As an avid fan of Kodak Vision 3 5219 500T (Tungsten) film, I’ve always enjoyed using it for nighttime photography with my Leica Noctilux 50mm f1. Recently, I had the opportunity to try this film in 120 format, thanks to Reflx Lab I got a chance to try this 500T film in medium format. And I took some test shots with my Rolleiflex 2.8F (Planar).

This particular film is a repackaged Kodak Vision 3 motion picture film derived from IMAX film stock. Interestingly, IMAX film is slightly smaller in the vertical dimension compared to traditional 120 film. As a result, your final images will feature sprocket holes – a unique touch that I find quite appealing. However, if you prefer not to have these sprocket holes, you can easily crop them out in Lightroom.

In terms of the film’s technical aspects, Kodak Vision 3 5219 is a high-speed tungsten-balanced film known for its fine grain structure, excellent tonality, and wide dynamic range. It can be flexibly pushed one or two stops above its normal sensitivity of 500 ISO. Additionally, the film employs Advanced Dye Layering Technology (DLT) to reduce grain appearance in shadows, ensuring cleaner detailing and clarity. As a member of the VISION3 series of motion picture films, this film boasts high archival stability and is well-suited for digital post-production processes. Notably, masterpieces like Christopher Nolan’s Dunkirk were shot using this exact IMAX film format.

When it comes to resolution, Kodak Vision3 films exhibit finer grain when developed in ECN2 chemicals, compared to the best C41 films. In my experience, shooting with this film at box speed (ISO 500) yields optimal results. The film is also versatile enough to be pushed one or two stops. Furthermore, since it is designed for directors to post-edit, the initial look you receive from the lab might appear somewhat pale and less contrasted than other C41 processed films, such as Kodak Ektar or Portra film.