BeforeRio 100
Rio 100. The vivid daylight stock: warm, eleven percent more saturation, shadows left alone. Eighteen more looks below, every one on the slider.
A thirty-four LUT catalog built the honest way: characteristic curves and color extracted from the film manufacturers' own datasheets, assembled in an ACES pipeline, and eye-validated on real footage. No invented film data, ever.
Real film stocks are siblings, not costumes: the print carries the punch and the negatives differ in color rendering. Drag each slider against its before and watch the skin, the sky, and the deepest shadows.
BeforeRio 100
Rio 100. The vivid daylight stock: warm, eleven percent more saturation, shadows left alone. Eighteen more looks below, every one on the slider.
Daylight-balanced stocks across three exteriors. Captions describe each look on this footage, measured against its before.
BeforeAthens 50D
Athens 50D. Cool-leaning and vivid: about twenty percent more saturation with clean, bright highlights.
BeforeBarcelona 200
Barcelona 200. Gently warm with an easy saturation lift and relaxed highlights.
BeforeLisbon 200
Lisbon 200. The gold-toned one: the warmest daylight stock here, saturation left untouched.
BeforeVenice 200D
Venice 200D. A soft vivid bump that barely moves the highlights. The quietest daylight look.
BeforeSydney 250D
Sydney 250D. Fifteen percent more saturation at near-neutral warmth. Color without a cast.
BeforeRome 64
Rome 64. A creative look, not an emulation: warm, dense, and punchy through the highlights.
The portrait stocks, one in soft light and one in a dark room.
BeforeParis 400
Paris 400. Warm skin, a generous highlight bloom, and a saturation lift that stays polite.
BeforeKyoto 400
Kyoto 400. Cool-leaning color that protects the highlights. Skin stays honest in hard conditions.
Tungsten-balanced stocks on practicals and dim interiors.
BeforeBerlin 200T
Berlin 200T. The cleanest hand of the tungsten set: tidy shadows, saturation held at neutral.
BeforeShanghai 500T
Shanghai 500T. The big cinema tungsten stock: a cool lean and a strong saturation push in dim light.
BeforeTokyo 500
Tokyo 500. Lifts the shadows and brightens the top end while holding saturation steady.
BeforeHong Kong 800T
Hong Kong 800T. The 500T base with softened blacks and a faint warm bloom. Pair with the halation texture for the full effect.
Six stocks, each printed through the cinema print like a real black and white DI.
BeforeJade 400
Jade 400. Bright and silvery with a big highlight lift.
BeforeSapphire 400
Sapphire 400. The hardest contrast of the set: brilliant whites, committed blacks.
BeforeOnyx 5222
Onyx 5222. The motion picture stock: deep shadows under a luminous top end.
BeforeOpal 125
Opal 125. Warm-paper feel with the biggest highlight lift in the set.
BeforeAmethyst 400
Amethyst 400. The gentle one: holds the mood instead of forcing contrast.
BeforeObsidian 400
Obsidian 400. Classic reportage: crisp whites over fully committed blacks.
Thirteen negatives, eight prints, and thirteen complete tones. The negatives carry the color of the stock, restrained and low-contrast. The prints carry the punch, led by Mediterranean, the warm cinema print every TONE is built on. Any negative under any print is a valid look. Everything is extracted from real manufacturer data, then judged by eye in Resolve before it ships.
Launching on this page when validation is done