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Nostalgia - Film Curves for Lightroom - v40

Mon, 07 May 2012 12:25:35 -0400

Keywords: lightroom plugin Site:Catbear LightroomPlugin Nostalgia mainpage
Master high contrast, low contrast, high key, low key, and everything in between with darkroom controls that harken back to another era.

= Create Thousands of New Film-Look Presets
Simulate traditional chemical films such as Tri-X, Kodachrome, Velvia, FP4 and dozens more, plus many popular papers such as Portra, MCP and Fomaspeed.

== Get Traditional Looks with Traditional Controls

* Choose Filter, Film, and Paper
* Select your Camera and Enlarger Exposures
* Fine tune Dynamic Range and Colour Response
* Precise Mathematic Simulation Algorithms

= Nostalgia at Work

[nlr-bw1.jpg;300;inline]
[nlr-bw2.jpg;300;inline]
[nlr-bw3.jpg;300;inline]
[nlr-bw4.jpg;300;inline]
[nlr-bw5.jpg;300;inline]
[nlr-bw6.jpg;300;inline]

The first three are variations of Kodak Tri-X printed on Fomaspeed paper, the next is Imagelink, and the the highest contrast one which is Kodalith. Original exposure at the end!

And here are the curves.

[nlr-bwcurve1.jpg;100;inline]
[nlr-bwcurve2.jpg;100;inline]
[nlr-bwcurve3.jpg;100;inline]
[nlr-bwcurve4.jpg;100;inline]
[nlr-bwcurve5.jpg;100;inline]

== Wide World of Colour
This series shows six different colour variations, as described below.

[nlr-velvia.jpg;300;inline]
[nlr-kodachrome.jpg;300;inline]

[nlr-polaroid669.jpg;300;inline]
[nlr-portraendura.jpg;300;inline]

[nlr-superia.jpg;300;inline]
[nlr-imagelink.jpg;300;inline]

Velvia, Kodachrome 40, Polaroid 669, Portra on Portra Endura, Superia on Crystal Archive, Imagelink on Prestige (faux colour).

== Paper Variations
This series shows the six variations of Agfa MultiContrast Premium B&W paper, from filter 0 through filter 5. Exposure was made on Ilford FP4 through an orange 16 filter.

[nlr-agfa-0.jpg;300;inline]
[nlr-agfa-1.jpg;300;inline]

[nlr-agfa-2.jpg;300;inline]
[nlr-agfa-3.jpg;300;inline]

[nlr-agfa-4.jpg;300;inline]
[nlr-agfa-5.jpg;300;inline]

Here are the tone curves created for that series:

[nlr-agfatc-0.jpg;100;inline]
[nlr-agfatc-1.jpg;100;inline]
[nlr-agfatc-2.jpg;100;inline]
[nlr-agfatc-3.jpg;100;inline]
[nlr-agfatc-4.jpg;100;inline]
[nlr-agfatc-5.jpg;100;inline]

The strong orange filtration alters the relative brightness of the sky compared to the field, thus compressing

Here's the original exposure.

[nlr-agfaorig.jpg;300;bare]

= So What does Nostalgia DO?

Nostalgia essentially gives Lightroom a bunch of extra Develop mode controls oriented towards creating film-like looks.

Take a look at the interface:

[nlr-ui-v2.jpg;full;bare]

Hard to believe, but take a look at the sample images then download the fully functional unlimited time trial version and see for yourself!

= Trial and Purchasing Information
Nostalgia for Lightroom is offered for immediate download in a try-before-you-buy version so you can get a feel for how it works and what benefits it will bring to your creativity.

The trial is not time limited or watermarked and is completely functional but has a limited number of films and papers to choose from. If you'd like to unlock the entire suite of film and paper types (full list at the bottom of this page), you can purchase a licence key which will unlock your copy of Nostalgia immediately.

Works with Lightroom 3 and 4, on Windows & Mac. *Colour tone curves are only available with Lightroom 4.*

== Download Fully Functional Trial
[http://nexi.com/update/lr/Nostalgia.lrplugin.zip|Get the ZIP file], unzip, then use Lightroom's plug-in manager to install.

== Unlock All Films & Papers - Introductory Price $25 USD
The full suite of films and paper simulations in Nostalgia for Lightroom is available for $25.

[http://nexi.com/software/paid/?srealm=5|**Purchase now**]. (Once there, please create an account to use my shopping cart system. You will never be spammed.)

= How it Works
Nostalgia simulates the exposure of film in a camera, plus optionally a second exposure of film in a darkroom. Much effort is made to simulate this accurately while still providing adjustments we are accustomed to in the digital world.

Please understand that there's a lot of gibberish in this description that, generally, only very old people will understand. Words like "latitude" and "emulsion" and "slides" which date from the age when film cameras roamed the earth, flapping their loaders and consuming disposable income almost as quickly as iTunes.

== A Very Fancy Tone Curve Tool
When you get right down to it, Nostalgia is a very fancy, very complex way of editing Lightroom's Tone Curve. But that's like saying that Led Zeppelin is a very fancy, very complex way of moving a loudspeaker. What we are after, is finesse.

== Step by Step
Nostalgia treats the Tone Curve as the final result of series of mathematical simulations of real-world processes. Here's a description of what is happening under the hood, at each stage:

- Lightroom's internal ProPHOTO RGB colourspace is converted to adjusted linear luminance values, according to the dynamic range of your camera (**Camera Dynamic Range**)
- Camera stock selection and preparation (**Film Stock**)
- Colour filtration applied to luminance data (**Colour Filter**)
- Camera exposure (**Film Exposure**)
- Print stock selection and preparation (**Paper Stock**)
- Camera-to-print stock exposure balancing (internal calculation)
- Darkroom exposure (**Paper Exposure**)
- Print density final adjustment (**Original Black Point**)
- White point adjustment (**Max White 253**)
- Conversion back to ProPHOTO RGB colour space
- Translation into Tone Cuve edit points

The end result of all of these calculations is a Tone Curve -- but oh, those curves.

When you get confused, and you will get confused, just refer back to the list above to see which control does what. Then, after you've read it for the fifth time and are starting to get dizzy, you can scream and pull your hair out and say *Mornington Crescent* and boom just like that you win. It's so simple.

== Get the Best Results
Tone Curves work best when they have a good image to work with.

- *Good white balance*. Starting with good colour allows you to use Nostalgia's filter for special effects, instead of correcting bad balance.
- *Good exposure*. It is better to use Lightroom's exposure control to correct a dark image than to use Nostalgia's camera control. Again, this lets Nostalgia's controls be used creatively instead of for correction. (However, do not crush away any highlight detail.)
- *Maintain highlight headroom*. An important characteristic of film is preserving highlight detail. Use highlight recovery if necessary to restore any lost detail in your shot before using Nostalgia.

== Save your Presets

You can also create Lightroom presets based on Nostalgia settings for very quick application of looks to a group of photos.

=== Saving a Nostalgia Tone Curve
Create a preset with just the following settings checked:

* Tone Curve
* Treatment
* Black and White Mix (if using B&W)

= How To Use Nostalgia

To open Nostalgia, select the following menu item:

**File > Plug-In Extras > Film Curve Creator **

Nostalgia's interface window will appear:

[nlr-ui-v2.jpg;full;bare]

All of your interaction with Nostalgia takes place through this pop-up window.

*Lightroom does not allow you to adjust image zoom or other settings while this window is open. Ensure you have the image view set to where you can effectively see the changes you will make with Nostalgia.*

Once you have created a curve you are happy with, you must close the Nostalgia interface. To re-open Nostalgia, select the menu item again. Your previous settings will be retained.

== Film Group
This group controls the simulated camera portion of Nostalgia's calculations.

[lrnos-ui-v2-1.jpg;full;bare]

=== Film Stock Selection
Chooses a film stock to simulate. The full roster of stocks is shown at the end of this page.

The left menu is the list of film stocks. That is, what you want to put in the simulated camera. Some film stocks have variations available. The variation describes the different behaviour of the stock under different circumstances, i.e. development time, chemical or temperature. Generally the variants have similar looks but more or less contrast.

