Kodak's Verita 200D, created with Marcell Rév and Sam Levinson, brings a warmer, classical film look to modern productions while entering commercial availability
The motion picture world has a new option for creators seeking a less clinical cinematic texture: VERITA 200D. Developed in close collaboration with Marcell Rév and Sam Levinson, the stock was crafted to support the visual ambitions of Euphoria Season 3 and is now being offered commercially. Available in 65mm, 35mm, and 16mm formats, the new negative film promises a distinct look that leans into density and saturated color while fitting contemporary production workflows.
The series that helped launch the stock premiered on April 12, 2026, and the collaboration exposed more than one million feet of film during production, with both 35mm and 65mm used extensively. Kodak positioned the release to coincide with the show’s rollout and has already allowed selective trade-testing across commercials and feature projects—signaling a deliberate, filmmaker-focused commercialization strategy.
VERITA 200D is described by Kodak as a medium-speed, daylight-balanced color negative film stock engineered for a more classical photographic response. The company highlights features such as detailed highlights, high color saturation, deep blacks, and warm, natural skin tones. Compared with Kodak’s flagship VISION3 line, VERITA intentionally offers a shorter but richer dynamic range to emulate the density and tonal behavior associated with older film stocks rather than the ultra-clean reproduction that newer emulsions produce.
The genesis of VERITA began as conversations between Kodak and the creative team on Euphoria. Cinematographer Marcell Rév worked closely with Kodak’s film design specialists to iterate on emulsions until they reached a curve and color response that matched the show’s desired aesthetic. Kodak’s motion picture leadership describes those discussions as part of a broader trend: many cinematographers are seeking alternatives to extremely neutral and broad-latitude stocks to better distinguish celluloid from digital capture.
While the aim was to recreate an older, more classical look, the technical team balanced that goal against modern production needs. The finalized structure needed to perform well in standard lab processes and grading workflows, which meant reinventing formulations rather than simply reviving retired materials. The production’s use of significant volumes of 65mm also marked one of the few television shoots to embrace large-format celluloid at scale, underscoring the stock’s practical suitability for ambitious productions.
Before its commercial announcement, VERITA was trialed on a range of projects beyond Euphoria. Notably, A24’s upcoming film The Death of Robin Hood, lensed by Pat Scola, used the stock, and a number of commercials and music films also served as testbeds. Kodak executives have taken steps to engage cinematographers directly—bringing samples to industry gatherings and soliciting feedback—indicating a strategic effort to broaden the company’s motion picture palette.
Many cinematographers historically attempted to emulate older film looks by under-exposing, pushing, or using imperfect glass; with VERITA, Kodak sought to embed those desirable aesthetic traits into a new emulsion. While VISION3 prioritizes wide latitude and pristine detail, VERITA favors a denser shadow and highlight rendering and richer midtones for a feel closer to classic color films. Because original chemical components from earlier decades are no longer available, Kodak’s team rebuilt the desired characteristics using modern materials and processing compatibility.
As a specialty motion picture stock, VERITA 200D is available by request through a Kodak sales representative, and Kodak provides additional information and resources on its website for labs and productions considering the stock. For filmmakers chasing a warmer, filmic identity in a digital-dominant era, VERITA represents a purpose-built option that bridges nostalgic aesthetics with the demands of contemporary production schedules and postproduction chains.