Fujifilm Eterna 250T 8563

Same caveat as the 250D entry, in reverse. This slug is 8563, but Fujifilm's catalog assigns 8563 to Eterna 250D (daylight). Eterna 250T (tungsten) is stock number 8553/8653. The body that follows describes the tungsten-balanced 250T because that is what the slug name asks for. A can labeled 8563 in your freezer is the daylight version.

Eterna 250T arrived in 2006 as Fujifilm's mid-speed tungsten cinema negative, balanced for 3200K and rated at ISO 250 under tungsten. Pop an 85 conversion filter on it for daylight and you lose two-thirds of a stop, putting it at ISO 160 in sun. Same Super Nano Structure grain tech as the rest of the late Eterna line. Same March 31, 2013 production death alongside everything else Fujifilm made for cinema.

Eterna 250T credits skew toward intimate features rather than blockbusters. Sean Bobbitt shot Steve McQueen's Hunger (2008) on a mix of Eterna stocks including 8553. Yorick Le Saux ran it on Luca Guadagnino's Io sono l'amore (2009). Phedon Papamichael loaded 250T alongside Eterna 500T for the whole of 3:10 to Yuma (2007), and Hoyte van Hoytema folded it into both Let the Right One In (2008) and The Fighter (2010) when he wanted the cooler Fuji palette in the mix.

Next to Kodak Vision3 250T, character is cooler and softer. Tungsten light through this stock looks more like sodium-vapor and incandescent reality and less like the warm-glow cinematic shorthand Vision3 leans into. Some shooters prefer the honesty; others find it clinical. Skin under tungsten reads natural rather than golden.

C-41 cross-processing after remjet removal pushes contrast and saturation hard, closer to bleach-bypass than to clean tungsten. ECN-2 keeps it accurate. Stick to ECN-2 if you want the original look.

Availability is all freezer stock and short-ends. No new manufacture since 2013.

Reciprocity exponent is 1.10. Zone Light Meter applies the correction past one second. A metered 15-second exposure climbs to roughly 20 seconds at the negative. Easy to dial in for available-light tungsten interiors, where this film still earns its keep.