DxO FilmPack v2.0 Release Notes

Windows

Supported Systems Windows XP (32 and 64 bits) Windows Vista (32 and 64 bits)
Installation DxO FilmPack 2 installer installs an application and a plug-in for Adobe Photoshop (if Adobe Photoshop exists on the machine). If DxO FilmPack 1.x is already installed, DxO FilmPack 2 installer will not uninstall it. It is not needed to uninstall DxO FilmPack 1 to run DxO FilmPack 2. DxO FilmPack 2 functionalities of DxO Optics Pro are available with DxO Optics Pro 5.3.1 and are installed by DxO Optics Pro 5.3.1 installer.
New features 27 new film renderings (color and grain) have been added 8 color filter have been added A new slider allows to set the color rendering intensity GUI has been improved o Choosing a grain is easier o Setting contrast and saturation is more precise o Different zoom level are now available in the Adobe Photoshop plug-in
Third party software compatibility Adobe Photoshop plug-in is compatible with Adobe Photoshop CS2, CS3 and CS4 and Adobe Photoshop Elements 4, 5, 6 and 7
Known limitations Images without Exif are properly processed by DxO FilmPack 2 but appear as a single pixel with the Windows Explorer Filmstrip display mode. Other applications (such as Adobe Photoshop, FastStone or Irfanview) open these images properly.
Known bugs While using the Photoshop plug-in, if you are displaying a picture with a zoom above 100%, a Photoshop crash may occur. If this happens, it is advised that you not use a zoom factor greater than 100%. When in Classic mode theme under Windows XP, group titles are crossed out in the parameter window.

Macintosh(build 226)

Supported Systems Mac OS X.4 (Tiger) Mac OS X.5 (Leopard)
Third party software compatibility Adobe Photoshop plug-in is compatible with Adobe Photoshop CS2, CS3 and CS4 and Adobe Photoshop Elements 4, 5 and 6.
Bug fixes over FilmPack 2.0 build 219 Standalone version: settings are now maintained from one image to the other

1 Table of Contents toc

Introduction Discovering film renderings and grain The stand-alone application Photoshop Plug-in DxO Optics Pro v5.3.1 Plug-in List of films and filters included in DxOFilmPackv2 and theirrenderingcharacteristics Correspondence table

DxO FilmPack v2

User Guide

Table of Contents

Introduction Chapter 1 Chapter 2 Chapter 3 Chapter 4
18 Further information 18 Image preparation 18 Image processing
3 The DxO FilmPack concept 3 Uses for DxO FilmPack 4 How to use DxO FilmPack? 4 Installing FilmPack
Appendix of films and filters included in DxOFilmPackv2 and List theirrenderingcharacteristics

Appendix 222

Discovering film renderings and grain
5 Simple operation 8 Further information 8 A. Colorimetric rendering of film 9 B. Film grain 9 C. Selecting a film type
The stand-alone application
12 DxO FilmPack quick start guide 13 Further information 13 A. Customizing the interface 14 B. Viewing the effects of corrections 14 C. Saving an image

Photoshop Plug-in

15 Using DxO FilmPack in Photoshop 16 Further information 16 Image preparation 16 Saving the image
DxO Optics Pro v5.3.1 Plug-in
17 Using FilmPack in DxO Optics Pro processing

Introduction

The DxO FilmPack concept
The DxO FilmPack software allows the user to easily give any digital image the style of a photo taken with black & white or color film, including the legendary renderings of films used by the great photographers of the last century. It is very easy to use and relies on the modification of the basic image characteristics to most closely approximate the original films reaction to color and light, then on the application of a grain that gives the films feel and personality. Of course, DxO FilmPack makes a copy without altering your original which can be saved or used to try other film renderings later. DxO FilmPack thus offers:
the rendering of many black & white and color silver-halide films based on measurements of their characteristics and on tests conducted by DxO; and intensity;
the true grain of the films, copied from authentic test films, with adjustable dimensions the possibility of mixing a rendering with a different grain to develop ones own films; the use of colored filters and metallic toning for creative effect in black & white

