FilmConvert Nitrate Walkthrough | Film Emulation 

This is exactly what I've been wanting to see!!! Thank you so much looking forward to more!!

Yesterday I downloaded a demo out of curiosity. Loved it so much that I purchased the full version even though I rarely shoot anything theese days. It just made my F-LOG-footage good looking instantly. Love the inclusion of Portra, Superia and Eterna! Would love it even more if you could add CineStill 800T and Kodachrome 😉

a lot of us would want to see halation and film breath built into the plugin we love so much

Just purchased it been playing around with it thanks

Hi. Thanks for this. Wanting to match FLog footage to BRaw do you suggest choosing the same emulation but with the 2 different camera profiles or using CineMatch and firstly match one camera to the other and then use, for example, FLog profiles over the converted BRaw shots? Hope you can help me.

Hi , when is shoot with Xperia mobile HlG Venice .,what is a best option ??

Love this video and now I just want to jump into my editor and play with FilmConvert. Question: if my picture profile for my camera isn’t available on FilmConvert (because I use a third party profile), what should I do?

Got some catching up to do. Dehancer supports hdr

Looks great - and so I just downloaded the demo version! Now, I'm just learning, and am still an amateur, but I've shot my footage on Cine V, on a panasonic lumix GH5s. There's a camera pack for this, and some modes, such as V log, come up as options for matching footage, as demonstrated in this tutorial. Sadly Cine V isn't one of them. Can anyone tell me what film nitrate option I should pick to work with my Cine V footage? Or is this simply not compatible? Any help is highly appreciated!

Film convert should add a halation feature in a future update :)

Hello. When will you make the ipad version of this program for the Davinci Resolve?

I have it and I really like it as long as I just keep it on default. The moment I use any of the "packs" like for my red Komodo or my C70 it blows all the highlights out and it looks like garbage. I would bet it's on my end but I'm definitely not shooting it with it being over exposed. I'd love some insight FilmConvert

My camera (sony a6400) is not on list. What can I do?

Why does your Nitrate panel look so different from mine? I have more stuff side by side. Fuji 400H is my current fave for a nostalgic look to my snowy nature footage.

Is this available as a stand alone or must it be used as a plug-in?

I don’t seem to get the same result without a lot of tweaking. When I add the Nitrate plug-in to the first node in Resolve it crushes all the blacks and blows out the highlights. I’ve exposed the slog3 in-camera perfectly 1.7 stops over with a middle grey card so I can’t figure out what is off.

The Cineon to FPE suggests that FilmConvert outputs Rec709 Gamma 2.4 or something else ?

Hi. Why you don't Support Insta 360 cam's?

I noticed there's not available the a6400 sony camera, Is that because you've only downloaded de a6300 and a6500 or? Thanks

Did you shoot it in Slog3?

When using cineon you need to apply in a different node a custom print lut and strange enough filmconvert offers none; you can also correct manually, but what you get is something new and not the look of a classical film

Is it compatible with Vegas Pro 20?

The one area I take issue with is the ubiquitous use of log. In scenes with a low dynamic range, the use of a log profile simply constrains the range of luma steps in the image file. In these instances, capturing in Rec.709 may yield better results. For example, consider working in 10-bit, which provides 1024 levels, and using a log profile. In situations of low contrast or insufficient light, there may only be 4 or 5 stops of light returning from the scene. This amount only suffices to fill 4 or 5 stops of the available 14-stop recording range provided by the large log curve bucket. Thus, you're utilizing only about 35% of the available data, which amounts to an inefficient use of resources. This essentially downgrades your output to an 8-bit image quality. On a waveform monitor, this situation manifests as a fairly narrow horizontal band of levels. When you attempt to expand the dynamic range in post-production to increase contrast, you essentially stretch that narrow band of levels, resulting in fewer graduations throughout the final image. In the worst scenarios, this can lead to flat, blocky skin tones, for instance. There is a caveat, however: if you work in 12-bit (which provides 4096 levels per color channel), you have more latitude and this problem rarely arises. However, this isn't a viable solution for most individuals outside of the film industry. Log is an excellent tool, but it's crucial to understand when and how to use it correctly.

why didnt you color correct your own footage?

been using filmconvert 5 years now very satisfied but zcam camera profile is just useless shit