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


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.





down your computer. Along with Bloom, Halation and Gate Weave, Film Grain may be added later.

select any of the camera profiles since none of them offer Rec.2020 ST 2084 as an option.

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.


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
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?
https://daejeonchronicles.com/2021/01/29/sony-a7s-iii-hdr-10-color-accuracy/
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.