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ETERNA Vivid 250D & 500 Demonstration Film (Gabriel Beristain, ASC, BSC, AMC)

Director of Photography: Gabriel Beristain, ASC, BSC, AMC

“I was interested in exploring how the stock would handle wide expanses of solid color in the sand and sky to help better understand the grain.”

Gabriel Beristain was born in Mexico and worked as documentary and newsreel cameraman throughout Europe. Accepted by the National Film and Television School in Beaconsfield, England, one of the top film schools in the world, he shot Jenny Wilke's Academy Award Winner for Best Foreign Student Film, “Mother's Wedding” (1983).

Having settled in England, The Berlin Film Festival honored him in 1987 with a Special Silver Bear ’for outstanding single achievement’ in cinematography, for Derek Jarman's “Caravaggio”.

In 1991, after shooting “K-2” in the Himalayas, he moved to the U.S. to work in cult classics like “Blood In, Blood Out” and “Dolores Clairborne”, and broke new ground in films like “S.W.A.T.” and ‘Blade Trinity’. He was also the greatest ally to Hideo Nakata in his Hollywood debut and with him recreated the beautiful “The Ring 2”.
His latest film is “There Be Dragons” (2011) for film legend Roland Joffe.

Gabriel Beristain, ASC, BSC, AMC Puts New Stock to the Test

As soon as Fujifilm introduced its ETERNA Vivid 160T, cinematographers embraced the new stock for its bold contrast and color rendition. Likewise, Vivid 500T expanded the shooting options for those interested in using Vivid's imaging characteristics in lower-light conditions. Now, Fujifilm has added a 250 daylight balanced emulsion and asked the director of photography Gabriel Beristain, ASC, BSC, AMC to put it through its paces.

“I didn't know the Vivid stocks very well so I went in without any preconceived ideas,” says Beristain, who put together the test, which was based around the concept of young people auditioning their performing skills. “Before anything I considered the conditions in which 250 Daylight was the most appropriate film stock to use. Often, I find that kind of stock especially valuable if you want it for day interiors with mixed light conditions. Maybe you have tungsten fixtures inside and you can't use Condors to put big tungsten units through the windows. A daylight stock handles the window light without that horrible blue cast you have to worry about with a tungsten-balanced film and you can get a nice warm glow from tungsten bulbs without having to gel or dim them.”

Beristain tested the Vivid 250D's response to a mixture of skin tones and color temperatures.

Beristain shot interiors inside the historic Park Plaza hotel in downtown LA. The interiors presented a mix of window light and tungsten practicals already and he augmented the lighting and helped to slightly even out the color temperature differences with a few additional units. After printing the material at FotoKem, Beristain checked the results. “The mixed color temperatures didn't introduce a radical color shift,” he says. “I would have liked to punch some extra light through the windows but it wasn't possible. I was concerned the scene might look flat but I was pleased that the Vivid still gave me strong contrast.”

The cinemaotographer wanted to demonstrate the ability of the stocks to render strong contrast even with a purely photochemical finish.

He notes that a stock that can transition easily between exterior and interior is particularly valuable on a lot of today's fast-moving action shows. “Directors and cinematographers like to be able to move the camera freely and it can be particularly effective and rewarding to follow characters from interior to exterior or vice versa in the same take.”

Beristain liked the Vivid 250D so much that he shot his next commercial with it. The spot for Comcast stars their spokesperson, Modern Family's Sofia Vergara, who cheers up a bored family by bringing Comcast service into their house.

The commercial, says Beristain, involves interiors, exteriors and mixed conditions and he was delighted with Vivid's performance throughout. “Sofia looked fantastic,” he says. “In spite of having more contrast than some other stocks, Vivid is definitely good for portraiture. Skin tones reproduce beautifully.”


  • Cameras: Arricam LT(both A and B cameras)
  • Lenses: A Camera always had Angenieux Optimo 24-290mm. B Camera was Angenieux Optimo 17-80mm and Angenieux primo 15-40mm when used on Steadicam.
  • All F-stop readings were taken with the meter at ISO 250 and 30FPS, including the shots done at 30FPS, 48FPS and 60FPS. For those shots, the iris was opened to compensate but the basic readings still apply.

