Kodak has made waves in the film industry once again with the introduction of a new film stock, VERITA 200D, which was specifically designed in collaboration with “Euphoria” cinematographer Marcell Rév. This new film stock will be available to the public after being used for the highly anticipated Season 3 of the hit HBO show, premiering this Sunday. It follows the return of Kodak’s iconic Ektachrome film stock for the previous season, and it shows Kodak’s continued dedication to meeting the needs of modern filmmakers who crave that classic, cinematic look.
The VERITA 200D film is a medium-speed, daylight-balanced stock, and its distinctive features are being promoted as offering a “classically cinematic” aesthetic. Kodak has designed this stock to produce rich, warm skin tones and detailed highlights, unlike the sharp, clean look provided by their popular VISION3 stocks. VERITA is intended to evoke the characteristics of older film stocks, giving cinematographers a tool that closely mirrors the visual qualities of films shot in decades past. This makes it an attractive option for filmmakers who want to achieve a vintage, timeless look while working with modern technology.
The new film stock’s rich dynamic range, high color saturation, and deep blacks are some of the key attributes that differentiate it from Kodak’s newer VISION3 color negative films. The classic film quality achieved by VERITA is not as pristine or hyper-realistic as some of the more advanced stocks on the market today, but that is precisely the point. Kodak and Rév worked closely together to create a product that would align with the creative vision for “Euphoria” Season 3. As creator and director Sam Levinson shared in an interview, the goal was to make the new season look “a little bit more classical” and to evoke the essence of old Hollywood films, which is why they opted for a film stock that provides a softer, more nostalgic feel.
The VERITA 200D’s development story is an interesting one. Kodak’s Vanessa Bendetti, who serves as Vice President and head of motion pictures, shared that the discussions about creating this film stock began over three years ago. During this time, Rév and Levinson expressed a desire to make the show feel more grounded in classical cinema, something that could not be achieved with the clean, high-definition look that digital filmmaking often provides. Kodak has been in the film industry for decades, but filmmakers are increasingly searching for ways to break free from the “hyper-realism” that digital technology often produces. As Bendetti explained, the new generation of filmmakers wants something different from what digital offers, and they are turning to older film stocks to achieve this distinct look.
Cinematographers have been vocal about their frustration with the current trend of film stocks becoming “too good, too clean” in recent years. Many believe that the dynamic range and color accuracy of modern film stocks have reached a point where they no longer convey the character and texture of older films. To remedy this, filmmakers have been experimenting with techniques like underexposing, pushing, and flashing to achieve a look that evokes the imperfections of older film stocks. Kodak’s VERITA 200D was designed to address these concerns by offering a film stock with a more limited dynamic range while still delivering exceptional color rendition and deep blacks.
Bendetti revealed that Kodak’s team received frequent requests from filmmakers asking for the return of older stocks, such as the EXR films from the 1970s, or the early VISION stocks that were popular in the 1980s and 1990s. However, bringing these older stocks back wasn’t an easy task, as the materials used in those formulations are no longer available. Instead, Kodak’s team had to completely reinvent these stocks, using their decades of expertise in film design to develop something that could replicate the look and feel of those bygone eras.
The partnership between Kodak and Marcell Rév is a prime example of the company’s commitment to evolving film technology while staying true to the timeless qualities that filmmakers value. Kodak is not only looking to revive older film stocks but also to expand their product line to offer a wider range of options for cinematographers. Bendetti mentioned that VERITA 200D was just the beginning and that the company is looking to develop more film stocks for filmmakers who want alternatives to the VISION3 range. This speaks to Kodak’s ongoing dedication to meeting the needs of the modern filmmaking community while still honoring the legacy of traditional celluloid.
Since its debut on “Euphoria,” VERITA 200D has already been employed on a number of other projects. Cinematographer Patrick Scola used the film stock on “The Death of Robin Hood,” an upcoming release from A24, while the team behind the film “The Brutalist” also tested it for their ad campaign for the French wheat beer 1664, starring Robert Pattinson. Kodak has even showcased some of the footage shot with VERITA on their social media channels, including shots from “Euphoria” Season 3.
Kodak’s introduction of VERITA 200D is a clear statement about the ongoing relevance and importance of film in the world of cinema. By creating a product that speaks to the desires of filmmakers who want to capture the essence of classical cinema, Kodak is ensuring that the magic of film continues to thrive in an increasingly digital world. For those who want to achieve a more nostalgic, vintage aesthetic in their projects, VERITA 200D offers a powerful new tool for capturing stunning, timeless images.