Note that some film stocks are transparencies, slides or direct positives and therefore do not need a second printing step. These are called "positive" films, abbreviated in Nostalgia as **Pos**.

=== Exposure Slider
Controls the brightness of the scene sent to the simulated film, in stops.

Increase to make the image brighter. Decrease to darken it. The arrows on the right can be used to make prescribed adjustments to the exposure setting. Click on 0 to reset exposure.

=== Filter Selection
Adds a colour filter in front of the virtual camera lens.

When Color Process is turned off, the colour filter applies before the spectral condenser and thus may be used to create various levels of spectral sensitivity. In other words, a red filter will cause blue objects to appear dark, while a blue filter will cause blue objects to be light and red objects to be dark.

In order to make Nostalgia easier to use, filter values are normalized so that you will not need to make a compensation adjustment to the camera exposure. This is non-traditional but much less annoying.

The filter list shows some commonly used lens filters for both colour and B&W photography, in three groups. Filter names are chosen to match traditional camera filter names & numbers and can be totally confusing if you're new to the genre.

- **B/W** filters are strong filters most useful for B&W photography.
- **CC** filters are used for colour correction in different lighting environments.
- **Fx** filters are subtle filters most useful for tweaks to portraits.

=== Camera Dynamic Range Selection
Specifies the contrast of the source material in stops from deep black to white. Should be realistically set for your capture device. In general, the following chart applies:

* Point & Shoot camera, high ISO, night/indoors - 5-6 (five stops)
* Point & Shoot camera, low ISO, daylight outdoors - 6-7 (six stops)
* Micro 4/3 or other mirrorless compact, 6-8 (six to eight stops)
* Consumer DSLR, 7-8 (seven stops)
* Pro DSLR, 8-10 (eight to nine stops)
* Digital Back, 9-11 (nine to eleven stops)
* Film scanner raw data, 12-16 (twelve to sixteen stops)

Do not overestimate the capabilities of your capture device. Doing so will cause unpleasant banding and speckles in the shadows. When in doubt, underestimate or perform real world tests to determine the capabilities of your device and compression scheme. The best simulation begins with the most carefully captured and considered data.

== Paper Group
The Paper controls are available when using a negative-based film stock.
[lrnos-ui-v2-2.jpg;full;bare]

=== Paper Selection
The second group controls the paper you want to print the image on.

This is the "second exposure" that is made in the darkroom. Light is shone through the developed camera film onto the raw print stock, which is then developed.

=== Exposure Slider
Controls the brightness of the scene sent to the simulated print stock, in stops. (In general, the paper exposure is much more sensitive than the camera exposure.)

Increase to make the image brighter. Decrease to darken it. The arrows on the right can be used to make prescribed adjustments to the exposure setting. Click on 0 to reset exposure.

== Simulation Settings
[lrnos-ui-v2-3.jpg;full;bare]

=== Colour Film Process Checkbox
Lightroom handles black and white processing very differently from colour processing. Nostalgia allows you to use both of Lightroom's processing pathways for both colour and B&W films. Which sounds wierd but is useful.

*Colour Film Process is only available in Lightroom 4 and when using the 2012 development process.* If you are using Lightroom 4 and colour is not available, check the Camera Calibration settings group and switch Process to 2012.

* **B&W process with B&W film** - Incoming colour channel data is condensed according to the spectral response of the film/paper by adjustment of the B&W mix, further modulated by the colour filter, and then summed to a single monochromatic value and saved as the Luminance Tone Curve.

* **Colour process with Colour film** - When Colour Process is enabled, all three colour channels are treated separately according to the specific rules of the simulated film and/or print stocks. Three different tone curves are created and stored in the Red, Green and Blue curves.

* **Colour process with B&W film** - Each colour channel will be processed individually through the monochrome path causing a full colour output using the RGB Tone Curves. In this way, you can use the response characteristics of a B&W film for creating vibrant colour output.

* **B&W process with Colour film** - Processed as B&W film with the response curve controlled by the overall response of the simulated colour emulsions. You get a single monochrome Tone Curve with a B&W mix controlled by your selected lens filter.

=== Original Black Point Checkbox
When checked, the darkest black that will be produced by Nostalgia will be the darkest black possible on the film/paper -- a true DMAX match. This creates a more realistic looking simulation with lighter black tones.

When unchecked, blacks are moved downward towards the ultimate digital black. This will produce richer shadows and deeper blacks without losing the filmic contrast curve. It's not as realistic, but it looks great.

=== Max White 253 Checkbox
This setting ensures that no histogram level will be higher than 253 on a scale of 0-255. This setting is useful when you are creating output for printers that apply a gloss enhancer to portions of the image that are not pure white. By ensuring that the lightest tone in the image is not pure white, gloss enhancer will be evenly applied to the print.

== Saving Your Settings
[lrnos-ui-v2-4.jpg;full;bare]

=== Apply Settings Automatically Checkbox
If this is checked, then changes you make to Nostalgia's controls will be reflected immediately in the image. Note this can make Lightroom respond slowly, and will also fill up your photo settings history with individual changes.

=== Apply Button
Creates a tone curve, but does not close the Nostalgia window.

=== Close Button
Closes the Nostalgia window without saving a curve.

=== Ok Button
Creates a tone curve and closes the window.

= Simulation Roster
In the roster, simulations shown in **Bold** appear in the free version of Nostalgia. To access all simulations, please purchase the full version of Nostalgia.

** See important trademark notice at the bottom of this page. **

== Camera Stock
=== Black and White Negative
* Adox 25 in D-76 (4 variants)
* Adox 50 in D-76 (4 variants)
* Adox 100 in D-76 (4 variants)
* **Agfapan 25 in Refinal**
* Agfapan 100 in Refinal
* Agfapan 400 in Refinal
* **Fomapan 100 in Microphen (3 variants)**
* Fujifilm Neopan 100 in Microphen (4 variants)
* Fujifilm Neopan 400 in T-MAX (3x), D-76 (3x), SPD (3x)
* Fujifilm Neopan 1600 in SPD (3x), D-76 (3x), Fujidol (3x), Microfine (3x)
* **Ilford FP4 in Ilfotec HC **
* Ilford PANF in Ilfotec HC (4 variants)
* Ilford Delta 3200 in Ilfotec
* Ilford ORTHO (6 variants)
* Ilford XP2
* Kodak HS Infrared Unfiltered in D-76 (very strong blue response), and filtered in D19, D-76 and HC-110 (note the simulation does not attempt to fabricate infrared light -- you get the red channel only)
* Kodak Imagelink HQ in Prostar
* **Kodak Kodalith in Kodalith developer (1 variant) ** and D-11 (3 variants)
* Kodak TechPan in HC-110 (3 variants), Technidol (3 variants), and Dektol
* ** Kodak Tri-X in T-MAX (4 variants)** and D-76 (3 variants)
* Kodak Verichrome Pan in HC-110 (3 variants) and D-76 (3 variants)

=== B&W Positive Film
* Polaroid Polapan 400 (3 temperatures)

=== Colour Negative
* Agfa Aviphot 100X (3 variations)
* Agfa Ultra 100
* Agfa Vista 100
* Agfa Vista 200
* Agfa Vista 400
* Agfa Vista 800
* Fuji Pro 160C
* Fuji Pro 160NS
* Fuji Superia 200
* Kodak Portra 160VC
* Kodak Portra 160NC

=== Colour Positive Film
* Agfa Agfachrome RSX II
* Agfa CTprecisa 100
* Agfa Aviphot Chrome 200
* Fuji Astia 100
* Fuji Provia 100F
* Fuji Sensia 100
* Fuji T64
* **Fuji Velvia 100T**
* Fuji Eterna-CP 3521
* Fuji Eterna-CP 3513
* Kodak Ektachrome 100D / 7285
* Kodak Ektachrome 64T / 7280
* Kodak Kodachrome 200
* Kodak Kodachrome 100
* **Kodak Kodachrome 64**
* Kodak Kodachrome 40 / 7268
* Kodak Kodachrome 25
* Polaroid 600 (3 temperatures)
* **Polaroid 669 (3 temperatures)**