Scene No. 1

Camera 24FPS f/5.6
Color Temperature Xenons: 6000K, Kinos (Under Stairs): 3200K, MR16: 2700K
Incident Readings At End of Runway: Xenon: f/16, No Xenon: f/2.0 ½, Backlight: f/4.0
Spot Readings Asian Model's Face/ Back of Runway: Key (Xenon): f/32.0, Fill: f/4.0
Asian Model's Face/ End of Runway: W. Xenon: f/16 ½, W/O. Xenon: f/2.8
Brunette Model's Face/ Back of Runway: Key: f/11 ½, Fill: f/2.8
Brunette Model's Face/ End of Runway: W. Xenon: f/16 ½, W/O. Xenon: f/2.0 ⅓
Blond Model's Face/ Back of Runway: Key: f/32, Fill: f/4.0
Blond Model's Face/ End of Runway: W. Xenon: f/16 ½, W/O. Xenon: f/2.8
Black Model's Face/ Back of Runway: Key: f/8.0 ½, Fill: f/2.0
Black Model's Face/ End of Runway: W. Xenon: f/11 ½, W/O. Xenon: f/2.0 ½

Back Wall: Lights: Translucent Window: f/2.8 ½, Wall: f/2.8 to 1.4, Wall w. Xenon: f/16 ⅓ to 4.0 ½, Stairs: f/32

* Only this scene was shot on 35mm Vivid 500 at 500 ISO.

Scene No. 2

Camera 24FPS f/3.5
Color Temperature Overall: 5000K, Tungsten Practicals: 3020K +19G
Incident Readings Overall Key: f/2.8, Fill from Mirrors: f/1.4
Spot Readings Blond Model Position #1: Key: f/2.8 ½, Fill(Shadow): f/1.0
Blond Model Position #2: Key: f/2.8 ⅓, Fill: f/2.0
Blond Model Position #3: Key: f/2.0, Fill: f/1.0 ⅓
First Ballerina: Key: f/2.0, Fill: f/1.0
Second Ballerina: Key: f/1.4 ½, Fill: 1.0 ½
Third Ballerina: Key: f/1.4, Fill: 0.7 ⅔
Man: f/2.8
Back Wall: f/1.0 ⅔ to 0.7 ½
Tungsten Highlights: f/2.0 ½
Column: f/2.0 to 1.0
Balance Bar: f/2.8
Highlight in Mirror: f/128
Floor Highlight in Mirror: f/45

Scene No. 3

Camera 24FPS f/2.0 ½, B cam used on Steadicam
Color Temperature Key Window Light (Backlight): 6000K, Bulbs in Vanity: 2500K
Incident Readings Key: f/2.8 ⅓, Fill: f/1.4 to 1.0 ⅓
Spot Readings Asian Model Facing her: f/2.0 to 1.0 ⅓,
Close to the Tungsten Lights, Her face was: f/2.8,
In the Mirror reflections, from the Key Light: f/2.8,
White Kimono Facing her: f/2.0 ½ In the Mirror reflections, from the Key Light: f/4.0, Window Highlight: f/11.0,
Black under Window: f/1.4 to 1.0 ½ to 0.7 ⅔

Scene No. 4

Camera 24FPS f/2.8 ½
Color Temperature Key/Backlight: 6150K
Incident Readings Model: Key f/2.8 ½, Fill (from floor and columns): f/0.7,
Man: Key f/2.0 ½, Fill: f/0.7
Spot Readings Model's Face (when facing camera): f/0.7 ½, Hair Highlight: f/2.8 ½
Skin Highlights: f/2.0-2.8 ½, Black Background: f/0.3 ⅔
Column Highlights: f/1.4 ⅓, Column dark: f/0.5 ⅔,
Floor: f/1.4 to 2.0, Yoga Mat: f/1.4 ½, Man's Face: f/0.7,
Wall Behind Man: f/2.8

Scene No. 5

Camera 24FPS f/4.0 or 48FPS f/2.8, B cam used on Steadicam
Color Temperature Key Light: 5070K, Fill Light: 5370K
Back Light: Through blue windows: 5700K, Through normal windows: 5100K
Incident Readings Top of stairs: Key: f/2.8 ½, Fill: f/1.0 ⅔
Incident on Stairs (towards camera) Bottom: f/0.7 ½, Middle: f/1.0 ⅓
Three Quarters: f/1.4 ⅓
In the “Column Shadow”: f/0.5 ⅓
Backlight Bottom: f/2.8 ½
Middle: f/2.0 ½, Three Quarters: f/2.0
In the “Chandelier Shadow”: f/0.7 ⅔
Spot Readings Faces at top of stairs:
Blond Model: Key f/2.0 ⅔, Fill f/1.4 ½
Asian Model: Key f/2.8 ⅓, Fill f/2.0
Brunette Model: Key f/2.8 ½, Fill f/1.0 ⅔
Black Model: Key f/2.0 ½, Fill f/0.7 ⅔
Window darkest point: f/4.0
Brightest point: f/22 ½, Reflection in floor: Between f/4.0 and f/5.6 ½

