the center between every normal key number and MR.
CODE.
Helps identify short scenes. The numbers are smaller than
nomal key numbers.

< Product Information >

B Manufacturer's Name
C Film Name
D Emulsion number
E Master Roll Number
F Manufacturer's Code

Start Character

Mgf. ID Code

Film Code

Same as
HumanReadable
Key Number

Film Type

Offset in Perfs.

00 88 77 66 55 73 73 03

Check Sum

Manufacturer Identification Code

Letter F identifies films manufactured by
FUJIFILM Corporation.

J Film Ideintification Code

Letter N identifies Fujicolor and Black & White Negative
Films.
Letter I identifies Fujicolor Intermediate Film.

K Film Type Identification Number

This 2-digit number corresponds to the last two digits of film
type number.

G MR. CODE
Machine-readable barcode containing manufacturer ID code,
film code, film type, key number and offset in perforations.

Stop Character

L Key Number
Human-readable, 8-digit number.
Increments every one foot (64 perforations).

M Matching Check Symbols

Randomly selected and inserted symbols (in pairs) help verify
that the negative and the working print are properly matched.

N Frame Index Mark

This mark (-) at intervals of 4 perforations is helpful in finding
the position of the frame line in dark scenes. This is printed
without being overlapped on any other edgeprint marking.

H Zero-Frame Reference Mark

The frame above this mark ( ) is identified as the zero-frame
specified by both key number and MR. CODE.

60

61

00_motionpicture 07.11.13 0:57 AM 62

Edge Markings of 16mm Film

16mm Film
(Example : Fujicolor Negative Film ETERNA-500 Type 8673)
Emulsion Up
Tails

Fujicolor
negative Film
ETERNA-500
Type 8673
FUJI

500

100

131

C D

M26H14

Heads

FN

73

5566

7788

Film Travel

G H

62

I J

63

00_motionpicture 07.11.13 0:57 AM 64

Edge Markings of 16mm Film

G Zero-Frame Reference Mark

The frame above this mark ( ) is identified as the zero-frame
specified by both key number and MR. CODE.

< Product Information >

A Manufacturer's Name
B Film Name
C Emulsion number
D Master Roll Number
E Manufacturer's Code

H Manufacturer Identification Code

Letter F identifies films manufactured by
FUJIFILM Corporation.

F MR. CODE
Machine-readable barcode containing manufacturer ID code,
film code, film type, key number and offset in perforations.

Film Ideintification Code

Letter N identifies Fujicolor and Black & White Negative
Films.
Letter I identifies Fujicolor Intermediate Film.

64

Start Character

Mgf. ID Code

Film Code

Same as
HumanReadable
Key Number

Film Type

Offset in Perfs.

Check Sum

Stop Character

00 88 77 66 55 73 73 03

J Film Type Identification Number

This 2-digit number corresponds to the last two digits of film
type number.

K Key Number
Human-readable, 8-digit number.
Increments every 1/2 foot (20 perforations).

65

00_motionpicture 07.11.13 0:57 AM 66

FILM STORAGE

1. RAW STOCK STORAGE

Photographic properties of films change gradually as they
age.
Changes occur in speed and contrast. Also, fog is often
increased.

1-1 Effects of Humidity and Temperature

In Case of Raw Film
Since motion picture raw stock is contained in tapesealed
cans to shut out moisture, no special precautions are
necessary with regard to humidity until the sealing tape is
removed. Once the stock is unsealed, it is recommended to
use it up soon. Excessively high humidity should be
avoided, because the packaging cardboard and label may
become moisture laden or the can may corrode.
Color camera films generally maintain their initial quality
for about one year when stored at 10C (50F) or below,
and black-and-white films at 13C (55.4F) or below.
When stored at nomal room temperatures (20-25C / 6877F), they undergo gradual changes in photographic
properties. If stored at higher temperatures, the changes
will occur more rapidly. In such case, film should be kept
in containers made of heat insulating materials.
66

When camera is used under strong sunlight, the temperature

inside the magazine may become 20C (36F) higher than
the outside ambient temperature. In certain cases, the
temperature may rise to a sizzling 50C (122F). If a white
cloth magazine cover is used, it will lower the magazine
temperature by approximately 10C (18F).
In Case of Print Film
On the other hand, print films are less subject to high
temperatures than camera films as temperature and
humidity are relatively well controlled. Further, changes in
speed can be corrected during printing. For best results,
however, it is necessary that black-and-white positive
films, duplicating films and color positive films be stored
at temperatures of 13C (55.4F) or below and color
intermediate films at 10C (50F) or below.
Film Adhesion
Under high temperature and humidity conditions, moisture
absorbing emulsion surfaces are liable to adhere to the film
back. Such adhesion easily results in fog and static marks
and the emulsion surface may be deformed.
In addition, adhering films may not smoothly be transported
through a camera or printer. If films are coated with backing
layers, some of the backing may be stripped off and adhere
to the emulsion surface, producing spots, mottling and other
defects in processed films. Raw stock maintained under cold
storage should be left at room temperature for the prescribed
67

00_motionpicture 07.11.13 0:57 AM 68

period to avoid moisture condensation which would result in

spots and mottling. Raw stock removed from cold storage
should remain sealed in the metal can until it comes into
equilibrium with atmospheric temperatures. Figures 31 and
32 provide a quick guide to calculate the time that raw stock
should remain in their sealed cans after removal from
refrigeration at 5C (41F) and at 20C (4F).

