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ETERNA Vivid 500 & 160 Demonstration Film (Phedon Papamichael ASC)

Directors of Photography:

About this Demonstration Film

Fujifilm invited three highly esteemed cinematographers to test the rich, bold look of the new ETERNA Vivid 500 film stock. The three cinematographers were given free rein to create individual spots using the stock in challenging situations that also showcase ETERNA Vivid 500's ability to intercut with its sister stock ETERNA Vivid 160.

“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.”

Scenes by Phedon Papamichael ASC

Scene No. 1

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 4:1 zoom at 17mm, f/4 with 85N9 and 138 Pola filters
Lighting 5400 K sun, 9000 K shadows, Trailer midtone: f/8, Trailer shadow: f/4, Trailer bright metal: f/16, Trailer specular: f/45, Lake bed: f/11 ½

Scene No. 2

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/4 ½ with 85 filter
Lighting Face: f/4 ½, Face highlight area: f/11

Scene No. 3

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/8 ⅓ with 85 filter
Lighting Exterior, dry lake bed: f/32, Brunette's face: f/8 ⅓

Scene No. 4

Film Super 16mm Vivid 160 at 160 ISO
Camera Arri 416 handheld
Lens Zeiss 10mm Ultra Prime, f/5.6 ½ with 85N9 filter
Lighting Trailer midtone: f/5.6 ⅔, Trailer shadow: f/4 ½, Trailer highlight: f/8 ⅓, Blond girl face: f/5.6, Black girl face: f/4

Scene No. 5

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 4:1 zoom at 17mm, f/4 with 85N9 and 138 Pola filters
Lighting 5400 K sun, 9000 K shadows, Dry lake bed: f/11 ½, Flag shadow on ground: f/5.6 ⅔, Girls shadows: f/4 ⅔, White skin tone: f/8 ½, Black skin tone: f/4 ½, Asian skin tone: f/8, Blond hair: f/11, Black hair: f/2.8 ⅓, Silver dress: f/8 ½

Scene No. 6

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/5.6 ½ with 85N9 filter
Lighting White skin tone: f/5.6 ⅔, Asian skin tone: f/5.6 ⅔, White shirt stripe: f/8, Silver dress highlight: f/8 ⅔

Scene No. 7

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 25mm Master Prime, f/5.6 with 85N9 filter
Lighting Blond girl skin tone: f/5.6

Scene No. 8

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 25mm Master Prime, f/5.6 with 85N9 filter
Lighting Black skin tone: f/4 ⅓, Black skin tone (shadow area under hat): f/2.8 ⅔

Scene No. 9

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/8 ½ with 85N9 filter
Lighting Skin tone: f/8, Shadow side neck area: f/5.6, Dry lake bed ground: f11 ⅔, Dry lake bed shadow area: f/5.6

Scene No. 10

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 4:1 zoom at 17mm, f/4 with 85N9 and 138 Pola filters
Lighting Sky: f/11 ½, Dry lake bed: f/16, Car middle grey door: f/8 ½, Car bright metal trunk/hood: f22 ⅓, Shadow under car: f/4, Black tire rubber: f/2 ⅓, Grey Driver jumpsuit: f/5.6 ½

Scene No. 11

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 50mm Master Prime, f/5.6/ ⅔ with 85N9 filter
Lighting Face shadow: f/4 ⅓, Face highlight: f/11, Helmet highlight: f/32, Helmet shadow: f/8 ⅔, Jumpsuit highlight: f/8 ⅔, Jumpsuit shadow: f/5.6 ⅓

Scene No. 12

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 12:1 zoom at 40mm, f/11 ½ with 85N3 and 138 Pola filters
Lighting Dry lake bed: f/16 ½, Sky: f/22 ½, Mountain shadow: f/8 ⅔

Scene No. 13

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 12:1 zoom at 40mm, f/11 ½ with 85N3 and 138 Pola filters
Lighting Dry lake bed: f/16 ½, Sky: f/22 ½, Mountain shadow: f/8 ⅔

Scene No. 14

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435
Lens Angenieux 12:1 zoom at 75mm, f/11 ½ with 85N3 and 138 Pola filters
Lighting 4400 K in sun, 8550 K in shadow area, Ground: f/16, Car hood: f/8 ⅔, Mountain shadow: f/8 ½

Scene No. 15

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/5.6 with 85N3 filter
Lighting Dashboard: f/4, Dash highlight: f/11, Sky seen through windshield: f/11

Scene No. 16

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435 — Crane shot
Lens Angenieux 4:1 zoom, f/8 ½ with 85N9 filter
Lighting Skin tones: f/8, Black skin tone: f/5.6, Silver dress midtone: f/8 ⅓, Silver dress highlight: f/16, Ground: f/11 ⅓

