The S_FilmEffect filter comes from the Emmy award winning Boris FX Sapphire filter set.

Film Lab.

To select a preset, pick one from the Presets window.

Selects the negative film stock.

Ignore any effect of negative film. This is not normally useful unless you also select None in the Print film parameter to disable both.

Eastman EXR 50D, low speed, daylight balanced, very fine grain.

Kodak VISION 250D, higher contrast, medium speed, daylight balanced, fine grain.

Eastman EXR 100T, medium speed, tungsten light balanced, very fine grain.

Kodak VISION 200T, medium speed, tungsten light balanced, fine grain.

Kodak VISION 320T, lower contrast, medium speed, tungsten light balanced, medium−fine grain.

Kodak VISION 500T, high speed, tungsten light balanced, somewhat grainy.

Kodak VISION Expression 500T, lower contrast, high speed, tungsten light balanced, medium grain.

Kodak VISION 800T, very fast, tungsten light balanced, grainy.

Eastman EXR 200T, reduced contrast, tungsten light balanced, medium grain.

Eastman EXR 500T, high speed, tungsten light balanced, grainy.

Special effects film, medium grain.

Kodak Vision2 200T, tungsten light balanced, fine grain.

Kodak Vision2 500T, tungsten light balanced, fine grain.

Selects the print film stock.

Ignore any effect of the print film. This causes the negative to be output directly. If the Negative Film parameter is also set to None, the color correction and grain are disabled.

Kodak VISION Color Print Film, rich blacks.

Kodak VISION Premier Color Print Film, rich blacks, some grain.

Kodak VISION Color Teleprint Film, low contrast.

Eastman EXR Color Print Film (discontinued by Kodak, replaced by 2383).

Ektachrome 100D Reversal film, daylight balanced, high contrast and grainy. Note that the negative film is ignored when using reversal film.

Kodachrome 40 Movie Film, tungsten balanced reversal film, high contrast and somewhat grainy. Note that the negative film is ignored when using reversal film.

The image is smoothed by this amount. This can be used to remove noise or compression artifacts before processing.

Scales the amount of color correction performed due to the film types, gamma values, and exposure values. Set to 0 to disable color correction. If you increase this above 1, it exaggerates the color correction, which normally increases the contrast.

The gamma that your original image was shot for. For video, this is normally 2.2; for synthetic computer graphics, it may be less.

The intended viewing gamma of the output.

Adjusts the simulated exposure of the negative film in stops. Increase for overexposed and brighter.

Adjusts the simulated exposure of the print film in stops. Increase for overexposed and darker.

Adjusts the red exposure of the print film in printer light points. 1 light point is 1/12 stop. Increase to overexpose red and give a more cyan result.

Adjusts the green exposure of the print film in printer light points. 1 light point is 1/12 stop. Increase to overexpose green and give a more magenta result.

Adjusts the blue exposure of the print film in printer light points. 1 light point is 1/12 stop. Increase to overexpose blue and give a more yellow result.

Scales the bright areas of the final result after the other color correction, glow, and grain are applied. This parameter is not affected by Scale CC.

Adds a gray value to the darker regions of the final result after the other color correction, glow, and grain are applied. This can be negative to increase contrast. This parameter is not affected by Scale CC.

If positive, the image is combined with a blurred version of itself to give a glowing look. Increase for a brighter glow.

If positive, the image is mixed with a blurred version of itself to give a soft focus look. The effect of this parameter is similar to Glow Brightness, but this does not brighten the overall result. Increase this to mix in more of the blurred version and less of the original. If this is 1 and Glow Brightness is 0, you will get only the blurred version.

The width of the blur used by the glow and/or soft focus.

The relative glow width for the red channel.

The relative glow width for the green channel.

The relative glow width for the blue channel.

Scales the amplitude of the film grain that is added to the result. Set this to 0 to disable all grain.

Scales the red grain amplitude.

Scales the green grain amplitude.

Scales the blue grain amplitude. Note that grain is added and subtracted from the image, so for example, increasing Grain Amp Blue will amplify both the blue and yellow speckles.

The relative amount of grain applied to the darkest regions of the image per channel. This defaults to less than 1 because dark areas usually have less grain than midtones.

The relative amount of grain applied to the brightest regions of the image per channel. This defaults to 0 because bright areas usually have less grain than midtones. Note that highly saturated colors can be affected by both Grain Amp Darks and Grain Amp Brights because they are dark in some color channels and bright in others.

The position of the midtones in the red channel that will normally receive the maximum amount of grain. The red grain amplitude is interpolated from Grain Amp Darks at black, up to 1 at this midtone position, then down to Grain Amp Brights at white. This whole curve is then scaled by the Grain Amp Red parameter.

The position of the midtones in the green channel that will normally receive the maximum amount of grain. The green grain amplitude is interpolated from Grain Amp Darks at black, up to 1 at this midtone position, then down to Grain Amp Brights at white. This whole curve is then scaled by the Grain Amp Green parameter.

The position of the midtones in the blue channel that will normally receive the maximum amount of grain. The blue grain amplitude is interpolated from Grain Amp Darks at black, up to 1 at this midtone position, then down to Grain Amp Brights at white. This whole curve is then scaled by the Grain Amp Blue parameter.

The grain is smoothed by this amount. Increase for coarser grain.

The relative blur amount for the red grain.

The relative blur amount for the green grain.

The relative blur amount for the blue grain.

When enabled, the same grain pattern is used for the red, green, and blue channels. To make truly monochrome grain you should also set Grain Amp Red/Green/Blue equal to each other, make sure Midtone Pos Red/Green/Blue are equal, and if GrainBlur is positiv,e then also set Grain Blur Red/Green/Blue to be equal.

Vignetting is darkening of the image towards the corners and sides of the image. This parameter controls how much the outer corners of the screen should be darkened or vignetted. 0 produces no vignetting, while a value of 1 creates maximum darkening.

Distance from the center to apply the vignette.

The width of the vignette's soft edge. Larger values give softer, less visible edges.

Controls the aspect ratio of the vignette ellipse. This should normally be set to the aspect ratio of the image.