1-2 Effects of Harmful Gases, Chemicals and

Radiation
When handling film stocks, sufficient care should be paid
to protect them from harmful gases and chemicals. Gases,
such as formaldehyde, hydrogen sulfide, sulfurous acid,
ammonia, turpentine oil, and mercury vapors are
detrimental to motion picture films. Certain kinds of
silicone oil and silicone grease are particularly harmful.
In addition, all raw stocks, especially high-speed materials,
need to be protected from X-rays and other radiations, for
all radiations cause heavy fog. When passing through
inspection gates at airports, radiation exposure should be
avoided.
To prevent X-ray dosage, raw stocks should be kept in Xray-proof cases, such as Fuji Film Carrying Cases.
Fig. 33 indicates the relationship between the standard
packaged Fujicolor Negative Film ETERNA 500 and Xray dosage.
Cosmic rays and natural radiation may also cause a
gradual increase in film fog.
68

2. EXPOSED FILM STORAGE

Exposed films require far greater care than raw stocks.
Exposed films should be processed as quickly as possible.
This is because latent images produced by exposure
changes grow or fade with time, and such changes
accelerate under high temperature and humidity
conditions.
Changes in latent images do not always take place
uniformly in the highlight to shadow areas, and gradation
may also vary depending on the case. With color films, the
rate of latent image change differs from one emulsion layer
to the other causing the mismatch of color balance.
When exposed but unprocessed films are to be stored for
extended periods, they must be kept in cold storage. The
specific storage conditions are indicated in the respective
data sheets. Even for short periods, they should be kept
below 25C (77F).
In the case of release print films, on the other hand, it is
desirable to process them within 3 days of printing. If they
cannot be processed within the specified period, it is
necessary to store them at temperature of 10C (50F) or
below.

69

Temperature Inside
White Cloth Covered Magazine
40

Temperature in a
Magazine in the Shade

30
20

10

11

12

13

14

(Noon)

70

15

Atmospheric
Temperature
16

17

18

Time of the Day

50

B
G

71

(The X-ray exposure safety limits above are based on the assumption that the dosage per inspection is 0.3 mR
for films in standard packages.)

Temperature (C)

Temperature in an
Uncovered
Magazine

50

: Fine (Summer Season in Japan)

12

Weather
60

160

Fig. 30 Temperature Inside Camera Magazines Used Under

Strong Sunlight

Fujicolor Negative Film ETERNA Vivid 160

18

17

250

16

Time of the Day

Fujicolor Negative Film ETERNA 250

15

Acceptable Number of X-ray Inspections

14

500

13

(Noon)

Exposure Index

12

Table 5 Airport Inspection X-ray Exposure Safety Limits for Color Negative Films

11

10

10

X-ray Dosage (mR)

0
1

20

Standard Package

Car Floor

Atmospheric
Temperature

+0.10

Rear Trunk

30

+0.20

40

+0,30

50

+0.40

Rear Seat
(in the Shade)

60

Fig. 33 Relationship Between X-ray Dosage and Fujicolor Negative Film ETERNA 500 Fogging

Temperature (C)

Rear Window
(under Full
Sunlight)

70

Increase in Fog Density

80

100

Car Color : Silver Gray

Window : Fully Closed
Weather : Fine (Summer Season in Japan)

Type of Film

Fig. 29 Temperature Inside Cars Parked Under Strong Sunlight

Fujicolor Negative Film ETERNA 500

00_motionpicture 07.11.13 0:57 AM 70

00_motionpicture 07.11.13 0:57 AM 72

Room Humidity (% RH)

Fig. 31 Standing Time Required after Removal from Refrigeration

How to Read Figs. 31 and 32

The required standing times shown were derived under the
following conditions.

30
40
50

Film Size

16mm and 35mm

60

Film Length

30.5 m (100 ft), 122 m (400 ft),

305 m (1,000 ft), 610 m (2,000 ft)

Temperature

19C (34.2F)

Difference

When raw stock is transferred from

a refrigerator at 5C (41F) to a
room temperature at 24C (75.2F)

Temperature

44C (79.2F)

Difference

When raw stock is transferred from

a freezer at 20C (4F) to a room
temperature at 24C (75.2F)

Room Humidity

30 to 90% RH

Standing Condition

Separated from each other.

