CinePrint35 Film Emulation LUTs
Original price was: $49,00.$19,00Current price is: $19,00.
CinePrint35 Film Emulation LUTs -Included are the 500T, 250D, and 160T film emulation LUTs (at x65 and x33 resolution) with individual versions specifically designed for the color science of the following cameras & log profiles. The emulations are compatible with all standard video editing software that supports LUTs, including Adobe Premiere, Adobe After Effects, Final Cut Pro, Avid Media Composer, Davinci Resolve, and Sony Vegas
Included are the 500T, 250D, and 160T film emulation LUTs (at x65 and x33 resolution) with individual versions specifically designed for the color science of the following cameras & log profiles:
ARRI LogC3 cameras
Apple Log (iPhone)
Sony S-Log3 cameras
Blackmagic Design Film Gen5 cameras
RED IPP2 Log3G10 cameras
RED IPP2 Log3G10 (Komodo tuned)
Fuji F-Log cameras
Fuji F-Log2 cameras
Canon C-Log, C-Log 2, and C-Log 3 cameras
DJI D-Log cameras
Panasonic V-Log cameras
Rec.709 non-log footage
The emulations are compatible with all standard video editing software that supports LUTs, including Adobe Premiere, Adobe After Effects, Final Cut Pro, Avid Media Composer, Davinci Resolve, and Sony Vegas
— SAMPLE IMAGES —
CinePrint35 160T
Photometrically profiled from Fuji Eterna Vivid 160T film stock
Arri Alexa LogC3 footage
CinePrint35 500T
Photometrically profiled from Kodak Vision3 500T film stock
iPhone 15 Apple Log footage
CinePrint35 250D
Photometrically profiled from Kodak Vision3 250D film stock
Sony A7SIII S-Log3 footage
More accurate Kodak 2383 print LOOKS
Kodak 2383 is the only color print film that Kodak still produces. Movie theaters that still project film today are projecting Kodak 2383 prints.
The Kodak 2383 LUT is designed to be applied to Cineon film scans to recreate on a Rec. 709 display what the image will look like once the negative is printed to positive Kodak 2383 stock and projected.
CinePrint35 helps digital footage achieve a more accurate print film look by recreating the density, saturation, and color response of a Cineon negative film scan before outputting to a print film emulation LUT.
WITH CinePrint35
Sony A7SIII S-Log3 footage —> CinePrint35 500T 35mm powergrade (includes 2383 print output)
WITHOUT CinePrint35
Sony A7SIII S-Log3 footage —> CST conversion to Cineon log with basic exposure & saturation adjustments —> Davinci Resolve default Kodak 2383 D55 LUT
It is common for colorists to use the 2383 PFE LUT on log footage from digital cameras in order to get some of the color response of 2383. However, the 2383 LUT expects a film scan input, so unless the digital footage is graded to mimic a film scan, it will produce less desirable results. Notice how in the bottom image the greens are less lively, the skin tones feel plastic, and the highlight roll-off is not as smooth. Meanwhile, the above image yields a more accurate and pleasing result because the footage is prepared to look like a Cineon film scan before being output to a 2383 print.
Rec. 709 vs Film Emulation Comparisons
Blackmagic Pocket 6K Pro BRAW with Rec.709 transform
CinePrint35 160T 35mm
ARRI Alexa LogC3 footage with Rec.709 transform
CinePrint35 160T 35mm
Blackmagic Pocket 6K Pro BRAW with Rec.709 transform
CinePrint35 160T 35mm
Sony FX6 S-Log3 footage with Rec.709 transform
CinePrint35 250D 35mm
Sony A7SIII S-Log3 footage with Rec.709 transform (image cropped to emphasize neon sign)
CinePrint35 500T 16mm (Note the subtractive color response of the edge of gamut, highly saturated, neon red sign)
Sony A7SIII S-Log3 footage with Rec.709 transform
CinePrint35 160T 35mm
Blackmagic Pocket 6K Pro BRAW with Rec.709 transform
CinePrint35 500T 35mm
Node Tree OVERVIEW
500T node tree
160T node tree
250D node tree
Breakdown / Order of Operations
Denoise - Spatial and/or temporal noise reduction is applied to the footage prior to all transforms.
EXP - Pre-emulation exposure is adjusted here with the Offset wheel
WB - Pre-emulation white balance is adjusted here with the Offset wheel
Pre Split - implements pre-emulation RGB curve split toning in the shadows
PRE - Pre-emulation contrast & saturation is adjusted here.
Halation - Halation is added to the footage in linear space so that it reacts accordingly with each stop of dynamic range based on the original light intensity of the scene. Halation threshold, size, and color are all customizable.
Tone - The 1-dimensional RGB tone curves are mapped to have the same response as the original negative
Color - The colors of the digital footage are mapped to match the saturation, hue, and luminance response of the original negative
-Green HL - A curve the removes some of the subtle green tint in the highlights native to certain film stocks
Gate Wv - Gate weave is added to mimic the movement of the negative through the film gate
Grain - Grain is added using Resolve’s Film Grain OFX that has been custom tuned to match the grain quality of the 16mm and 35mm negatives
Sat - Post-emulation grading saturation is adjusted here
Primaries - This is where common grading adjustments occur, like primary wheels & log wheels.
Con - Post-emulation grading contrast is adjusted here
HSV - Saturation is modified in HSV color space, giving a richer, more subtractive saturation response
Look - Built-in primary wheel corrections are implemented here based on the original film scan
Pastel - Modifies contrast & saturation to bring out a more pastel palette
Shad Tone - Post-emulation RGB split toning is implemented here, adding tints to the shadows of the image
CineonOut - An output option for gamma corrected Cineon negative scan looks. Uses a CST to go from Cineon film log gamma to Rec. 709.
PrintOut - The primary output option for print film emulation looks. Uses Kodak 2383 by default, but Fujifilm 3513 is also available.
Warm WP - Adds a warmer white point by adjusting curve end points
Dust - An optional dust node using Resolve’s Film Damage OFX. The included customized settings keep the dust minimal and realistic, but can be adjusted to taste.
A more in-depth explanation of the nodes and workflow is included in the User-Guide pdf.
In this case, a revocation can only be made if the buyer has not yet downloaded the files. However, we will consider granting refunds under certain circumstances (e.g. duplicate order, the wrong preset is sent). We will grant refunds at our reasonable price. If the buyer requests a refund and a download has not been performed, we will honor a full refund to the customer.
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Our team is incredibly responsive and takes pride in taking care of our customers. Please feel free to get in touch with us via the contact page or email us directly at [email protected] with any questions or concerns and we’ll be happy to help within 24 hours.
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