Uses for DxO FilmPack

In comparison with the many modifications that a photo editor might make, DxO FilmPack offers quick and highly effective solutions for easily transforming your digital files in order to:
discover the magic of classic silver-halide films and the variety of images that can
be obtained by changing sensitive media: What used to be possible to do through exposure on classic film can now be reproduced on your computer; on film and recent digital photos to display in an exhibition or for a book;
rediscover the rendering of a classic film to match photos taken several years ago give texture to enlargements to avoid the overly smooth or even plastic feel that is
a common critic of digital photos, as the addition of a grain gives density and relief visible to the eye when printed on large format paper; that was the privilege of virtuoso chemists in the darkroom only a few years ago.
freely combine the desired renderings to explore without limits the artistic creation

How to use DxO FilmPack?

DxO FilmPack is a three in one program in which the same license allows installation of three programs with identical functions but with very different ergonomics onto two computers (for example, a desktop and a laptop, or even a Windows and a Mac environment):
the program itself functions as a stand-alone, just open a JPG or TIFF image to obtain
a rapid, high quality transformation and then save a copy as a JPG or TIFF; Photoshop plug-in is an additional option that can be installed on the filters menu in recent versions of CS or Elements, just click on it during a retouching session to apply film grains to the image you are editing; the menus of the main software and the film transformation effects can be completely integrated into the presets that allow the automatic application of transformations to hundreds of images per processing.
the additional plug-in for DxO Optics Pro version 5.3.1 is completely integrated into
Even if you own DxO Optics Pro, installation of the DxO FilmPack basic program is recommended as it functions independently: if one wants to process an image in a few seconds to post it on the web or in a forum for example, its ease of use will allow amazing results without the need to open more complex software!

Installing FilmPack

The automated installation process only takes a few minutes. When the dialog box opens, after having selected your language and accepted the license, indicate whether you want to install all three versions, or only one. In the latter case, you will have to rerun the installation program to install the other versions. The first time you start DxO FilmPack it will operate for 21 days in free trial mode, and when you enter the license number provided at the time of purchase and allow the software to connect to the Internet, the product will register and activate itself. If the computer on which the software is to be installed cannot be connected to the Internet, the appropriate activation procedure is described in detail in the installation guide. NOTE: If you already have version 1, it can be kept. Otherwise, uninstall it via the operating system.
Chapter 1 Discovering film renderings and grain

Simple operation

Each digital camera has its own way of rendering colors, density, and light in an image, and this behavior changes with adjustments. Also, photographic film (called silver-halide film because there is silver in its chemical makeup) is characterized by a certain rendering of the image, a term that sometimes hides subjective ideas (soft or hard aspect, light colors, saturated colors), and a certain texture as the film is composed of small light sensitive grains of silver (black & white) or pigments (color): one would say a film had a coarse grain or a fine grain, some grains are hard (one can see little dots) and other grains are soft (pastel feel). DxO FilmPack accurately reproduces the rendering and grain of many silver films and applies them to your digital file, to give you a transformed copy of your image. Operation is very simple since, in the basic program, there are only three types of commands to understand: 1. The colorimetric rendering command buttons allow the selection of the model to apply in the categories offered:
color positive films (also called reversal films, or slides) were originally designed for color negative films are designed for paper prints and are more widely available to
the mass public, they are also used with scanners;
projection on a screen and produce directly useable images for prints or for scanners;
black & white films are generally negatives, they are very easy to develop and enlarge
in the darkroom for expert amateurs and represent artistic photography to many people; images by developing positive film in a chemical bath for negatives or vice versa.