== Print
=== Black and White Paper
* Agfa Brovira-Speed in all six grades (0-5)
* **Agfa Multicontrast Premium with all six filters (0-5)**
* Agfa Record-Rapid in all four grades (1-4)
* Foma Fomaspeed, four grades (soft-hard)
* Foma Fomaspeed Variant III, six filters (0-5)
* **Forte Fortezzo in Hard, Normal and Soft**
* Ilford Multigrade IV Fiber, seven filters (00-5)
* Kentmere Art Classic
* Kentmere Art Deluxe in Grade 2 and Grade 3
* Kentmere VC Select seven filters (00-5)
* Kodak AZO in Grade 2 and Grade 3
* Kodak Polymax II RC in Dektol, six filters (0-5)
* **Kodak Portra in RA-4 (just one variant)**

=== Colour Paper
* Agfa Prestige 3
* Agfa Rapitone C1/C2
* Fuji Crystal Archive SP
* Kodak Pro Image II
* Kodak Ultra Endura
* Kodak Portra Endura
* Kodak Supra Endura VC

= Important Trademark Notice
Company and product names used on this page and within the Nostalgia plug-in may be trademarks and/or registered trademarks. Use of these terms does not constitute endorsement. The use of these terms in the context of describing the transformation of a digital image is not intended as infringement -- it is an indication of homage and respect. In no way can a digital image manipulation be mistaken for the behaviour and appearance of traditional films, papers and chemicals. Thank you for 150 years of beautiful imagery.

Nostalgia - Film Simulation for AfterShot Pro - v19

Mon, 30 Jan 2012 10:24:47 -0500

Keywords: Site:Catbear AfterShotPlugin Nostalgia plugin mainpage
THUMBNAIL
nostalgia-sample.jpg

SHORTNAME
Nostalgia

SUMMARY
Nostalgia gives digital images a film look by simulating traditional chemical films such as Tri-X, Kodachrome, Velvia and so on. Nostalgia also simulates familiar papers such as Portra, Multi-Contrast and others. It is the successor to the Bibble plug-ins Andy & Andrea and improves upon them by supporting many more films and papers.

DOWNLOAD
http://nexi.com/asp/package/Nostalgia-1.0.7.afzplug

SCREENSHOTS
[nostalgia01a.jpg;300;zoom;bare;inline] [nostalgia01b.jpg;300;zoom;bare;inline]

[nostalgia01f.jpg;300;zoom;bare;inline] [nostalgia01c.jpg;300;zoom;bare;inline]

[nostalgia01d.jpg;300;zoom;bare;inline] [nostalgia01e.jpg;300;zoom;bare;inline]

Original, Kodachrome 64, Polaroid 669, Fomapan/Kentmere, TechPan/Fortezzo, Kodalith/Fortezzo. Image (c) 2012 [http://seanmpuckett.com|Sean M Puckett]

[nostalgia02a.jpg;200;zoom;bare;inline] [nostalgia02b.jpg;200;zoom;bare;inline]
[nostalgia02f.jpg;200;zoom;bare;inline]
[nostalgia02c.jpg;200;zoom;bare;inline]
[nostalgia02d.jpg;200;zoom;bare;inline] [nostalgia02e.jpg;200;zoom;bare;inline]

Original, Tech-Pan 11min/Polymax Filter 0, Tech-Pan 11min/Portra, Fomapan/Brovira-Speed Filter 2, ORTHO Plus PQ 4min/Record-Rapid Soft, Kodalith 2.5min/Portra. All with deep orange or yellow filters. Original image (C) 2011 Sean M Puckett.

[andrea04.jpg;300;zoom;bare;inline] Left: original Canon 1Ds III exposure.

[andrea04b.jpg;300;zoom;bare;inline] [andrea04c.jpg;300;zoom;bare;inline]
Click to zoom. Sim 1, Kodak Tri X Pan, D76, 7 min / Fomaspeed Variant III, Filter 3
Sim 2, Fomapan 100, Microphen, 11 min / Agfa Brovira Speed, 2 Special (pseudocolour)
Image (c) 2010 [http://frank-stefani.de|Frank Stefani photoArt]

I'd like the screenshots here to be from users. So, folks, if you're using Nostalgia, and you're keen on sharing your awesome pictures, get in touch with me. I'll give you full photo credit and link to your site if you wish. I need a "before" picture and an "after" picture, basically one image with Nostalgia disabled then same image again with Nostalgia enabled.

DETAILS
= Nostalgia Theory of Operation
Nostalgia simulates the exposure of film in a camera, plus optionally a second exposure of film in a darkroom. Much effort is made to simulate this accurately while still providing adjustments we are accustomed to in the digital world.

Please understand that there's a lot of gibberish in this description that, generally, only very old people will understand. Words like "latitude" and "emulsion" and "slides" which date from the age when film cameras roamed the earth, flapping their loaders and consuming disposable income almost as quickly as iTunes.

=== Step by Step
Here is how Nostalgia processes your image, and which controls affect each stage:

- Digital image data converted to adjusted linear luminance values (**RAW Stops**)
- Camera stock selection and preparation (**Camera Stock choice, Film**)
- Colour filtration applied to luminance data (**Filtration Red, Green, Blue**)
- Camera exposure adjustment (**Camera**)
- Image data "exposed" onto camera stock
- Print stock selection and preparation (**Print Stock choice, Paper**)
- Camera-to-print stock exposure balancing (internal calculation)
- Darkroom exposure adjustment (**Enlarger**)
- Camera image "exposed" onto print stock
- Print exposure final adjustment (**Density**)
- Conversion back to digital image data

When you get confused, and you will get confused, just refer back to the list above to see which control does what. Then, after you've read it for the fifth time and are starting to get dizzy, you can scream and pull your hair out and say *Mornington Crescent* and boom just like that you win. It's so simple.

== Get the Best out of Nostalgia
Here are some tips for getting the best images out of Nostalgia.

- * **No** autolevels*. Very important: Nostalgia's output is distorted when using Autolevels.
- *Good white balance*. Starting with good colour allows you to use Nostalgia's filter for special effects, instead of correcting bad balance.
- *Good exposure*. It is better to use AfterShot's exposure control to correct a dark image than to use Nostalgia's camera control. Again, this lets Nostalgia's controls be used creatively instead of for correction. (However, do not crush away any highlight detail.)
- *Maintain highlight headroom*. An important characteristic of film is preserving highlight detail. Use AfterShot's highlight recovery if necessary to restore any lost detail in your shot before using Nostalgia.

= Simulator Control Reference
[nostalgia_ui.jpg;full;right;bare]
Refer to the screenshot to the right for a visual key to these controls.

== Top Group
=== Enable Checkbox
Controls whether Nostalgia affects the image. Turning this checkbox off disables Nostalgia without altering any other settings. If you adjust any settings in Nostalgia while it is disabled, it will be enabled automatically.

=== Reset Button
Returns all sliders and settings and checkboxes in Nostalgia to standard values. Does not reset choice of film and print stocks, however. Use this if you get "lost" while playing with settings!

=== Info/Upgrade Button
Shows version and author of the plug-in. (Upgrade appears in the demo version.)

== Film & Paper Stock Group
Chooses a film stock and paper stock to simulate. The full roster of stock is shown at the end of this page.

The top menu is the list of film stocks. That is, what you want to put in the simulated camera. Some film stocks have variations available. The variation describes the different behaviour of the stock under different circumstances, i.e. development time, chemical or temperature. Generally the variants have similar looks but more or less contrast. (Similar adjustments in contrast can be made on all films by using the **Film** latitude control.)

The second stock is the paper you want to print the image on. This is the "second exposure" that is made in the darkroom. Light is shone through the developed camera film onto the raw print stock, which is then developed.

Note that some film stocks are transparencies, slides or direct positives and therefore do not need a second printing step. These are called "positive" films.

== Simulation Option Group
These checkboxes control how the simulator operates.

