The saturation has been brought up to the camera settings area, and we also have a tint parameter too. On our viewing monitor, we have an overlay, (this is turned off and on by selecting or deselecting the OFX overlay), and in the OpenFX panel, we can also see a few adjustments to the layout here as well. Jumping over to Nitrate, we can instantly see the UI has changed. Is this simply because I find better results using filmconvert in this manner, or is it because I feel like filmconvert doesn’t allow me to control my image in the way I’d like to?

Underneath the preliminary film settings, we have color correction and honestly in Resolve, if I’m going to color correct, it’s going to be here over on the primary wheels as it’s not only more proficient, but I don’t enjoy using sliders to dictate color changes.

Now I don’t use FilmConvert for every project, but when I do, I’m only using these tools within the plug-in - basic, concise. Next, the grain slider will dictate how much of the generated grain is included in the image. Some film stocks will have more contrast than others. The curve is essentially a contrast curve that is unique to the film profile you’ve chosen. However, the color slider will also determine how much of the curve is used, whereas the curve will only control the intensity of the curve. We can see that’s been incorporated when I switch size (see video). And beneath that, we have three adjustable parameters for the film profile: the color, the curve, and the grain. The color will control the amount of the color from the film profile that is applied. Meanwhile, 8mm, which is a lot smaller, is going to have less clarity and will also have more grain. So at 35mm full-frame, we’re going to have a crisp image with lots of detail and clarity. So, of course, the larger the celluloid film, the more clarity the image has, it’s why many directors seek to shoot blockbusters on Imax. The s ize is the size of the hypothetical film.

Filmconvert nitrate crack mac