cross-processed films use a specific chemical application that gives strangely colored
Each category contains a list of films that can be used with a single click; their characteristics are described below in the further information section of this chapter.
2. If you want to apply the exact grain that the colorimetric profile of a film has in reality, leave the default selection existing colorimetric profile in the DxO Film Grain dialog box. However, you can adjust the size and intensity of the grain to achieve a desired effect. It is possible to open the pull-down list identical to that for the colorimetric renderings to select a different grain from that selected in the first step, for an artistic effect or to harmonize a series of enlargements. It is also possible to select image processing without grain.
Different renderings on a portrait. Top to bottom, LR: Polachrome, Polaroid 669, Kodak BW400cn, Kodak Infrared, Fuji Reala, Kodak Kodachrome 64
Processing a landscape. Top to bottom, LR: Kodak Ektachrome 100 VS, Fuji Astia 100 F, Kodak Ektachrome 100 GX, Fuji Velvia 50, Fuji Provia 400 F, Kodak Kodachrome 200
TIP: The secret of a successful transformation is to start with a fairly neutral original photo that does not already have strong color casts or too high contrast. Where possible then, correct these aspects of your photo before using DxO FilmPack. While the film rendering and grain are set to approximate authentic film as closely as possible, you can apply the grain from another film to a given colorimetric rendering the creative potential is virtually limitless. Each new variation can be saved as a copy, without ever modifying the original, which is left untouched to be used for a new creation. Then you can save a corrected copy. NOTE: in Photoshop, never save modifications to your original, always create a copy with the save as command.

Further information

A. Colorimetric rendering of film
Precise film renderings have been developed through measurements and refined through consultation with experts: DxO photographed color charts to determine the response curve of the films under standard development; the rendering not only plays on the colorimetry but also on the dynamics, contrast, and saturation. From this base rendering, it is possible to refine the application and adjust the parameters to the selected image; this adjustment can be made on the screen so long as your computer displays color and shades correctly. In addition to the preset film renderings, it is also possible to implement three types of variations:

Grain on a detail from a portrait viewed at 100%. LR: Fuji Neopan Acros 100, Kodak Tri-X 400, Kodak Tmax 3200
NOTE: If among the positive films, you have selected generic film, the default setting applies no grain. You must select a grain from the same family as the generic profile, for example Fuji Velvia 50 for Generic Fuji Velvia 100. 3. Several sliders allow fine adjustment of the images final balance:
DxO FilmPack offers color slide films called generics because they match the style
of certain films, but are delivered without the corresponding grain: then you can apply a grain from the same family with the grain dialog box; warm tones, which go beyond the simulated usage limits of a silver-halide film in terms of color temperature), the others work perfectly with black & white to create exposure effects; paper print to give it a brown or gold tone or metallic highlights.
DxO FilmPack also has filters, two of which can be applied to color (cool tones or metallic toning simulates chemical processes that can be applied to a black & white
the balance slider allows adjustment of the effect between the original image and the film rendering the contrast slider allows the correction of images that are too hard or too soft the saturation slider allows more or less color intensity in relation to the original

image.

B. Film grain
The grain is none other than the structure of the photographic film itself, since it is the silver (black & white) or pigment (color) particles that form the image. In film, there were a great variety of grains, of greater or lesser thickness (one spoke of a fine or extra fine grained film to designate those where the grain is least visible) or of forms that were more rounded (traditional grain) or geometric (T shaped grain). When an amateur develops black & white film, the grain intensity can vary according to the chemicals used, the time, and the temperature of the process. With color, as processing is more standardized, the grain varies according to film brand and version. In DxO FilmPack, the base grain value is recreated, but you can simulate a 24 x 36 film grain or a medium or large format grain. In fact, with film, a print close to A3 format made from a 24 x 36 mm negative from a film like Tri-X would show a much more pronounced grain than if the negative came from a medium sized format such as 56 x 72 mm: because the structure of the film is the same, optical enlargement also enlarges the grain when the image is amplified to produce the print. Grain size is an adjustment that allows the digital reproduction of this effect.

special films and instant developing films such as Polaroids, among which Polachrome
has a grain structure with a lined texture like a television screen;
generic profiles inspired by the rendering of films such as Kodachrome or Velvia.

