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There are many approaches to translating an analog film with a preset into the digital world. VSCO, ReallyNiceImages, Mastin Labs, they all have their own idea of what a Kodak Portra 400 should look like. But we analog enthusiasts know it's all a matter of interpretation. There is no 'film looks like this'. If a negative film is scanned, it still has to be converted into a positive and here you quickly notice that there are many possible interpretations. Silverfast isn't as neutral as Vuescan and a Lab scanner sometimes seems to be able to do magic. If you nod in agreement now, then you are probably either Team Frontier SP-3000 or Team Noritsu HS-1800. But maybe you don't feel like a 3F-Scan from a Flextight X5? The Classic Lab does not only emulate the film, but also the scanner. '*K/K],S]
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THE SCANNER :V`q;g
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A profile emulates the scanner. Here the colors and tonal values are moved to the correct starting position to provide a perfect basis for the preset. This is where the magic of the Lab Scanner happens. This edition is inspired by the famous Flextight X5. !DLIIKO78
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THE FILM No j6Ina
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The preset emulates the film and moves within the frame allowed by the scanner profile. All presets are optimized to offer the greatest possible analog charm with the best dynamic range. >:8GU f*
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This product will work with Adobe Lightroom CC (cloud based Version), CameraRAW (10.3 and above) and Classic CC (7.3 and above). ^lbOv}C*
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The following films are included in the Classic Lab: c}$?k@=
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Agfa Optima 100 mR?OS eeB
Agfa Precisia CT 100 XP l =xy_ TCf
Agfa Vista 100 KK/ ~W
Agfa Vista 400 q^k6.5* "
Agfa Vista 800 k( !#^Mlz[
Agfa XPS 160 d8e6}C2v
CineStill 50D "m(HQ5e)*
CineStill 800T nQb{/ TqC'
Fuji 160C e*=N \$
Fuji 160S >4b-NS/}0
Fuji 400h 2Q0fgH2
Fuji 800Z +Z #lf
Fuji Astia 100 JM@MNS_||(
Fuji Fortia SP z'XFwk
Fuji Provia 100 XP <Hig,(=`.
Fuji Provia 100F `p Oiv&>
Fuji Provia 400X ="JLUq*]s
Fuji Sensia 100 hZU @35~BN
Fuji Sensia 100 XP aU4v-9@U8
Fuji Superia 100 f@]4udc e
Fuji Superia 400 v= RQ"iv8
Fuji Superia 800 7 `thM/fN
Fuji Superia 1600 T&j_7Q\;vI
Fuji T64 LSs!U
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Fuji Velvia 50 7 ?Q<kB=f
Fuji Velvia 100 g#2Q1t,~U
Fuji Velvia 100F Z4b<$t[u
Kodak E100G pA&CBXio
Kodak E100VS y_;LTCj?
Kodak E200 n3 da@ClBt
Kodak E200 XP Z ^zUb
Kodak Ektachrome 64 E %FCOKw_
Kodak Ektachrome 64T M[g9D
Kodak Ektar 100 {R5Q{]dK 3
Kodak EliteChrome 160T _e
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Kodak Gold 100 /J")S?. [u
Kodak Gold 200 dj3}T jt
Kodak Max 800 K&0'@#bE\
Kodak Portra 100T no~hYy W2
Kodak Portra 160 mR\rK&'6
Kodak Portra 400 Q&
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Kodak Royal Gold 400 'Y B z?l9
Kodak Ultra Max 400 By%mJ%$~
Kodak Ultra Max 800 EZlcpCS
Pictures by Lucas Coersten, Maximilian Goedecke and André Duhme $k5mI1~