Scene No. 17

Film 35mm Vivid 160 at 160 ISO
Camera Arri 435 — Dolly shot
Lens Angenieux 4:1 zoom, f/5.6 ½ with 85N3 and 138 Pola
Lighting Car midtone door: f/11 ½, Car hood shadow: f/8, White skin tone shadow: f/4, White skin tone highlight: f/8, Helmet shadow: f/5.6 ⅓, Helmet highlight: f/8 ⅔

Scene No. 18

Film Super 16mm Vivid 160 at 160 ISO
Camera Arri 416 handheld
Lens Zeiss 25mm Master Prime, f/5.6 with 85N9 filter, 36 FPS
Lighting White skin tone highlight: f/5.6 ½, White skin tone shadow: f/4 ½, Black skin tone highlight: f/5.6, Black skin tone shadow: f/2.8 ½, Red jacket: f/2.8, Blue shirt: f/2 ⅔

Scene No. 19

Film 35mm Vivid 160 at 160 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/5.6 with 85N9, 36 FPS
Lighting White skin tone highlight: f/5.6 ½, White skin tone shadow: f/4 ½, Black skin tone highlight: f/5.6, Black skin tone shadow: f/2.8 ½, Red jacket: f/2.8, Blue shirt: f/2 ⅔

Scene No. 20

Film 35mm Vivid 500 at 500 ISO
Camera Arri 435
Lens Angenieux 4:1 zoom, f/5.6, No Filters
Lighting Ground: f/11, Sky: f/22, Fire: f/64, Logs: f/11, Grey jumpsuit: f/5.6 ½, Dancer faces: f/8 ½

Scene No. 21

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2.8 ½, No Filters
Lighting 7550 K ambient, 2580 K on face, Driver’s face, highlight: f/4 ⅓, Driver’s face, shadow: f/2 ⅔, White painted face: f/4, Black painted face: f/2, Woman face: f/2.8, Orange shirt dancer: f/2.8, Sky: f/8

Scene No. 22

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2 ½, No Filters
Lighting Dancer face: f/2 ½, Sky: f/5.6 ⅓, Mountain: f/1 ⅓, Car trunk: f/1.4, Car taillights: f/16

Scene No. 23

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2.8 ⅓, No Filters
Lighting 2390 K, Asian girl, face: f/2.8, Blond girl, face: f/2.8 ⅓

Scene No. 24

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235
Lens Zeiss 35mm Master Prime, f/2 ½, No Filters, 32 FPS
Lighting 2780 K on face through glass, Girls face highlight: f/2.8, Girls face shadow: f/2, Fire reflection on trailer wall: f/16, Trailer shadow: f/2

Scene No. 25

Film 35mm Vivid 500 at 500 ISO
Camera Arri 435 — Crane shot
Lens Angenieux 4:1 zoom at 17mm, f/2.8, No Filters
Lighting Midtone trailer: f/4, Highlight trailer door: f/5.6, Fire: f/64, Ground near fire: f/5.6, Ground near trailer: f/0.33, Silver dress shadow: f/0.7, Silver dress highlight: f/2, Native dancers faces: f/4

Scene No. 26

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/4, No Filters, 40 FPS
Lighting Ground: f/5.6, Goggles: f/2, Girl’s hand: f/2 ⅔

Scene No. 27

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2.8, No Filters
Lighting Skin tone: f/4 ⅓, Hair: f/2

Scene No. 28A

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2 ½, No Filters, 40 FPS
Lighting Native American dancers faces: f/1.4 ½, White face paint highlights: f/2.8 ½, Beaded clothing: f/4 ⅓, Girl’s red jacket: f/4 ⅓

Scene No. 28B

Film Super 16mm Vivid 500 at 500 ISO
Camera Arri 416 handheld
Lens Zeiss 25mm Master Prime, f/2 ½, No Filters, 40 FPS
Lighting Native American dancers faces: f/1.4 ½, White face paint highlights: f/2.8 ½, Beaded clothing: f/4 ⅓, Girl’s red jacket: f/4 ⅓

Scene No. 29A

Film 35mm Vivid 500 at 500 ISO
Camera Arri 235 handheld
Lens Zeiss 35mm Master Prime, f/2 ½, No Filters, 40 FPS
Lighting Native American dancers faces: f/1.4 ½, White face paint highlights: f/2.8 ½, Beaded clothing: f/4 ⅓, Girl’s red jacket: f/4 ⅓

Scene No. 29B

Film Super 16mm Vivid 500 at 500 ISO
Camera Arri 416 handheld
Lens Zeiss 25mm Master Prime, f/2 ½, No Filters, 40 FPS
Lighting Native American dancers faces: f/1.4 ½, White face paint highlights: f/2.8 ½, Beaded clothing: f/4 ⅓, Girl’s red jacket: f/4 ⅓
PDF Scene Guide (PDF: 564KB)
Vivid 250D & 500 Demonstration Film

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Products

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.

ETERNA Vivid 160

A dramatic new palette for motion pictures or TV. High color saturation, high contrast and exceptional image sharpness.

Motion Picture Films