=== Colour Checkbox
When Colour Process is enabled, all three colour channels are treated separately according to the specific rules of the simulated film and/or print stocks. Note that if either film or paper is a monochromatic (B&W) emulsion, its spectral response will be honoured but each colour channel will be processed individually through the monochrome path causing a full colour output. In this way, you can use the response characteristics of a B&W film for creating colour output.

If you don't want full colour output, turn off Colour Process. When off, incoming colour channel data is condensed according to the spectral response of the film/paper, modulated by the colour filter, and then summed to a single monochromatic value. Note that, even if Colour Process is off, if you are using colour sensitive film/paper, you may get colour tinted output anyway as the response curve of that film/paper might not be identical across the spectrum.

=== Print Checkbox
Controls whether the second simulation happens. That is, Nostalgia always runs one simulation: camera. If you are simulating a negative film, you'll probably want to *print* that negative onto a stock that can produce a positive, recognisable image. Similarly, if you're simulating a positive film (i.e. slide film), you don't really need a print -- the slide is the finished product.

=== Auto Checkbox
When Auto is on, both Colour and Print will automatically change to match the normal process for the simulated film stock. Black & white films will set Colour off, colour films set it on. Negative films turn Print on, positive films turn it off.

=== Clip Checkbox
When enabled, the image is modified to show you both over-exposure and under-exposure in the processing chain. Do not inadvertently leave this option enabled when you perform final renders!

== Exposure Controls
These sliders adjust the simulator directly by adjusting how light passes through it.

=== Camera Slider
Controls the brightness of the scene sent to the simulated film, in stops. Increase to make the image brighter. Decrease to darken it.

=== Enlarger Slider
Controls the brightness of the scene sent to the simulated print stock, in stops. Increase to make the image brighter. Decrease to darken it.

== Simulation Adjustments
These adjustments control the conversion of data between the real-world image and the simulation.

=== Density Slider
Sets the contrast level of black vs. white in the final output. Should be left at 5 except when you specifically want to expressly simulate the not-really-black levels of traditional media.

Since typical projection & presentation methods introduce their own not-really-black issues, this is typically not necessary to get a good simulation. However, it can produce very authentic looking results if you are specifically going for an antique film look.

=== Raw Stops Slider
Specifies the contrast of the source material in stops from deep black to white. Should be realistically set for your capture device. In general, the following chart applies:

* Point & Shoot camera, high ISO, night/indoors - 5-6 (five stops)
* Point & Shoot camera, low ISO, daylight outdoors - 6-7 (six stops)
* Micro 4/3 or other mirrorless compact, 6-8 (six to eight stops)
* Consumer DSLR, 7-8 (seven stops)
* Pro DSLR, 8-10 (eight to nine stops)
* Digital Back, 9-11 (nine to eleven stops)
* Film scanner raw data, 12-16 (twelve to sixteen stops)

Do not overestimate the capabilities of your capture device. Doing so will cause unpleasant banding and speckles in the shadows. When in doubt, underestimate or perform real world tests to determine the capabilities of your device and compression scheme. The best simulation begins with the most carefully captured and considered data.

== Latitude Adjustment Group
Adjusts the contrast of the simulated film and print stocks without significantly altering their individual character, as if we were developing the film for more or less time. This is the advantage of a simulation: we can do things that are otherwise unpossible!

=== Film Slider
Adds or removes exposure latitude (contrast) across the film response curve.

=== Paper Slider
Adds or removes exposure latitude (contrast) across the print response curve.

== Lens Filtration Group
Adds a colour filter in front of the virtual camera lens.

When Color Process is turned off, the colour filter applies before the spectral condenser and thus may be used to create various levels of spectral sensitivity. In other words, a red filter will cause blue objects to appear dark, while a blue filter will cause blue objects to be light and red objects to be dark.

In order to make Nostalgia easier to use, filter values are normalized so that you will not need to make a compensation adjustment to the camera exposure. This is non-traditional but much less annoying.

=== Red Filter Slider
Cyan - Red filtration. Move to the right to add varying degrees of red filter. Move to the left to add a cyan filter.

=== Green Filter Slider
Magenta - Green filtration. Move to the right to add a green filter. Move to the left to add a magenta filter.

=== Blue Filter Slider
Yellow - Blue filtration. Move to the right to add a blue filter. Move to the left to add

=== Filter Selection & Stacking
This short list shows some commonly used lens filters for both colour and B&W photography. To use one or more of these filters, select it in the list, then click Stack. The sliders are then adjusted to reflect the additional filtration you've chosen.

You can stack multiple filters by clicking Stack again, as many times as you wish. Note the slider values are adjusted so that overall brightness of the images doesn't change too much no matter how many filters you add -- this is a convenience and doesn't affect the true effect of the filters.

= Simulation Roster
In the roster, simulations shown in **Bold** appear in the free version of Nostalgia. To access all simulations, please purchase the full version of Nostalgia.

** See important trademark notice at the bottom of this page. **

== Camera Stock
=== Black and White Negative
* Adox 25 in D-76 (4 variants)
* Adox 50 in D-76 (4 variants)
* Adox 100 in D-76 (4 variants)
* **Agfapan 25 in Refinal**
* Agfapan 100 in Refinal
* Agfapan 400 in Refinal
* **Fomapan 100 in Microphen (3 variants)**
* Fujifilm Neopan 100 in Microphen (4 variants)
* Fujifilm Neopan 400 in T-MAX (3x), D-76 (3x), SPD (3x)
* Fujifilm Neopan 1600 in SPD (3x), D-76 (3x), Fujidol (3x), Microfine (3x)
* **Ilford FP4 in Ilfotec HC **
* Ilford PANF in Ilfotec HC (4 variants)
* Ilford Delta 3200 in Ilfotec
* Ilford ORTHO (6 variants)
* Ilford XP2
* Kodak HS Infrared Unfiltered in D-76 (very strong blue response), and filtered in D19, D-76 and HC-110 (note the simulation does not attempt to fabricate infrared light -- you get the red channel only)
* Kodak Imagelink HQ in Prostar
* **Kodak Kodalith in Kodalith developer (1 variant) ** and D-11 (3 variants)
* Kodak TechPan in HC-110 (3 variants), Technidol (3 variants), and Dektol
* ** Kodak Tri-X in T-MAX (4 variants)** and D-76 (3 variants)
* Kodak Verichrome Pan in HC-110 (3 variants) and D-76 (3 variants)

=== B&W Positive Film
* Polaroid Polapan 400 (3 temperatures)

=== Colour Negative
* Agfa Aviphot 100X (3 variations)
* Agfa Ultra 100
* Agfa Vista 100
* Agfa Vista 200
* Agfa Vista 400
* Agfa Vista 800
* Fuji Pro 160C
* Fuji Pro 160NS
* Fuji Superia 200
* Kodak Portra 160VC
* Kodak Portra 160NC

=== Colour Positive Film
* Agfa Agfachrome RSX II
* Agfa CTprecisa 100
* Agfa Aviphot Chrome 200
* Fuji Astia 100
* Fuji Provia 100F
* Fuji Sensia 100
* Fuji T64
* **Fuji Velvia 100T**
* Fuji Eterna-CP 3521
* Fuji Eterna-CP 3513
* Kodak Ektachrome 100D / 7285
* Kodak Ektachrome 64T / 7280
* Kodak Kodachrome 200
* Kodak Kodachrome 100
* Kodak Kodachrome 64
* Kodak Kodachrome 40 / 7268
* Kodak Kodachrome 25
* Polaroid 600 (3 temperatures)
* Polaroid 669 (3 temperatures)

== Print
=== Black and White Paper
* Agfa Brovira-Speed in all six grades (0-5)
* **Agfa Multicontrast Premium with all six filters (0-5)**
* Agfa Record-Rapid in all four grades (1-4)
* Foma Fomaspeed, four grades (soft-hard)
* Foma Fomaspeed Variant III, six filters (0-5)
* **Forte Fortezzo in Hard, Normal and Soft**
* Ilford Multigrade IV Fiber, seven filters (00-5)
* Kentmere Art Classic
* Kentmere Art Deluxe in Grade 2 and Grade 3
* Kentmere VC Select seven filters (00-5)
* Kodak AZO in Grade 2 and Grade 3
* Kodak Polymax II RC in Dektol, six filters (0-5)
* **Kodak Portra in RA-4 (just one variant)**

=== Colour Paper
* Agfa Prestige 3
* Agfa Rapitone C1/C2
* Fuji Crystal Archive SP
* Kodak Pro Image II
* Kodak Ultra Endura
* Kodak Portra Endura
* Kodak Supra Endura VC

= Important Trademark Notice
Company and product names used on this page and within the Nostalgia plug-in may be trademarks and/or registered trademarks. Use of these terms does not constitute endorsement. The use of these terms in the context of describing the transformation of a digital image is not intended as infringement -- it is an indication of homage and respect. In no way can a digital image manipulation be mistaken for the behaviour and appearance of traditional films, papers and chemicals. Thank you for 150 years of beautiful imagery.

