KODAK VERITA 200D Film Stock Announced: A New Color Negative Born From Euphoria Season 3

Film Stock

by Nino LeitnerApril 13^th, 2026

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Kodak has unveiled VERITA 200D 5206/7206, its first entirely new motion picture color negative film stock in years. Developed in collaboration with Euphoria cinematographer Marcell Rév, HCA, ASC, and showrunner Sam Levinson, the medium-speed daylight-balanced emulsion is available in 65mm, 35mm, and 16mm formats, and promises a deliberately shorter dynamic range for what Kodak calls “classically cinematic” results.

The announcement comes just ahead of the Euphoria Season 3 premiere on April 12 on HBO and HBO Max, and it marks a significant moment for the Rochester-based company. Rather than simply refining the existing VISION3 line, Kodak has gone a step further and created an entirely new product family. VERITA 200D is not a replacement for VISION3; it is positioned as a creative alternative for cinematographers looking for a look that leans closer to the character of older film stocks, with higher color saturation, warmer skin tones, and deep blacks.

How VERITA 200D came to be

The stock’s origin story is tied directly to HBO’s Euphoria. After Season 2 famously brought back discontinued Ektachrome in 35mm for its cross-processed look, Rév and Levinson wanted something different again for Season 3. According to Kodak’s VP and Head of Motion Picture, Vanessa Bendetti, conversations with Rév began more than three years ago. The cinematographer described a desire for a film that recalled the density curves and color rendition of an older era, without sacrificing the practical requirements of a modern production workflow.

Kodak’s film design team worked closely with Rév to test and refine the emulsion, iterating on the film structure until it matched the desired aesthetic while remaining robust enough for high-volume shooting. The result was VERITA 200D, a stock that Rév has praised for its richness, comparing it to the golden age of color film while retaining the latitude of modern negative stocks.

Levinson and Rév went on to expose more than one million feet of VERITA 200D in both 35mm and 65mm formats during the production of Euphoria Season 3, which was shot entirely on Kodak film. Notably, the series is also the first television production to shoot significant volumes of large-format 65mm film, a format typically reserved for high-end theatrical features.

Technical characteristics

VERITA 200D is rated at EI 200 and balanced for 5500K daylight. Kodak recommends it as a daylight stock only, which is worth noting for productions considering it alongside tungsten-balanced options from the VISION3 range.

The stock uses an acetate safety base and is processed in standard ECN-2 chemistry, so existing lab infrastructure can handle it without modification. Reciprocity characteristics are forgiving: no filter corrections or exposure adjustments are needed for exposure times from 1/1000 second to 1 second. At 24fps with a 180-degree shutter, the stock requires 100 footcandles at f/4.

One of its key defining features is a deliberately shorter dynamic range compared to VISION3. Where Kodak’s flagship stocks have been engineered over the years for maximum latitude and neutral rendition, VERITA 200D goes in a different direction. The sensitometric curves show approximately 2.5 stops of shadow latitude below an 18% gray card and at least 3.5 stops above normal exposure for specular highlight detail. That is less forgiving than VISION3, but the trade-off is a more characterful, opinionated image.

The highlight behavior is a signature element. According to Kodak’s technical data, initial scans from VERITA 200D will appear less neutral in the highlights, with a tendency to shift toward magenta. This is by design, a result of the stock’s alternative linear response at higher densities, and it can be adjusted in color grading. That magenta shift is part of what gives the stock its distinctive warmth and depth across a range of skin tones.

Dye Layering Technology and dust reduction

VERITA 200D incorporates Kodak’s proprietary advanced Dye Layering Technology (DLT). It also features the newer anti-halation undercoat design and a process-surviving anti-static backing layer, the same technology Kodak recently introduced across its VISION3 line to replace traditional remjet backing. The anti-stat layer is designed to reduce dust accumulation during handling and scanning, a practical benefit that directly impacts post-production workflows. The measured granularity is described by Kodak as exceptionally low for this type of emulsion.

Post-production considerations

Kodak explicitly positions VERITA 200D for a digital post-production workflow. The stock is designed to be scanned and graded digitally, and the company notes that the magenta highlight shift is an intentional characteristic that colorists can work with or correct depending on the project’s creative direction. For cinematographers and colorists accustomed to the relatively neutral starting point of VISION3 scans, VERITA 200D will require a different approach in the grading suite, one that embraces (or at least accounts for) its inherent color character.

Already in the field

While the official announcement coincides with the Euphoria Season 3 premiere, VERITA 200D has already been selectively trade-tested by cinematographers worldwide over several years. Beyond Euphoria, the stock has been used on numerous commercials and music videos. A24’s upcoming feature The Death of Robin Hood, directed by Michael Sarnoski, starring Hugh Jackman, and lensed by Pat Scola, ASC, was shot on VERITA 200D. Brady Corbet and Oscar-winning cinematographer Lol Crawley (The Brutalist) also tested the stock on an ad campaign for French wheat beer 1664, featuring Robert Pattinson.

The range of productions already using the stock suggests that its appeal extends well beyond the specific look of Euphoria. Bendetti has indicated that she hopes VERITA is just the first step in expanding the Kodak product line for filmmakers looking for alternatives to VISION3, and the company recently brought its film design team to the ASC Awards in Los Angeles to hear directly from cinematographers on the subject.

Availability and formats

VERITA 200D 5206/7206 is available in six standard configurations: 65mm in 152m / 500ft and 305m / 1000ft rolls (minimum order quantity of 16, finish-to-order), 35mm in 122m / 400ft and 305m / 1000ft rolls (MOQ of 1), and 16mm in 30m / 100ft spools and 122m / 400ft rolls (MOQ of 1). Additional formats are available as finish-to-order with a three-week US/Canada delivery time.

As a specialty motion picture stock, VERITA 200D is available by request through a Kodak sales representative. Pricing has not been publicly disclosed.

Context and significance

This release is particularly noteworthy given Kodak’s recent financial challenges. Rather than simply maintaining its existing product lines, the company is actively investing in new emulsion development, a clear signal that it sees a viable future in motion picture film. The fact that the stock was born from a direct creative partnership with working filmmakers, rather than developed in isolation and then marketed to them, speaks to a shift in how Kodak is approaching product development.

For cinematographers who have been push-processing and manipulating VISION3 stocks to escape their “too clean” modern look, something Lol Crawley has spoken about openly, VERITA 200D offers a factory-made alternative. Instead of fighting the stock to achieve character, it is built with that character from the start.

The timing is also notable. With the success of celluloid-shot productions like The Brutalist, Oppenheimer, and the continued commitment of directors like Christopher Nolan, Paul Thomas Anderson, and now Sam Levinson to shooting on film, demand for motion picture stock remains steady among a dedicated segment of the industry. VERITA 200D gives those filmmakers another option in a toolkit that, until now, has been dominated by the VISION3 family for over a decade.

For more information, visit kodak.com/go/verita.

What do you think of Kodak’s decision to develop a new film stock with a deliberately shorter dynamic range? Is this the kind of creative tool that could draw more productions back to celluloid? Don’t hesitate to let us know in the comments below!