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. NUU}8a(K
THE SCANNER /j^zHrL N
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. GZ e
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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. I@\{6hw
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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). n Ye} d!
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The following films are included in the Classic Lab: h~1QmEat
Agfa Optima 100 m&\Gz *)3
Agfa Precisia CT 100 XP \uaJw\EZ
Agfa Vista 100 a T0 y
Agfa Vista 400 &a:aW;^A7
Agfa Vista 800 %`TLs ^
Agfa XPS 160 -Av/L>TxlI
CineStill 50D }a`LOBn e
CineStill 800T {L0w& ~$Fy
Fuji 160C 3_-#
Fuji 160S _&M>f? l
Fuji 400h 9+/|sU\.%
Fuji 800Z w.3R1}R
Fuji Astia 100 zPXd]jIwV
Fuji Fortia SP c;e ,)$)-|
Fuji Provia 100 XP Grqs*V &|g
Fuji Provia 100F WS(c 0c
Fuji Provia 400X I|M*yObl6
Fuji Sensia 100 F&P)mbz1
Fuji Sensia 100 XP pr?/rXw
Fuji Superia 100 `Ct j ]t
Fuji Superia 400 l{R)y TO
Fuji Superia 800 = Dz[| $dV
Fuji Superia 1600 Pv'x|p*
Fuji T64 V]AL'}(
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Fuji Velvia 50 IIPf5
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Fuji Velvia 100 pg<>Ow5,~l
Fuji Velvia 100F {\e}43^9N
Kodak E100G . FruI#99
Kodak E100VS Q4x 71*vy
Kodak E200 !d^` YEfE
Kodak E200 XP ?m!FM:%
Kodak Ektachrome 64 |j+~Td3})&
Kodak Ektachrome 64T I,[EL{fz
Kodak Ektar 100
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Kodak EliteChrome 160T rQqtejcfx
Kodak Gold 100 }u&JX
Kodak Gold 200 IlrmXSr
Kodak Max 800 BpC Sf.zZ
Kodak Portra 100T Gl:AS PZ6
Kodak Portra 160 n&fV3[m`2
Kodak Portra 400 <ZiO[dEV
Kodak Royal Gold 400 Xx^c?6YM
Kodak Ultra Max 400 5Zov< +kE
Kodak Ultra Max 800 +R_U
Pictures by Lucas Coersten, Maximilian Goedecke and André Duhme V;V9_qP,
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