![]() Particularly interesting to us was his impression of the relative difference between the Kodak emulsions.įrankly, it's impossible to test this sort of thing. We asked Tom Abbott, a former Kodak research scientist, to sit down with us and informally review the Kodak emulsions for their color fidelity and grain characteristics. And by rendering a pristine digital image in the contrast, saturation, color and grain characteristics of one emulsion or another, you quickly get a different look, a different feel. Film is the grandfather of all presets.įilm has, if nothing else, personality. The renderings are, in fact, quite detailed as our rollovers below show.ĭxO told us the company was surprised to find FilmPack devotees like the program for "its creative capability." After a few minutes with it, we could see why. There's also a navigator window you can drag around the image.Ī 100 percent view is particularly interesting in FilmPack 3 because it shows you the distinctive grain patterns of the various emulsions. You can change the magnification and use the Hand tool to move around the image, which you can quickly take to full screen or 100 percent views. A single image view which you can toggle, a split image view and a double image view. And, despite DxO's exhaustive efforts to eliminate it in Optics Pro, you can now add vignetting to your image, too. You can, for example, remove noise before you apply grain, improving the results. Which is a bit like creating your own film.īut it only takes a second to realize how powerful it is, too. If you want to save the result for another day, you can save it as a preset. Or you can show the controls, pick a rendering and fine tune it with sliders. And certainly beats the pantaloons off buying rolls of the stuff to see what it looks like. If you elect to Hide the controls, you can just sample the various options displayed in the filmstrip at the bottom of the screen. However you've launched FilmPack 3, the interface is the same. In Photoshop, Lightroom or Aperture, you open an image first and then call FilmPack 3 to edit it.FilmPack 3 is built into Optics Pro, so you can access it from the menu system while working on an image.As a standalone application, you merely have to launch FilmPack 3 and open a JPEG image.There are several ways to tap into the magic of FilmPack 3: Creative Vignetting: Intensity, Midpoint, Roundness, Transition.Film Grain: Film rendering popup, Intensity, Size.Channel Mixer: Red, Yellow, Green, Cyan, Blue, Magenta. ![]() Basic Settings: Contrast, Saturation, Exposure.Toning: Toning (Gold, Selenium, Sepia, etc.), Intensity.Tonality: Film rendering popup, Intensity.You can save your settings as a preset from the little gear icon menu. There are both Color and Black and White Control panels. You can also display just the Luminance channel. The user interface includes a number of controls you can fiddle with to fine tune the effect or even radically alter it.Īt the top is a histogram, which you can configure to display all the RGB channels at once or individually. Rollei: IR 400, Retro 100 Tonal, Retor 80s, Ortho 25.Kodak: BW 400 CN, HIE (High Speed Infrared), Kodak HIE filtered (High Speed Infrared), T-Max 100/400/3200, Tri-X 400.The Black and White emulsions (with a few infrared) include: Fuji: Superia Reala 100, Superia 200, Superia X-Tra 800, Superia HG 1600,.Generic Kodak: Ektachrome 100 VS, Kodachrome 64. ![]()
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