Nuance - Colour Grading for AfterShot Pro - v12

Wed, 15 Feb 2012 11:05:40 -0500

Keywords: Site:Catbear AfterShotPlugin Nuance plugin mainpage
THUMBNAIL
brendaafter.jpg

SHORTNAME
Nuance

SUMMARY
Nuance is a colour grading tool. It adjusts the look and feel of an image by shifting the tint, brightness, vibrance and contrast of up to 24 distinct colour "patches." Nuance is designed to enhance the look of the image as a whole, and can very easily and quickly build a unique colour treatment to give a special look and feel to your photography.

DOWNLOAD
http://nexi.com/asp/package/Nuance-1.0.10.afzplug

SCREENSHOTS
[nuance9.jpg;left;600;bare]
Nine different settings from the Nuance preset collection.
---
[brendabefore.jpg;left;bare][brendaafter.jpg;left;bare]
---
This "style" shifts the whitepoint to a warm orange while moving the blackpoint to a deep blue. Skin tones were warmed slightly. This change used just three patches and took less than a minute to develop.

[brendaflower1.jpg;left;bare][brendaflower2.jpg;left;bare]
---
A quick adjustment, punching up the yellows and making the background just a little more blue. Nuance+Nostalgia in RGB mode.

== More Screenshots
* [my screenshot1]
* [my screenshot2]

DETAILS
= Nuance User Interface

[nuanceui.jpg;full;bare]
[Brendamap2.jpg;full;bare]
[brenda5indicators.jpg;full;bare]

=== Enable Checkbox
Turns on/off the Nuance plug-in effect.

=== Map Checkbox
Shows, via "paint-by-numbers" overlay, which patch is most similar to a region of the screen. Match the number shown to the button number in the patch palette.

=== Reset Button
Resets all patches to null effect and turns off the plug-in.

=== Info / Upgrade Button
Displays version number of the plug-in.

== Patch Palette
Each of these 24 coloured buttons is a colour patch. Click on a patch to adjust the colour applied to pixels that are similar to that patch. (Patch colours chosen are similar to those found in the Gretag MacBeth Colourchecker chart.) If a patch has settings applied, the border of the patch will be outlined in a heavy black border.

== Patch Indicators
The top line of the patch adjustment area has information about the current patch. From left to right:

=== Current patch colour box
Shows you the colour of the currently selected patch.

=== Patch enabled check box
Click to activate / deactivate the effect the current patch has.

=== Patch number
Corresponds to the numbers in the patch chart, and on the patch map.

=== Patch name
An easy-to-remember name for the current patch.

=== Patch transformation colour box
Previews the change the current patch makes. Shows only the effects of colour, tint and lightness.

== Patch Adjustments
These controls affect the look of the current patch.
[Nuance5adjustment.jpg;right;full;bare]

The colour, tint and light sliders are accompanied by small colour chips on either end. These chips indicate how the patch colour will change when you move the slider in that direction.

=== Colour Slider
Adds (positive) or subtracts (negative) colour to the patch. In general, adding colour to a patch makes it more saturated without changing its hue significantly. Removing colour makes the patch less saturated, but also can add the patch colour compliment for strong effects. White and grey patches will become redder when colour is added.

=== Tint Slider
Alters the colour of the patch. In general, shifts the colour to a warmer or cooler version of itself. If you modify both colour and tint sliders, it is possible to alter the hue of a patch to any colour. It may, however, require some experimentation to find the one you want.

=== Light Slider
Adds or removes lightness (luminance) from the patch.

=== Vibrance Slider (full version only)
When vibrance is decreased, colours near the patch are drawn towards the patch hue, making them more similar to the patch colour. When vibrance is increased, those nearby colours are pushed away, making the patch colour more vibrant and dynamic. When used on white and grey patches, the effect is similar to a saturation adjustment.

=== Contrast Slider (full version)
Affects the contrast of luminance values near the patch. Increase contrast to make a patch more contrasty, decrease it to make the patch more subtle in tone.

=== Strength Slider (full version)
Controls how strongly this patch effects the colours in the image. A combination of colour range and intensity controls. For moderate adjustments, a value of 50-80 is adequate. Values of 90 and greater will impact the entire image to some degree.

= Nuance Notes
Tips to get the most out of Nuance.

== Default patches
Nuance presets patch 41 (white) and patch 46 (black) to be enabled with no alteration with a power of 100. This causes both white and black to be *anchors* so that other patch changes do not overwhelm.

== Patch preset
When you click on a patch that has not been used, Nuance will preset the sliders for that patch according to the adjustments already taking place on colours in that patch according to other patches in use.

This also means that if you deactivate a patch, then click on another patch, any settings on the original patch will be lost; when you return to it the patch is once again preset for you.

== Whole image adjustment
Perhaps the most important thing to remember is that *Nuance changes everything in the image to some degree*. All adjustments smoothly blend into each other, creating a unified colour style. A non-obvious but very useful effect of this is that you can change just the white patch to effect a wide-reaching colour shift -- because every part of the image has a little bit of white in it -- some more, some less. Similarly, changing the black patch will change much of the image as well, but more in the shadows, as opposed to highlights.

Get used to thinking of patch adjustments as "suggestions" rather than "commands" -- as if you were stretching a rubber band rather than bending a wire -- and you will have a better understanding of Nuance's behaviour.

== Start with good images
Do not use Nuance to correct bad exposures. For a colour style to have a consistent effect from image-to-image, images used with Nuance should be well exposed and white balanced before Nuance is used. You can use Bibble's exposure control or other "linear" controls to adjust exposure.

== Use Nuance appropriately
Use Nuance to create a style and/or tweak images subtly, not to correct big mistakes. Other tools and plug-ins are better suited for correcting mistakes -- Nuance creates moods by adjusting everything at once.

== Save your styles
When you create a style you like, save it as a Bibble 5 preset! Give your image style a useful name. You can then reload this style in another session to create a consistent look and feel.

== Whence Nuance?
Nuance operates in the colour correction portion of the Bibble workflow; this is fairly early in the adjustment pipeline. As such, it is best to use Nuance before applying other plug-ins or effects.

= Legal
Nuance is copyright 2007-2012 Sean M Puckett, all rights reserved. Nuance may not be distributed except via direct download from its homepage.

FxAndy - Film Simulation for Final Cut - v81

Mon, 06 Jul 2009 14:11:31 -0400

Keywords: finalcut plugin Site:Catbear FinalCutPlugin FxAndy mainpage
FxAndy takes your digital footage back to the film era with picture perfect simulations of image-making classic emulsions including Velvia, Eterna, Ektachrome, Agfachrome, Kodachrome, RSX, ADOX, FP4, Portra, Fomapan, and a dozen more.

== "Portrait" reel. Multiple FxAndy simulators in sequence. (New, Feb 21)

== "Flower" reel. One FxAndy simulator, keyframe variations.

More video available in the links below.

= FxAndy - Film Simulation for Final Cut

Reviews & Commentary
"...a sweet film simulator..."

"...pretty good bang for the buck..."

