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To be transparent I tested Nitrate on a laptop with an Intel i7 CPU and an Nvidia RTX 2080 GPU, so that definitely helps.Īt first, I struggled to see where I would fit FilmConvert’s Nitrate plugin into my normal workflow so I could color correct my own footage and add a grade later. Even with Sony a7 III UHD footage, Premiere was able to keep up with Lumetri Color layered underneath the FilmConvert Nitrate plugin. Nitrate works pretty well inside of Premiere, and surprisingly plays back fluidly - this is probably thanks to its GPU acceleration.
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I used Nitrate strictly in Premiere Pro because the OFX version (specifically for Resolve) wasn’t available at the time of this review.
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The Velvia is especially suited to scenery and nature photography as well as other subjects that require precisely modulated vibrant color reproduction.”įilmConvert’s website offers a full list of the 19 film stocks, as well as examples and detailed descriptions of each film stock. Velvia is a daylight-balanced color reversal film that provides brighter ultra-high-saturation color reproduction.
“FJ Velvia 100 is based on the Fujichrome Velvia 100 photographic film stock. One of my favorite emulations in Nitrate - “Fj Velvia 100” or Fujichrome Velvia 100 - is described on FilmConvert’s website: You’ll also see reduced grain in shadows, so you can push the boundaries of underexposure and still get outstanding results.” “Vision3 250D Film offers outstanding performance in the extremes of exposure - including increased highlight latitude, so you can move faster on the set and pull more detail out of the highlights in post. For instance, the “Kodak 5207 Vis3” is described on Kodak’s website in more detail: From the “KD 5207 Vis3” to the “Plrd 600,” there are multiple brands and film stocks offered. Of the 19 film emulation options to choose from, there are many unique and great-looking presets. In the same window you can adjust the grain size, softness, strength and saturation via sliders. If you want your highlights to have more grain response, just point the Grain Response curve higher up. Not only can you select between 8mm and 35mm grain sizes (with many more in between) but you can adjust the application of that grain from shadows to highlights. The Grain Response curve takes adding grain to your footage up a notch. The Color Wheels have been redesigned, a new color tint slider has been added to quickly remove any green or magenta color cast, a new Color Curve control has been added, and there is now a Grain Response curve. In additional updates, FilmConvert has overhauled its GUI to be more natural and fluid. Simply, it means that the plugin will work more naturally with your footage. This means your highlights and shadows are not being heavily compressed into an sRGB color space, which allows you to fine-tune your shadows and highlights without losing as much detail. This is what FilmConvert is solving with its latest offering, Nitrate.įilmConvert’s Nitrate works in a Cineon-Log processing pipeline for its emulation, as well as a full Log image processing pipeline. That blown-out sky might be able to be recovered if shot in a Log colorspace. But if you color before a LUT (think Log footage), you can typically recover a lot of information as long as your shot was recorded properly. Think of using a LUT and trying to adjust the highlights and shadows after the LUT typically, you will have a hard time getting any detail back, losing dynamic range even if your footage was shot Log. I imagine FilmConvert Pro was introduced at a time when a lot of users shot with cameras like Canon 5D or other sRGB cameras that weren’t shooting in a Log color space. This means sometimes blowing out your highlights and muddying your shadows with little ability to recover any details.
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While you download camera-specific “packs” that apply the film emulation - custom-made based on your sensor and color space - you are still locked into an sRGB pipeline, with little wiggle room.
That means FilmConvert Pro adjusts any color effects after your “base” grade is locked in while living in an sRGB world. The original FilmConvert Pro plugin works great, but it adjusts your image through an sRGB pipeline. Currently, Nitrate works with Premiere and After Effects, with an OFX version for Resolve. Recently, FilmConvert expanded its lineup with the introduction of Nitrate, a film emulation plugin that can take Log-based video and transform it into full color corrected media with a natural grain similar to that of commonly loved film stocks. The original plugin, known as FilmConvert Pro, works with Adobe’s Premiere and After Effects, Avid Media Composer and as an OFX plugin for apps like Blackmagic’s DaVinci Resolve. One company that has had grassroots success with digital film stock emulation is FilmConvert.