Dehancer Print Film Profiles

Part I: The State of HDR Film Emulation LUTs

Part II: Moving Beyond Traditional Film Print Emulation

Part III: CineD Review of Dehancer Pro

Part IV: Dehancer Print Film Profiles

Part V: Negative and Print Clarified

What’s new in Dehancer 5.0.0?

DEHANCER PRO

* Print profiles with Target White setting
* Kodak Vision 2383 Color Print Film profile
* Kodak Professional Endura Glossy Color paper profile
* Cineon Film Log support
* DVR WG/Rec.709 source input
* Source white balance (Temperature and Tint compensation)
* Optimizations

DEHANCER LITE

* Source white balance (Temperature and Tint compensation)
* Optimizations

What’s new in Dehancer 5.0.0 Beta 10?

DEHANCER PRO

* New print media engine
* Luts export fixed
* Colors inversion bug in ACES fixed
* Cineon Film Log input/print black screen is not reproducible
* Optimizations

Before/after Konica Centuria 100 DNP + Kodak 2383 Print Film Emulation

Of all the improvements ushered in with the Dehancer OFX 5.0.0 update, none are more exciting than the ability to “print” on the print film Kodak Vision 2383 profile. With this update, Dehancer also acquires Printer Lights functionality using the Color Head for the very first time. In this tutorial, we demonstrate how to rapidly balance color with any combination of film negative stock and Kodak 2383. If you first follow these easy steps to enable previewing HDR content directly via the Resolve viewer, these operations can be carried out directly on a Mac, followed by finishing on an external HDR display. The screen grabs are a dim representation of what we’re seeing on our MacBook Pro. It goes without saying that with DaVinci Resolve and Dehancer, there are myriad ways to accomplish the same goal and that this workflow just provides a starting point.

Prior to working with Dehancer, you’ll want to color correct the image.

S-Log3 should be ETTR and the curve in DaVinci Resolve should look something like this.

Color correction using the X-Rite ColorChecker, Hue vs. Hue and the vectorscope.

Confirm that skin tones fall on the skin tone line in the vectorscope.

Prior to making selections in Dehancer, you might want to disable Film Grain first to prevent bogging
down your computer. Along with Bloom, Halation and Gate Weave, Film Grain may be added later.

The first step is to select DVR WG/Intermediate as the source in the plugin. Do not
select any of the camera profiles since none of them offer Rec.2020 ST 2084 as an option.

On the color management page, for project settings, choose DaVinci YRGB Color Managed, for Color Processing
Mode select HDR DaVinci Wide Gamut Intermediate and Output Color Space Rec.2020, ST2084 1000 nits.

On the timeline of the color page, right click on the clips and for input color space choose ‘Same as Timeline’. RAW files will not have color space input option.

Adjustments can be as simple or as complex as you like. For this particular
clip, we just reduced exposure and saturation, then white balanced using the Color Head.

Applying a film stock and print film profile like Kodak Vision 2383 is the easiest way to go from a digital looking image to a film look.

Part I: The State of HDR Film Emulation LUTs

Part II: Moving Beyond Traditional Film Print Emulation

Part III: CineD Review of Dehancer Pro

Part IV: Dehancer Print Film Profiles

Part V: Negative and Print Clarified

7 thoughts on “Dehancer Print Film Profiles”

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Den says:

January 16, 2022 at 5:33 pm

If you’re going to grade a colour look – is there any point in a workflow that involves a colour calibration stage of a colourchecker? I think they are more useful if you’re trying to match different cameras. I mean white balance and exposure sure, but the colour side seems rather redundant unless you’re going to stick with the colours it sets, otherwise you’re just undoing it when you start to grade?
How ‘off’ are the colours in reality in your experience on the A7SIII?

1. jonpais says:
  
  January 16, 2022 at 5:40 pm
  
  https://daejeonchronicles.com/2021/01/29/sony-a7s-iii-hdr-10-color-accuracy/
  
Val says:

January 24, 2022 at 7:45 pm

I recently watched “Twist à Bamako” at the cinema, the shots inside where great (warm, orange, green, etc).
The texture on the skin was also great.
Your post with a black person makes me think about that.