> How does it work?
>> FxAndy translates the digital image you captured into a realistic simulation of a film camera complete with full color filter control, exposure control, film type selector with latitude adjustments and processing variations, darkroom and enlarger, classic print emulsions and papers with variations and adjustments -- and a few digital-world tweaks to add even more versatility.
> Never run out of stock!
>> And unlike real films, FxAndy makes it easy with perfect exposure compensation, no dangerous chemicals, simple latitude adjustments and -- most importantly -- no wondering where you'll find the next warehouse stash of long-discontinued film.
> Not presets; real software inside.
>> These simulations aren't presets -- FxAndy is a full simulation suite with thousands of simulator combinations available, plus infinite variations of parameters, almost all of them keyframable for subtle and dramatic effects.
> Famous in still photography
>> FxAndy is the brother of [[andrea plugin]], the pre-eminent film simulator for the RAW processor Bibble 5. Andrea is an essential part of the style of professional still photographers all over the world, and now with the completely rewritten and speed optimized Final Cut plugin, the same looks are finally available for cinema.

== Get you some vitamin FxAndy for Final Cut
> Demo Version - *Free*
>> [http://nexi.com/software/fcp/FxAndyDemo1.0.zip|**Download Now** (zipped installer)]
Includes two colour film simulations with full functionality.
*OSX Leopard or Snow Leopard required.*

> Full Version - *129US *
>> [http://nexi.com/software/paid/?srealm=3|**Purchase now** in the plug-in manager]
Includes [332|dozens of simulators] for merely 129US!
* That's less than lunch in Paris! Unless you live there.*

*Sanity check: please ensure the demo version works on your system before purchasing the full version.*

== Contact
Author: Sean M Puckett - seanmpuckett@gmail.com
Other plug-ins: http://nexi.com/bibplugs
My photography and bio: http://seanmpuckett.com

= More Video
* Funhouse demo reel (720p kwartzlab footage) @ YouTube
* Second demo (dpreview footage) @ YouTube
* First demo (fish footage) @ YouTube
* Possibilities Reel (dpreview footage) @ YouTube
* Flower variations reel (20s) @ YouTube (as above)
* Portrait demo (720p) @ YouTube (as above)

Tutorial
* 19 minute screencast showing features and usage @ Vimeo

= More Information
{{ Site:Catbear FxAndy Subpage;noheader;add;bullets }}

= Trademark Notice
FxAndy is a trademark of Sean M Puckett and is used to refer to a software program for manipulating digital images. Other company and product names used on this page and within the FxAndy plug-in may be trademarks and/or registered trademarks. Use of these terms does not constitute endorsement. The use of these terms in the context of describing the transformation of a digital image is intended only as an illustrative example. It is clear that in no way can a digital image manipulation be mistaken for traditional films, papers and chemicals. P.S. Thank you for 150 years of beautiful imagery.

Brenda - Colour Grading for Bibble 5 - v20

Wed, 10 Feb 2010 08:23:29 -0500

Keywords: Site:Catbear Bibble5Plugin Brenda plugin mainpage
THUMBNAIL
brendaafter.jpg

SHORTNAME
Brenda

SUMMARY
Brenda is a colour grading tool. It adjusts the look and feel of an image by shifting the tint, brightness, vibrance and contrast of up to 24 distinct colour "patches." Brenda is designed to enhance the look of the image as a whole, and can very easily and quickly build a unique colour treatment to give a special look and feel to your photography.

DOWNLOAD
http://nexi.com/b5/package/Brenda-1.0.1.bzplug

SCREENSHOTS
[brendabefore.jpg;left][brendaafter.jpg;left]
---
This "style" shifts the whitepoint to a warm orange while moving the blackpoint to a deep blue. Skin tones were warmed slightly. This change used just three patches and took less than a minute to develop.

[brendaflower1.jpg;left][brendaflower2.jpg;left]
---
A quick adjustment, punching up the yellows and making the background just a little more blue. Brenda+AndyPRO in RGB mode.

== More Screenshots
* [my screenshot1]
* [my screenshot2]

DETAILS
= Brenda User Interface

[brend5aui.jpg;full;bare]
[brendamap2.jpg;full;bare]
[brenda5indicators.jpg;full;bare]

=== Enable Checkbox
Turns on/off the Brenda plug-in effect.

=== Map Checkbox
Shows, via "paint-by-numbers" overlay, which patch is most similar to a region of the screen. Match the number shown to the button number in the patch palette.

=== Reset Button
Resets all patches to null effect and turns off the plug-in.

=== Info / Upgrade Button
Displays version number of the plug-in.

== Patch Palette
Each of these 24 coloured buttons is a colour patch. Click on a patch to adjust the colour applied to pixels that are similar to that patch. (Patch colours chosen are similar to those found in the Gretag MacBeth Colourchecker chart.)

If a patch has settings applied, the border of the patch will be outlined in a heavy black border. In the sample shot to the right, patches 12, 41 and 46 have settings.

== Patch Indicators
The top line of the patch adjustment area has information about the current patch. From left to right:

=== Current patch colour box
Shows you the colour of the currently selected patch.

You can click on this box to bring up a palette window. Choose a colour in the palette, and the nearest patch to that colour will be selected for you.

=== Patch enabled check box
Click to activate / deactivate the effect the current patch has.

=== Patch number
Corresponds to the numbers in the patch chart, and on the patch map.

=== Patch name
An easy-to-remember name for the current patch.

=== Patch transformation colour box
Previews the change the current patch makes. Shows only the effects of colour, tint and lightness.

If you click this box, a palette window appears. You can choose a colour in the palette and the patch adjustments will be changed to make the current patch colour transform into the chosen palette colour -- to the degree possible by image complexity.

== Patch Adjustments
These controls affect the look of the current patch.
[brenda5adjustment.jpg;right;full;bare]

The colour, tint and light sliders are accompanied by small colour chips on either end. These chips indicate how the patch colour will change when you move the slider in that direction. (If you click a chip, you'll get a palette pop-up; this is a bug in Bibble 5.0.1, the palette should not appear as it does nothing.)

=== Colour Slider
Adds (positive) or subtracts (negative) colour to the patch. In general, adding colour to a patch makes it more saturated without changing its hue significantly. Removing colour makes the patch less saturated, but also can add the patch colour compliment for strong effects. White and grey patches will become redder when colour is added.

=== Tint Slider
Alters the colour of the patch. In general, shifts the colour to a warmer or cooler version of itself. If you modify both colour and tint sliders, it is possible to alter the hue of a patch to any colour. It may, however, require some experimentation to find the one you want.

=== Light Slider
Adds or removes lightness (luminance) from the patch.

=== Vibrance Slider (full version only)
When vibrance is decreased, colours near the patch are drawn towards the patch hue, making them more similar to the patch colour. When vibrance is increased, those nearby colours are pushed away, making the patch colour more vibrant and dynamic. When used on white and grey patches, the effect is similar to a saturation adjustment.

=== Contrast Slider (full version)
Affects the contrast of luminance values near the patch. Increase contrast to make a patch more contrasty, decrease it to make the patch more subtle in tone.

=== Strength Slider (full version)
Controls how strongly this patch effects the colours in the image. A combination of colour range and intensity controls. For moderate adjustments, a value of 0.5-0.8 is adequate. Values of 1 and greater will impact the entire image to some degree.

= Brenda Notes
Tips to get the most out of Brenda.

== Default patches
Brenda presets patch 41 (white) and patch 46 (black) to be enabled with no alteration with a power of 1.0. This causes both white and black to be *anchors* so that other patch changes do not overwhelm.

== Patch preset
When you click on a patch that has not been used, Brenda will preset the sliders for that patch according to the adjustments already taking place on colours in that patch according to other patches in use.

This also means that if you deactivate a patch, then click on another patch, any settings on the original patch will be lost; when you return to it the patch is once again preset for you.

== Whole image adjustment
Perhaps the most important thing to remember is that Brenda changes everything in the image to some degree. All adjustments smoothly blend into each other, creating a unified colour style. A non-obvious but very useful effect of this is that you can change just the white patch to effect a wide-reaching colour shift -- because every part of the image has a little bit of white in it -- some more, some less. Similarly, changing the black patch will change much of the image as well, but more in the shadows, as opposed to highlights.

