Personal, Commercial, Extended
DIGISTOCK ADVANCED SERIES: Beautiful hybrid styles developed by meticulously shooting, scanning and analysing the real film. Available for both Lightroom and Capture One, with almost exactly the same looks whichever version you choose.
We work hard to create the best film emulations possible for Capture One, and the Advanced series are without doubt our most geeky and complex yet. Which is why we called them ‘Advanced’, I suppose… For the first time in Capture One history, we’ve combined traditional adjustment-based presets with custom colour profiles to get the most accurate recreation of analog film possible; yet it’s still versatile enough to use more subtly as a general-purpose colour grading tool.
Back in the 80s and 90s, when film was king, Gold 200 was Kodak’s omnipresent consumer film – affordable enough to use for your everyday snapshots, while still offering beautiful rich colours. It’s still available today and though it’s not the sharpest, the most accurate, or the finest-grained stuff on the market, it still holds a special place in many photographers’ hearts. The emulsion sold today isn’t much different from the 1980s formula, so it’s a quick ticket to nostalgic vintagey mojo.
On the technical side it’s an ISO-200, C41 negative film available in 35mm format (110, medium format etc were discontinued long ago – they don’t exactly fit the ‘consumer’ demographic these days!). It gives warm colours – but not oversaturated – and a rather pleasing grain that isn’t the finest available, but still gives you plenty of detail.
It’s the stuff of holidays, family trips, casual snapshots, endless summers; the warm fuzzy haze of fond memories. And we’ve done our best to capture that.
We shot and scanned a variety of test scenes on Gold 200, covering a range of typical shooting and lighting conditions (along with matching shots on digital). After many late nights of studying and tweaking, we ended up with 14 unique colour profiles.
Lightroom supports this sort of thing natively, but getting them into Capture One is a lot less simple. Although it supports ICC profiles, these also have to handle the basic initial raw adjustments, which are different for every camera.
So we spent many long hours analysing the output of different cameras to find a suitable neutral ‘middle ground’ – a base profile which would give good results with any camera – to build our colour profiles upon. In the end we’re really happy with the results; each camera will have a slightly different look, but they’re no stronger than the differences you can get developing and scanning film. As far as we know, this is the first time anyone’s done film emulation in Capture One with this method, but we think the extra effort paid off.
One lovely bonus is that our Capture One and Lightroom styles duplicate each other almost perfectly, so users switching from one to another (or using both) can get matching results. In the following pages we’ll explain a bit more about the technical stuff and – much more importantly – how you can use the results of our complicated nerdy work to make your pictures look good.
We try and find a balance between giving you lots of options, and not making things too cumbersome or fiddly to use. You’ll see a lot of folders when you first install the styles; don’t be alarmed! It’s like the giant mixing desks you see in recording studios; they look like an insanely complex sea of knobs and switches, but really it’s just the same few things repeated a bunch of times…
The five ‘strength’ folders contain our 14 advanced styles (profile-based), but progressively less strong in each folder. 100% are the ones which match the real film scans as closely as possible; then you’ve got 75%, 50%, 30% and 15% if you need something a little more subtle. They’re otherwise identical. Start with the 100% folder and if it’s too much of a big change for your tastes, try one of the others.
You’ve also got a sixth folder containing our 10 classic styles. These use only Capture One adjustments so you can add them to a layer, adjust opacity, change the settings etc. By nature this makes them less accurate as the profiles when it comes to perfectly matching the film, but that’s by no means a bad thing. They’re a little easier to use as creative looks and highly tweakable. Use both – or mix the two!
There’s a final folder which contains Grain, Toning and Tools. The grain presets leverage C1’s exellent grain engine to create plausible looking texture. They also slightly soften the image in a very natural, analog way. Toning presets are designed to be added as a layer to give you extra control over dynamic range and contrast.
It’s worth mentioning that if there’s any folders or styles you never use that are cluttering things up, just delete them – it won’t break anything.
Now we’re getting into the real meat-and-potatoes of the pack! Once you’ve picked your desired strength you’ll be greeted by 14 lovely new styles. You can read this to find out a bit more, or just jump in and start clicking – after all, if it looks good, it is good.
These are your traditional Capture One styles, where everything happens using C1’s own adjustment tools rather than relying on profiles. They’re totally camera-agnostic since they apply on top of your existing camera colour profile, and are fully compatible with layers so you can dial in the opacity exactly where you want it.
They offer looks a little different from the profiled ones, and in some cases stronger (we designed em so you can adjust the opacity to taste), but still very much the same Gold 200 look. Try applying them as a layer on top of an Advanced style for really strong toning!
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