Dubblefilm Pacific 200

Pacific 200 is one of the moodier entries in the Dubblefilm catalog. Deep orange shadows, metallic blue across the mid-tones, the kind of color signature you would associate with a polluted sunrise over a harbor. Like the rest of the line since 2019, it is manufactured by Revolog in Vienna, tinted by hand and respooled onto Kodak base stock at ISO 200 for standard C-41.

The pre-exposure technique Revolog uses is essentially a controlled light flash applied to the raw film before it ever sees a camera. That flash carries color information that C-41 development bakes into every frame. Unlike Lomochrome Turquoise, where a custom emulsion does the work, Pacific puts the color shift on top of an otherwise normal Kodak negative. The base film responds to exposure correctly, so metering is straightforward. Rate at box speed in daylight.

The look is unpredictable. Different scenes pick up different amounts of the cast depending on what your own exposure adds. A bright blue sky tends to absorb the metallic blue and read close to neutral; a shaded face picks up the orange shadows hard. Some frames look like a Wong Kar-wai still and some look like a botched scan.

Compared with Pacific's stablemate Stereo, the color is unified across the roll rather than fading across frames. It is closer in feel to Cinestill 800T's tungsten cast in night work, but at half the speed and without the halation bloom.

Available in 35mm 36-exposure cassettes, and Dubblefilm added a 120 version in 2022 for medium-format use. The 120 release is genuinely useful because the tinted look reads beautifully at 6x6 or 6x7.

Reciprocity exponent is 1.2. Zone Light Meter applies the correction past one second. A metered 8-second exposure climbs to about 13 seconds at the negative. With a pre-exposed film, underexposure shifts the look toward muddy rather than moody, so leaning a third of a stop over on long work is the safer call.