After bringing back its previously discontinued Ektachrome film stock for \u201cEuphoria\u201d Season 2<\/a>, Kodak<\/a> has created an entirely new film stock for Season 3<\/a>. <\/p>\n Today, Kodak is officially making VERITA 200D available to the general public, after collaborating on its creation with \u201cEuphoria<\/a>\u201d cinematographer Marcell R\u00e9v, who used the 35mm and 65mm versions to shoot the upcoming Season 3 premiere set for this Sunday. <\/p>\n The medium-speed, daylight-balanced film stock is being billed as \u201cclassically cinematic,\u201d rendering colors and skin tones in a way that more closely mirrors older film stocks, and differs from the pristine look of Kodak\u2019s flagship VISION3 stock.<\/p>\n <\/a><\/figure>\n<\/div>\n<\/div>\n<\/div>\n <\/a><\/figure>\n<\/div>\n<\/div>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n According to Kodak\u2019s description of its new product, \u201cVERITA 200D delivers detailed highlights, high color saturation, deep blacks, and warm, natural skin tones. Compared with Kodak\u2019s VISION3 color negative films, it features a shorter yet exceptionally rich dynamic range for a more classical cinematic look.\u201d<\/p>\n In an interview about Season 3, creator and director Sam Levison told IndieWire that the film stock aligned with his overall vision for the new season\u2019s look.<\/p>\n \u201cWe wanted to be a little bit more classical,\u201d said Levinson. \u201cWe wanted it to feel a bit more like an old Hollywood film.\u201d<\/p>\n Kodak\u2019s VP and head of motion picture Vanessa Bendetti said conversations with R\u00e9v started over three year ago when the cinematographer first started to describe what he and Levinson were looking for \u2014 and while the specifics were distinct to their vision for \u201cEuphoria,\u201d the conversation itself was similar to many others she\u2019s had with filmmakers.<\/p>\n \u201cAs Kodak has refined its image quality over the years, filmmakers are actually looking to disrupt that at this point because they\u2019re trying to differentiate from digital,\u201d said Bendetti in an interview with IndieWire.<\/p>\n It\u2019s something cinematographers have been complaining about for years: The engineering of the new film stocks has gotten too good, too clean, too realistic in its dynamic range and color rendition. It\u2019s a pristiness that is the opposite of why filmmakers are reaching for celluloid against the perceived hyper-realism of digital cinematography. For decades, cinematographers like Ed Lachman and the late Harris Savides would try to \u201cbeat up\u201d the stocks (under-expose, push, flash frame, use old lenses with aberrations), and work with colorists to get newer film stocks to perform more like film stocks from older eras.<\/p>\n \u201cThat\u2019s the request I get every single day, \u2018Can you bring back older stocks? Because their reference material is the \u201870s, \u201880s, \u201890s, and they\u2019re remembering the look and feel of the EXR films or the early VISION line,\u201d said Bendetti, who went on to explain that simply bringing back old stocks isn\u2019t so simple. \u201cOne of the challenges with doing that is that people don\u2019t understand that the components, the materials that were included in the formulations from those bygone product lines, are not available anymore. So we have to totally reinvent those stocks.\u201d<\/p>\n With VERITA 200D, Kodak\u2019s film design team worked with R\u00e9v to test and refine the new stock to create a new film structure that matched not only the desired look, but was practical and performed in the modern-day workflow. Bendetti said she hoped the creation of VERITA is just the first step in expanding the KODAK product line for filmmakers looking for alternatives to VISION3. Recently, she brought Kodak\u2019s film design team out to the ASC Awards in Los Angeles to hear directly from cinematographers who were passionate on the issue.<\/p>\n Because VERITA originated with Kodak\u2019s collaboration on \u201cEuphoria,\u201d the company has waited to officially announce the new stock until the release of Season 3, but the stock has already been employed on other projects. Cinematographer Patrick Scola used VERITA on \u201cThe Death of Robin Hood,\u201d an upcoming June release from A24 \u2014 and celluloid-faithful duo behind \u201cThe Brutalist,\u201d director Brady Corbet and DP Lol Crawley, took it for a test drive on their ad campaign for the French wheat beer 1664, featuring Robert Pattinson. Later today, check out Kodak\u2019s social media channels to see a brief sizzle reel featuring VERITA shot footage, including shots from the new season of \u201cEuphoria.\u201d<\/p>\n \u201cEuphoria\u201d Season 3 premieres this Sunday, April 12. <\/em><\/p>\n For more information about VERITA 200D, visit Kodak\u2019s website<\/a>. <\/p>\n<\/div>\n![\"Front:](\"https:\/\/www.indiewire.com\/wp-content\/uploads\/2026\/03\/Jury_Duty_Company_Retreat_S1_FG_106_00055618_Still058_3000_eb86de.jpg?w=300&h=168&crop=1\")
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