Scene No. 6

Camera 24FPS f/4.0
Color Temperature Key light (from window): 6450K
Backlight (mixed Tungsten): 3700K
Incident Readings Model in dark wings of stage: f/1.0
Model Seated: Key: f/2.8 Back Light: f/4.0
Man at Column: Key: f/2.8 Back Light: f/1.4
Spot Readings Model in dark wings: f/1.0  E1.0 ½ (Rim)
Model: Key: f/2.8 ½, Fill: f/1.4
White Shirt: f/4.0 ⅓
Man's Back: f/0.5 ½ to 0.3
Back Columns: f/1.4 ⅓ to 1.0 ⅓
Red Curtain: f/8.0 ½ to f/2.8 ½
Blue Stage Flat: f/2.0 ½
White Wall: f/4.0 ½
Par Cans: f/90 ½

Scene No. 7

Camera 24FPS f/2.8 ⅓
All light readings the same as Scene No.6.

Scene No. 8

Camera 24FPS f/4.0
Spot Readings Model: Key: f/2.0 ⅓, Fill: f/1.4, Back Light: f/4.0
Black Model's Clothing: f/2.0 to 0.5, Background: f/1.4

Scene No. 9

Camera 24FPS f/2.8
Color Temperature Light in Window Near Stage: 6800K
Light in Next Window: 5600K
Fill Light (Balloon): 6300K
Tungsten par-cans: 3000K, Mixed Backlight (Naked par-can and par-can with 1/2 CTB): 3700K
Incident Readings Black Model: Key: f/2.0, Back Light: f/4.0
Man: Key: f/4.0, Back Light: f/1.4
Spot Readings Black Model: Key: f/2.0 ⅓, Fill: f/1.4, Back Light: f/4.0
Black Model's Clothing: f/2.0 to 0.5
Man: f/1.4 ½ to 0.7
Column Man leans on: f/4.0 to 2.8
Light Ball (practical on stage): f/16
Red Curtains: f/11 ½ at par-can, f/1.0 ½ in dark part
Tan/Gold Curtains: f/2.8 to 2.0
White column on left of stage: f/5.6
Window closest to stage: Curtains: f/11 ½ to 5.6
Highlight on side of window: f/32
Next Window: Curtains: f/22
Judges Backs: f/0.5

Scene No. 10

Camera 24FPS f/2.8
Incident Readings Ambient Light: f/2.0 ½
Spot Readings Judge Left: Key: f/2.8, Fill: f/1.4 ½
Judge Middle: f/2.0, Fill: f/1.4
Judge Right: Key: f/2.8, Fill: f/1.4
Window: f/5.6 ½

Scene No. 11

Camera 24FPS f/2.8 ⅓
Color Temperature Same as Previous.
Incident Readings Model at Noose: Key: f/2.0 ½, Backlight: f/2.8 ½
Spot Readings Model Up on Chair: Key: f/2.0 ⅓, Fill: f/1.4 ½
Model Sitting: Key: f/2.8, Fill: f/1.0 ½
Model at Phone: Key: f/2.8 ⅓
Dress: f/1.4
Dress in Shadow: f/0.7 ½
Wall with Noose: f/2.8 ⅔
Wall Shadow: f/1.0 ½
Back Column: f/1.0
Chair Highlight: f/8.0 ½

Scene No. 12

Camera 24FPS f/2.8 ⅓
Color Temperature Same as Previous.
Incident Readings Same as Previous.
Spot Readings Model: Key: f/2.8 ½, Fill: f/1.4 ⅓
Hair Highlight: f/4.0 ½
Purple Shirt: f/2.0 ⅓
Wood Highlight on Stage Flat: f/2.8 ½
Tan/Gold Curtain: f/2.8-4.0

