This project is about reproducing characteristics that I personally associate with film aesthetics. I have therefore dealt intensively with the emulation of film stock and decided to built two film stocks of my own.

In addition, the film aesthetic does not end with matching colors. I’m interested in lens flaws like chromatic aberration, lens distortion, petzval field curvature, and so on. Furthermore, I’m also interested in recreating special “sharpness aesthetics” and other texture elements like Halation, Flicker, Gate Weave and Film Damage.

I will also show you some techniques on how to achieve a higher “color density”. For film print emulation, I’ve created some PowerGrades that will teach you how to be more flexible with Print Film Emulation LUTs from DaVInci Resolve and customize them to your own preferences. Additionally, I designed some dirty mattes and created digital sprocket holes for an overscan look to top it all off.

Have fun scrolling.

KD 5213

KD 5213′ LUT: Crafted with inspiration from ‘KODAK VISION3 200T Color Negative Film 5213’. No official association with Kodak.
The LUT expects “Arri Alexa / Arri LogC” (Color Space / Gamma) as input signal and are designed to work with DaVinci Resolve’s Rec709 Print Film Emulation LUTs.

KD 2254 KEM

The “KD 2254 KEM” LUT is inspired and designed by the look of the “FotoKem’s SHIFTai” project. No official association with FotoKem. The LUT expects “Arri Alexa / Arri LogC” (Color Space / Gamma) as input signal and are designed to work with DaVinci Resolve’s Rec709 Print Film Emulation LUTs.

MONOMOD 2383 A

The “MONOMOD 2383 A” LUT is designed after “KODAK VISION Color Print Film 2383” with included neg. Film and a Film Matrix. The Final Print is a modified version of the Kodak 2383 LUT by DaVinci Resolve.

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