![]() The new Ektar 1000 presets for Lightroom and Capture one is a great recipe alongside Natura 1600 The future of making these presets more True-Film. The result of these true-film ideas is film looks that are true to the film as much as we are possible but that also can be manualized to your needs and still have natural real-world feelings contrast and details. So you can push op the intensity or add a mod like the Push contrast mod that mimics how film contracts increase when you push in the darkroom. real photos are becoming more valuable than ever. In an AI world, professional photographers need to take away the disbelief people have started feeling. Vision 250 Cinema film preset is warm and versatile. They are over-edited to try and please a before-after sample and make it look intense. I think that’s why many film tools don’t look like the films. This is because we’ve been conditioned by digital to over edit and it makes photos that seem fake and unnatural. When people first try film presets sometimes they think it’s not enough of a change. From giant movie exposition to over-saturated photos. I’ve made videos about basing edits with film presets and how it stops you from pushing sliders too far. It’s not that these are not good products, it’s that getting the film right is that hard, and in FIlmist it’s the entire focus. ![]() Sometimes I doubt myself and then I compare it to other products and presets to create a film that looks digital and realizes it’s working. I spend hours adjusting curves by one point and then another. But getting a perfect film skin tone is super hard. You would think with the endless digital tools in Lightroom Capture etc that nailing out is easy. This is tough because this film is all about skin tones. For example the new Gen2 Porta 400 Film preset.
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