This small excursion introduces the process of creating film print emulations, which are inherently complex and require specialized equipment and workflows. Proper creation of print film emulations typically demands a grading suite equipped with both a film projector and a digital projector operating in tandem. Additionally, accurate profiling requires advanced tools such as spectrophotometers and other precise measurement devices. The financial investment for such a setup often exceeds one hundred thousand dollars, and the associated workflows are technically advanced.
One commercially available process is Fotokem’s shiftAI, a proprietary analog intermediate service developed by a leading motion picture film laboratory. This process facilitates the creation of print film emulations by transforming footage into a print film look. Despite the absence of public technical details, the service provides datasets that can be utilized for profiling and color grading purposes. The process involves producing scan-backs that are notably flatter compared to traditional 2383 print film stocks, likely achieved through specific scanning techniques, potentially involving the Scanity4K scanner.
This flatter scan-back requires subsequent grading and preparation to achieve the desired visual characteristics. The shiftAI process is designed as an intermediate step in a digital workflow: digital footage is initially graded, processed through shiftAI, and then further graded post-process. This methodology offers flexibility, allowing for various approaches in applying the dataset, including software such as Nuke, Fusion, Tetra DCTL, or Light Illusions.
To facilitate integration into scene-referred workflows, a Color Space Transform (CST) can be applied to the scan-backs, converting them into log-based color spaces such as LogC3, ACEScct, or DaVinci Intermediate. Experimentation with different transformations is encouraged to optimize results.
Color Patch Recording and Densitometer Measurements
A dataset comprising over 1700 color patches has been recorded onto 250D film stock and printed onto 2383 print stock. These patches provide a comprehensive basis for film emulation research. Initial attempts to digitize these patches utilized a digital scanner to expedite the process, resulting in cleaner scans compared to those obtained post-densitometer readings. Plans to perform detailed densitometer measurements remain ongoing, supported by the acquisition of film winders to streamline the process.
Datasets derived from these measurements will be made available in CSV or TXT formats, offering accessible data for further emulation development. Upcoming tutorials will address methods for measuring and working with these patches, including automated workflows and scripting approaches aimed at enhancing efficiency and accuracy in film emulation creation.
Integration of Negative and Print Film Emulations
The combination of negative and print film emulations can be implemented using either traditional or modern workflows. The traditional approach involves applying a negative emulation to digital footage in Cineon log space, performing grading, and subsequently applying a print film emulation (FPE) as a final step. Alternatively, a modern workflow leverages scene-referred processes, allowing both negative and print emulations to be applied flexibly within a grading environment. This enables the adjustment of emulation intensity and the selective combination of elements from each profile, providing greater creative control and adaptability.
Demystify Color. “Film Profile Journey: 19 – Creating Your Own Film Print Emulations.” Demystify Color, June 2024. https://www.demystify-color.com/post/film-profile-journey-19-creating-your-own-film-print-emulations.
