Kodak Vision3 200T

Vision3 200T sits inside the four-stock Vision3 lineup: faster than 50D, slower than 250D and 500T, and tungsten balanced for interior lighting. Code 5213 in 35mm, 7213 in 16mm. Cinematographers reach for it when they have enough artificial light to shoot at ISO 200 but not enough to warrant the grain penalty of 500T.

The tungsten balance matters practically. Most studio lighting, practical tungsten bulbs, and older HMI fixtures run between 3200K and 3400K. Vision3 200T is balanced for 3200K. Under those conditions the color rendition is accurate without filtration. Under daylight or modern LED fixtures the shift is significant and requires correction either on set or in post.

For still photographers doing ECN-2 work, 200T is the indoor-daylight balance companion to 50D. Where 50D is your exterior stock, 200T handles interiors lit conventionally. The grain is finer than 500T at the cost of two and a third stops of speed. That trade makes sense in well-controlled studio environments and less sense on location where you might need every stop.

The halation control is the same across all Vision3 stocks: the remjet backing on cinema rolls handles it cleanly. CineStill does not make a 200T equivalent because removing the remjet and packaging it for C-41 would eat into the market position of 800T. If you want Vision3 200T in a still camera, you need a film canister, ECN-2 access, and willingness to load manually.

The reciprocity exponent is 1.0. Zone Light Meter applies the correction past one second with no additional factor, the same as with 50D and 250D. Vision3 stocks across the board hold the linear reciprocity relationship better than any still-film emulsion in current production.