![]() Because RealGrain enables you to automatically adjust the grain size based on the physical image dimensions, it can dynamically render accurate grain. We hope you find these both useful and inspiring. RealGrain features versatile methods for simulating the grain patterns, the color and the tonal response of different films and different scan resolutions to convey a truly film-like image effect. My aim is to have presets that look just real, well-scanned film, but can also be dialled back to add a subtle bit of mojo or cranked up to get a really stylised, over-the-top grade. I would do it all in photoshop do it like the photo taking and development. ![]() Presets are work tools too, of course, so we always make sure they get subtle enough to use for almost anything (though with the option of some wild, dirty looks when you want em). Kodak made a film with its own unique processing that was a pain to do, read up on the steps. My panel of darkroom experts also analyzed RealGrain output. And, like Exposure, these presets will be everything most people need. For nearly 20 years, Kodachrome was the go-to color format for film. It wasn’t until the following year that it was available in 8mm movie format, and ultimately 35mm and 828 format for still cameras. The last roll of Kodachrome was processed one year before VSCO started as a company, the blog reads. When Kodachrome first launched in 1935 it was first sold as a 16mm movie format. But the major challenge was ahead of them even before they started. We can’t promise it’s perfect (emulating an un-developable film from old slides is like trying to figure out the anatomy of a cow with only a hamburger for reference), but we really do feel like it gets closer to that ‘Kodachrome look’ than anything else in the digital realm. RealGrain includes an assortment of black and white and color presets that’s similar to Exposure’s. In a recent blog post, VSCO wrote about the process that led to recreating the look of the iconic film we all know and love. Set during the final days of the admired photo development system known as Kodachrome, a father and son hit the road in order to reach the Kansas photo lab before it closes its doors for good. From the iconic colours of the 1940s A.S.A 10 emulsion to the clean, bright Kodachrome 25 and 64 looks that defined the 1960s onwards, I’ve tried to capture the spirit of one of the world’s most beloved – and dearly missed – colour films. Answer: Background I cut my eye teeth, photographically speaking, on Kodachrome film. With Ed Harris, Jason Sudeikis, Elizabeth Olsen, Bruce Greenwood. A comprehensive, versatile collection for Lightroom and ACR featuring 27 presets (all with both clean and analog varieties) and 9 creative profiles, covering 3 classic Kodachrome emulsions.
0 Comments
Leave a Reply. |