Scene No. 13

Camera 24FPS f/4.0
Incident Readings During the walk (towards the key light):
At start: f/4.0
At 1st Window: f/11.0
In between Windows: f/2.8
At 2nd Window: f/5.6
After 2nd Window: f/2.8 ½
At End Position:
Key (from window): f/2.8 ⅔
Fill (from balloon): f/1.4
Spot Readings Black Model: Key: f/2.0, Fill: f/1.4
Asian Model: Key: f/4.0, Fill: f/2.0 ⅔
Blond Model: Key: (No key, in shadow), Fill: f/2.0 ½
Brunette Model: Key: f/2.8 ½, Fill: f/2.0
Man: Key: f/5.6, Fill: f/2.0 ½
Window: f/22 ½ to 8.0 ½
Column: f/5.6 to 1.4 ½

Scene No. 14

Camera 48FPS f/2.8 (Readings taken at 24FPS f/4.0)
Color Temperature Window 1 (Next to stage): 6800K
Window 3: 5600K
4K Ambient Bounce: 6050K
Balloon: 6550K
Incident Readings Ambient/Fill (from 4K bounced into ceiling): f/2.0
Backlight (from windows): f/4.0 to f/2.0 ⅔
Spot Readings Brunette Model: f/2.0
Asian Model: f/2.0 ½ to 2.0
Blond Model: f/2.0 ⅓ to 1.4 ⅔
Black Model: f/2.0 to 1.4
Man: f/2.0 ⅓
Man (standing after jump):f/2.0 ½ to 1.0 ½
Window 1 (closest to the stage): f/11 ⅓, Window 2: f/22 ½,
Window 3: f/5.6 ½, Window 4: f/5.6, Window 5: f/8.0
Red Curtain Highlight: f/4.0 ½

Scene No. 15

Camera A Cam: 30FPS f/2.8
B Cam (Steadicam): 60FPS f/1.3
Incident Readings Ambient: f/1.4 ⅔, Backlight (from windows): f/2.8 ½
Man after Jump: Key: f/2.0 ½, Fill: f/1.4 ½
Spot Readings Man Key: f/2.8, Fill: f/2.0
Judge Left: f/2.0
Judge Middle: f/2.0
Judge Right: f/2.0 ½
Windows (from right to left): 1: f/11.0, 2: f/22 ½,
3: f/8.0, 4: f/8.0 ½
Columns: f/1.0 ½
Floor Highlight: f/8.0

Scene No. 16

Camera 24FPS f/2.0, B cam used on Steadicam
Color Temperature Exterior Ambient: 6400K
Window 1 (Right): 4700K
Window 2 (Left): 5500K
Kinos Under Bar: 5650K
Bar Backlight: 3700K
Fluorescents in Kitchen: 5600K +19G
Kino in Kitchen: 3200K
Incident Readings Exterior Ambient:
At the beginning: f/2.8 ⅔
On the Last Take: f/2.0 ½
Backlight behind Hostess Podium: f/2.8 ½
Kinos Under Bar: f/2.8
Bar Backlight: f/1.4
Window 1: f/2.8
Window 2: f/2.8
From Fluorescent in back of kitchen: f/2.8 ½
From Kino to Left of Kitchen Door: f/1.0 ⅓
The Group standing together at the end: f/1.4 (from balloon light)
Spot Readings Car Roof: f/2.8 ½
Black Model at Bar: f/2.0 ½
Highlight on Wall After the bar: f/2.8
Blond Model at Bar: f/1.4
Blond Model's White Shirt in Direct Light: f/2.8 ⅔
Red Curtain: f/0.7
Window 1: f/16 ½
Flare from Windows: f/128
Old Man's Suit: f/0.7 ⅓
Asian Model in Kitchen:
Under Fluorescent: f/2.0 ½
In Shadow: f/0.7 ⅔
Near Kino Flo: f/2.0 ⅓
White Chef's Suit: f/2.8 to 2.0
Kitchen Wall: f/2.8
The Group standing together at the end:
Blond Model: f/1.0 ⅓
Asian Model: f/1.0
Man: f/0.7 ⅓
Brunette Model: f/1.0 ½
Black Model: f/0.7 ⅓

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ETERNA Vivid 250D

High-performance motion picture film for sharp images and vibrant colors in open sets, outdoor locations or under mixed lighting.

ETERNA Vivid 500

High-speed film that inherits the saturated color, high contrast and superior sharpness of ETERNA Vivid 160. Ideal for night scenes and other challenging conditions.