70
80
90
0

16mm 16mm
30.5m 122m
(100ft) (400ft)
1

35mm
122m
(400ft)
2

35mm
305m
(1000ft)
4

35mm
610m
(2000ft)
5

Standing Time (hours)

Refrigerator at
5C (41F) Room at 24C (75.2F)
Temperature Difference : 19C (34.2F)

Room Humidity ( %RH)

Fig. 32 Standing Time Required after Removal from Freezer

30
40
50
60
70
80
90
0

16mm 16mm
35mm
30.5m 122m
122m
(100ft) (400ft)
(400ft)
1
2
3
4
Standing Time (hours)

Freezer at
20C (4F) Room at 24C (75.2F)
Temperature Difference : 44C (79.2F)

72

35mm
305m
(1000ft)
5

If a 122-m (400-ft) roll 35mm film is taken out of a refrigerator at

5C (41F) into a room at 24C (75F) with 63% RH,
determination of the length of time during which should be kept
sealed before it comes into equilibrium with the room temperature
is as follows. Locate the 63% RH point on the vertical axis of the
graph shown in Fig. 31, extend a horizontal line from this point to
the right straight across the graph, and read off the time at its
intersection (indicated by an open circle) with the third curved line.
It can be seen that for the case cited the film would be brought into
equalibrium with room conditions if allowed to stand for 1 hour or
longer before unsealing.

73

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26-30, Nishiazabu 2-chome, Minato-ku, Tokyo 106-8620, Japan

http://www.fujifilm.com/products/motion_picture/

Fujifilm Abroad
Country

Company Name and Adress

Country

Company Name and Adress

NORTH AMERICA

ASIA

U.S.A.

FUJIFILM U.S.A., Inc. (Hollywood M.P. Div. Office)

2220 West Magnolia Bl. Burbank, CA 91506, U.S.A.
http://www.fujifilmusa.com/

China

Canada

FUJIFILM Canada Inc.

600 Suffolk Court Mississauga, Ontario L5R 4G4, Canada
http://www.fujifilm.ca/

FUJIFILM (China) Investment Co., Ltd.

31st Floor, Hong Kong New World Tower No. 300
Huai Hai Zhong Road, Shanghai, China
http://www.fujifilm.com.ch/

India

FUJIFILM Corporation India Branch Office

Le Meridien Commercial Tower 8F Janpath,
New Delhi 110001, India
http://www.fujifilm.in/

Malaysia

FUJIFILM (Malaysia) Sdn. Bhd.

Letter Box 1, Level 10, 11, & 12 Menara Axis, No. 2,
Jalan 51A/223 46100 Petaling Jaya
Selangor Darul Ehsan, Malaysia
http://www.fujifilm.com.my/

Singapore

FUJIFILM Regional Servies (Singapore) Pte Ltd.

10 New Industrial Road, Singapore 536201
http://www.fujifilm.com.sg/

Thailand

FUJIFILM (Thailand) Ltd.

S.P. Building, 8th floor 388 Phaholyothin Rd. Bangkok 10400,
Thailand
http://www.fujifilm.co.th/

CENTRAL & SOUTH AMERICA

Brasil

FUJIFILM do Brasil Ltda.

Avenida Vereador Jose Diniz, 3400 Campo Belo,
Sao Paulo CEP 04604-901, SP, Brasil
http://www.fujifilm.com.br/

EUROPE
Germany

FUJIFILM Europe GmbH

Heesenstrasse 31 40549 Dusseldorf, Germany
http://www.fujifilm.de/

France

FUJIFILM France SAS

8 Rue Jean Pierre TIMBAUD, 78186 ST QUENTIN EN
YVELINES CEDEX, FRANCE
http://www.fujifilm.fr/

Italy

FUJIFILM ITALIA S.r.l.

Via Della Unione Europea Palazzo Beta N.4
Quartiere Affari 20097 San Donato Milanese (MI), Italy
http://www.fujifilm.it/

Spain

FUJIFILM ESPANA, S.A.

Aragon, 180 08011-Barcelona, Spain
http://www.fujifilm.es/

U.K.

FUJIFILM UK Ltd.
St. Martins Business Centre, St. Martins Way, Bedford,
MK 42 0LF, U.K.
http://www.fujifilm.co.uk/

74

OCEANIA
Australia

FUJIFILM Australia Pty Ltd.

114 Old Pittwater Road Brookvale, N.S.W. 2100, Australia
http://www.fujifilm.com.au/

New Zealand FUJIFILM NZ Ltd.

Cnr William Pickering Drive and Bush Road, Albany, Auckland,
New Zealand
http://www.fujifilm.co.nz/

MIDDLE EAST
U.A.E.

FUJIFILM Corporation Dubai Office

12/A 08 HB P.O. Box 17212, Jebel Ali Free Zone, Dubal,
United Arab Emirates

75

FUJIFILM
MOTION PICTURE FILM
MANUAL

Ref.No.KB-0707E