Get used to thinking of patch adjustments as "suggestions" rather than "commands" -- as if you were stretching a rubber band rather than bending a wire -- and you will have a better understanding of Brenda's behaviour.

== Start with good images
Do not use Brenda to correct bad exposures. For a colour style to have a consistent effect from image-to-image, images used with Brenda should be well exposed and white balanced before Brenda is used. You can use Bibble's exposure control or other "linear" controls to adjust exposure.

== Use Brenda appropriately
Use Brenda to create a style and/or tweak images subtly, not to correct big mistakes. Other tools and plug-ins are better suited for correcting mistakes -- Brenda creates moods by adjusting everything at once.

== Save your styles
When you create a style you like, save it as a Bibble 5 preset! Give your image style a useful name. You can then reload this style in another session to create a consistent look and feel.

== Whence Brenda?
Brenda operates in the colour correction portion of the Bibble workflow; this is fairly early in the adjustment pipeline. As such, it is best to use Brenda before applying other plug-ins or effects.

= Legal
Brenda is copyright 2007-2010 Sean M Puckett, all rights reserved. Brenda may not be distributed except via direct download from its homepage.

DOWNLOADNEEDED
1

Andrea - Film Simulation for Bibble 5 - v51

Sat, 16 Jan 2010 14:13:00 -0500

Keywords: Site:Catbear Bibble5Plugin Andrea plugin mainpage
THUMBNAIL
andrea02c.jpg

SHORTNAME
Andrea

SUMMARY
Andrea gives digital images a film look by simulating traditional chemical films such as Tri-X, Kodachrome, Velvia and so on. Andrea also simulates familiar papers such as Portra, Multi-Contrast and others. It is the successor to the Bibble 4 plug-ins Andy & AndyPRO and improves upon them by supporting colour films and papers.

SCREENSHOTS
[andrea05a.jpg;300;zoom;bare;inline] [andrea05b.jpg;300;zoom;bare;inline]
Click to zoom. Sim: Fomapan 100 / Pro Image II / Pseudocolour
Image (c) 2010 [http://seanmpuckett.com|Sean M Puckett]

[andrea01a.jpg;300;zoom;bare;inline] [andrea01b.jpg;300;zoom;bare;inline]
Click to zoom. Sim: Kodak Imagelink HQ / Fomaspeed Filter 0
Image (c) 2010 [http://seanmpuckett.com|Sean M Puckett]

[andrea04.jpg;300;zoom;bare;inline] Left: original Canon 1Ds III exposure.

[andrea04b.jpg;300;zoom;bare;inline] [andrea04c.jpg;300;zoom;bare;inline]
Click to zoom. Sim 1, Kodak Tri X Pan, D76, 7 min / Fomaspeed Variant III, Filter 3
Sim 2, Fomapan 100, Microphen, 11 min / Agfa Brovira Speed, 2 Special (pseudocolour)
Image (c) 2010 [http://frank-stefani.de|Frank Stefani photoArt]

[andrea03a.jpg;300;zoom;bare;inline] [andrea03b.jpg;300;zoom;bare;inline]
Click to zoom. Sim: Fomapan 100, 11min / Brovira-Speed Soft (pseudocolour)
Image (c) 2010 [http://seanmpuckett.com|Sean M Puckett]

[andrea02a.jpg;300;zoom;bare;inline] [andrea02c.jpg;300;zoom;bare;inline]

[andrea02d.jpg;300;zoom;bare;inline] [andrea02e.jpg;300;zoom;bare;inline]

Click to zoom. Sims: Fuji Neopan 400 / Agfa Brovira-Speed Hard; Kodalith pseudo-colour; Kodachrome 40 with filtration.
Image (c) 2010 [http://seanmpuckett.com|Sean M Puckett]

I'd like the screenshots here to be from users. So, folks, if you're using Andrea, and you're keen on sharing your awesome pictures, get in touch with me. I'll give you full photo credit and link to your site if you wish. I need a "before" picture and an "after" picture, basically one image with Andrea disabled then same image again with Andrea enabled.

DETAILS
= Shooting Video?
Take a look at [[fxandy plugin]] -- Andrea's technology, now available for Final Cut Pro and Express!

= Andrea Theory of Operation
Andrea simulates the exposure of film in a camera, plus optionally a second exposure of film in a darkroom. Much effort is made to simulate this accurately while still providing adjustments we are accustomed to in the digital world.

Please understand that there's a lot of gibberish in this description that, generally, only very old people will understand. Words like "latitude" and "emulsion" and "slides" which date from the age when film cameras roamed the earth, flapping their loaders and consuming disposable income almost as quickly as iTunes.

=== Step by Step
Here is how Andrea processes your image, and which controls affect each stage:

- Digital image data converted to adjusted linear luminance values (**Raw DR**)
- Camera stock selection and preparation (**Camera Stock, Variant, Film Latitude**)
- Colour filtration applied to luminance data (**Filtration C-R, M-G, Y-B**)
- Camera exposure adjustment (**Camera**)
- Image data "exposed" onto camera stock
- Print stock selection and preparation (**Print Stock, Variant, Print Latitude**)
- Camera-to-print stock exposure balancing (internal calculation)
- Darkroom exposure adjustment (**Print**)
- Camera image "exposed" onto print stock
- Print exposure final adjustment (**Final, Density**)
- Conversion back to digital image data

When you get confused, and you will get confused down below, just refer back to the list above to see which control does what. Then, after you've read it for the fifth time and are starting to get dizzy, you can scream and pull your hair out and say *Mornington Crescent* and boom just like that you win. It's so simple.

== Get the Best out of Andrea
Here are some tips for getting the best images out of Andrea.

- * **No** autolevels*. Very important: Andrea's output is distorted when using Autolevels.
- *Good white balance*. Starting with good colour allows you to use Andrea's filter for special effects, instead of correcting bad balance.
- *Good exposure*. It is better to use Bibble's exposure control to correct a dark image than to use Andrea's camera control. Again, this lets Andrea's controls be used creatively instead of for correction. (However, do not crush away any highlight detail.)
- *Maintain highlight headroom*. An important characteristic of film is preserving highlight detail. Use Bibble's highlight recovery if necessary to restore any lost detail in your shot before using Andrea.

= Simulator Control Reference
[andrea1.jpg;full;right;bare]
Refer to the screenshot to the right for a visual key to these controls.

== Top Group
=== Enable Checkbox
Controls whether Andrea affects the image. Turning this checkbox off disables Andrea without altering any other settings. If you adjust any settings in Andrea while Andrea is disabled, it will be enabled automatically.

=== Reset Button
Returns all sliders and settings in Andrea to standard values. Does not reset choice of film and print stocks, however.

=== ? Button
Shows version and author of the plug-in.

== Camera Stock Group
Chooses a film stock to simulate. The full roster of film stocks is shown at the end of this page.

The number in parenthesis is the technical input dynamic range of the stock, measured from just under peak dMAX to just over unexposed. Technical dynamic range is not usable dynamic range, which varies according to the curves and sensitivity of the stock. In general, assume usable dynamic range of a stock to be 2-3 stops less..

=== Variant
Some film stocks have variations available. The variation describes the different behaviour of the stock under different circumstances, i.e. development time, chemical or temperature. Generally the variants have similar looks but more or less contrast. (Similar adjustments in contrast can be made on all films by using the **Film Latitude** control.)

== Print Stock Group
The second stock is the "second exposure" that is made in the darkroom. Light is shone through the developed camera film onto the raw print stock, which is then developed.

Generally print stocks are paper, but for motion picture films you can print from transparency to transparency to create differing looks from the same base exposure. (Transparency print films are not yet included in Andrea, but will be soon.)

=== Variant
As above, variations of the selected print film type. For traditional paper media, different *grades* or *filters* may be available, which control the final contrast. Lower numbers are softer (low contrast).

== Exposure and Control
These sliders adjust the simulator directly by adjusting how light passes through it.

=== Raw DR - Raw Dynamic Range
Specifies the contrast of the source material in stops from deep black to white. Should be realistically set for your capture device. In general, the following chart applies:

* Point & Shoot camera, high ISO, night/indoors - 5-6 (five stops)
* Point & Shoot camera, low ISO, daylight outdoors - 6-7 (six stops)
* Micro 4/3 or other mirrorless compact, 6-8 (six to eight stops)
* Consumer DSLR, 7-8 (seven stops)
* Pro DSLR, 8-10 (eight to nine stops)
* Digital Back, 9-11 (nine to eleven stops)
* Film scanner raw data, 12-16 (twelve to sixteen stops)

Do not overestimate the capabilities of your capture device. Doing so will cause unpleasant banding and speckles in the shadows. When in doubt, underestimate or perform real world tests to determine the capabilities of your device and compression scheme. The best simulation begins with the most carefully captured and considered data.

AndyPRO note: *To emulate the appearance of AndyPRO, set Raw DR to 16 *

=== Camera
Controls the brightness of the scene sent to the simulated film, in stops. Increase to make the image brighter. Decrease to darken it.

=== Print
Controls the brightness of the scene sent to the simulated print stock, in stops. Increase to make the image brighter. Decrease to darken it.

=== Final
Controls the illumination of the final transparency or paper. Increase to make the image brighter, decrease to darken it.

Combine camera underexposure with push/pull overexposure for alternate contrast effects.

=== Density
Sets the contrast level of black vs. white in the final output. Should be left at 5 except when you specifically want to expressly simulate the not-really-black levels of traditional media.

Since typical projection & presentation methods introduce their own not-really-black issues, this is typically not necessary to get a good simulation. However, it can produce very authentic looking results if you are specifically going for an antique film look.

== Filtration
Adds a colour filter in front of the virtual camera lens. The filtration happens in linear space, so some colours can seem oversaturated compared to those chosen from the colour pickers.

When Color Process is turned off, the colour filter applies before the spectral condenser and thus may be used to create various levels of spectral sensitivity. In other words, a red filter will cause blue objects to appear dark, while a blue filter will cause blue objects to be light and red objects to be dark.

In order to make Andrea easier to use, filter values are normalized so that you will not need to make a compensation adjustment to the camera exposure. This is non-traditional but much less annoying.

*Andrea simulates the spectral response of traditional B&W films behind the scenes; the filtration is additive to this effect. This differs from AndyPRO.*

=== C-R
Cyan - Red filtration. Move to the right to add varying degrees of red filter. Move to the left to add a cyan filter.

=== M-G
Magenta - Green filtration. Move to the right to add a green filter. Move to the left to add a magenta filter.

=== Y-B
Yellow - Blue filtration. Move to the right to add a blue filter. Move to the left to add

== Latitude Adjustments
Adjusts the contrast of the simulated film and print stocks without significantly altering their individual character.

=== Film
Adds or removes exposure latitude (contrast) across the film response curve.

=== Print
Adds or removes exposure latitude (contrast) across the print response curve.

== Options
These small settings have major effects!

=== Show Clip
When enabled, the image is modified to show you both over-exposure and under-exposure in the processing chain. Do not inadvertently leave this option enabled when you perform final renders!

=== Print
Controls whether the second simulation happens. That is, Andrea always runs one simulation: camera. If you are simulating a negative film, you'll probably want to *print* that negative onto a stock that can produce a positive, recognisable image. Similarly, if you're simulating a positive film (i.e. slide film), you don't really need a print -- the slide is the finished product.

Andrea turns print off and on automatically for you, depending on which film stock you select so that you get a positive image final result. You can override this by clicking print after making your film choice. In this case, you may see a negative image if you haven't chosen an appropriate print media.

=== Colour
When Colour Process is enabled, all three colour channels are treated separately according to the specific rules of the simulated film and/or print stocks. Note that if either film or paper is a monochromatic (B&W) emulsion, its spectral response will be honoured but each colour channel will be processed individually through the monochrome path causing a full colour output. In this way, you can use the response characteristics of a B&W film for creating colour output. (This is "pseudocolour" in Andrea; AndyPRO had the same option but it was called "RGB".)

If you don't want full colour output, turn off Colour Process. When off, incoming colour channel data is condensed according to the spectral response of the film/paper, modulated by the colour filter, and then summed to a single monochromatic value. Note that, even if Colour Process is off, if you are using colour sensitive film/paper, you may get colour tinted output anyway as the response curve of that film/paper might not be identical across the spectrum.

= Simulation Roster
In the roster, simulations shown in **Bold** appear in the free version of Andrea. To access all simulations, please purchase the full version of Andrea, available soon.

*The current release of Andrea does not yet have colour negative film (e.g. Kodacolor) simulation. However, you can use the **Colour** checkbox to enable pseudocolour results from B&W films that are then printed on colour paper. Colour negative film is on the way.*

** See important trademark notice at the bottom of this page. **

== Camera Stock
=== Black and White Negative
* Adox 25 in D-76 (4 variants)
* Adox 50 in D-76 (4 variants)
* Adox 100 in D-76 (4 variants)
* **Agfapan 25 in Refinal**
* Agfapan 100 in Refinal
* Agfapan 400 in Refinal
* **Fomapan 100 in Microphen (3 variants)**
* Fujifilm Neopan 100 in Microfine (4 variants)
* Fujifilm Neopan 400 in T-MAX (3x), D-76 (3x), SPD (3x)
* Fujifilm Neopan 1600 in SPD (3x), D-76 (3x), Fujidol (3x), Microfine (3x)
* **Ilford FP4 in Ilfotec HC **
* Ilford PANF in Ilfotec HC (4 variants)
* Ilford Delta 3200 in Ilfotec
* Kodak HS Infrared Unfiltered in D-76 (very strong blue response), and filtered in D19, D-76 and HC-110 (note the simulation does not attempt to fabricate infrared light -- you get the red channel only)
* Kodak Imagelink HQ in Prostar
* **Kodak Kodalith in Kodalith developer (1 variant) ** and D-11 (3 variants)
* Kodak TechPan in HC-110 (3 variants), Technidol (3 variants), and Dektol
* ** Kodak Tri-X in T-MAX (4 variants)** and D-76 (3 variants)
* Kodak Verichrome Pan in HC-110 (3 variants) and D-76 (3 variants)

=== Colour Transparency (i.e. slide film)
* Agfa Agfachrome RSX II
* **Fujifilm Velvia 100T**
* Fuji Eterna-CP 3521
* Fuji Eterna-CP 3513
* Kodak Ektachrome 100D / 7285
* Kodak Ektachrome 64T / 7280
* Kodak Kodachrome 40 / 7268

== Print
=== Black and White Paper
* Agfa Brovira-Speed in all six grades (0-5)
* **Agfa Multicontrast Premium with all six filters (0-5)**
* Agfa Record-Rapid in all four grades (1-4)
* Foma Fomaspeed, four grades (soft-hard)
* Foma Fomaspeed Variant III, six filters (0-5)
* **Forte Fortezzo in Hard, Normal and Soft**
* Ilford Multigrade IV Fiber, seven filters (00-5)
* Kentmere Art Classic
* Kentmere Art Deluxe in Grade 2 and Grade 3
* Kentmere VC Select seven filters (00-5)
* Kodak AZO in Grade 2 and Grade 3
* Kodak Polymax II RC in Dektol, six filters (0-5)
* **Kodak Portra in RA-4 (just one variant)**

=== Colour Paper
* Fuji Crystal Archive SP
* Kodak Pro Image II
* Kodak Ultra Endura
* Kodak Portra Endura
* Kodak Endura VC

= Important Trademark Notice
Company and product names used on this page and within the Andrea plug-in may be trademarks and/or registered trademarks. Use of these terms does not constitute endorsement. The use of these terms in the context of describing the transformation of a digital image is not intended as infringement -- it is an indication of homage and respect. In no way can a digital image manipulation be mistaken for the behaviour and appearance of traditional films, papers and chemicals. Thank you for 150 years of beautiful imagery.