C. Selecting a film type

Photographers accustomed to silver-halide film technology like to vary film according to their desired subjects and effects; thus one might prefer films with a soft rendering for a portrait, a film with strong contrast for a dramatic journalistic photo, a film with saturated colors for a sun-drenched landscape DxO FilmPacks selection of films offers wide latitude for choice and experimentation, and the following ideas can serve as a guide: C1 color projection or print films: positive films or slides. The medium is transparent and the colors are direct, for projection, a concept that comes from Kodachrome in 1936 but then this type of film was highly sought after by magazines and publishers since for photoengraving one can visually compare the rendering of the image and its print. Among the DxO FilmPack profiles are:
Processing a journalistic image. Top to bottom, LR: Kodak Kodachrome 25, Agfa Ultra100, Fuji Velvia 50, Fuji Provia 100F
C2 Color films for paper prints and scanners: negative films, whose inverted colors are masked by an orange or brown medium prohibiting any direct vision of their colors, used primarily by the general public for family photos. This type of film held the largest market share for film before digital, but there are also varieties for more professional use (studio, weddings) whose profiles are reproduced in DxO FilmPack:
films from the 70s to the 90s, typically used for landscapes and photojournalism,
such as Kodachrome 25, 64, and 200, Fuji Velvia, Kodak Ektachrome 100 VS, Kodak Extracolour and Elitechrome; than projected, adequate for photojournalism and landscapes, but also for portraits and studio use, such as Fuji Astia and Provia, Kodak Ektachrome 100G;
universal films for landscapes or travel, such as Fuji Superia 200 or Kodak Elitecolor; films for portraits, studio, photojournalism, or weddings, such as Kodak Portra 160 or

Fuji Reala;

contemporary films, often much softer since they are designed to be scanned rather
films for saturated and dramatic exposures such as Agfa Ultra 100; high speed films for low light photojournalism, such as Fuji Xtra800 or Superia 1600;
instant film: Fuji FP100.
C3 Cross-processed: a trend often used in fashion photography or creative contemporary photography is the inversion of hues created by using a negative chemical process on a positive film or vice versa. The images obtained through these processes seem artificial with lighting effects and color casts. DxO FilmPack includes these two simulations.
since then it had almost disappeared. A filter absorbs colors close to its hue and reinforces the opposite colors: for example, a red filter will lighten reds and darken greens, a yellow filter will reinforce blues in a sky and a blue filter will fade them. With digital photography, these filters are applied to a black & white rendering and act on the given color layer to produce effects comparable to the original exposure:

mixed filters: cool colors and warm colors, that can be applied to a black & white or

color image.

black & white filters, in red, deep orange, orange, yellow, blue, and green: in practice,
as the colors give gray tones in a black & white image, the filters will allow the selective reinforcement of certain hues and the weakening of others leading to selective variations in contrast not only in the gray tones, but in the original colors of the scene. Yellow and red filters are always used in traditional black & white photography to darken skies and plants, while the green filter lightens fields and foliage. It can also accentuate tanned skin, which yellow and red filters will fade.
Cross-processing. L: positive film, R: negative film
C4 Black & white negative film. Public opinion still considers black & white to be the symbol of artistic photo, and the chemical processing of these films is easy and attractive for the amateur. We can distinguish traditional films, characterized by their fairly coarse and irregular grain, and films from the 90s that have a tabular grain with more geometric forms but above all a smaller grain. Finally, there are chromogenic films that are developed in color chemicals and have an ultra fine grain and a very soft image structure:
chromogenic films with soft rendering for portraits, family pictures, etc, Kodak BW and

Ilford XP

very fine (around 100 ISO) and fine (400 ISO) tabular grain films: Kodak TMax and

Ilford Delta

traditional very fine and high contrast films: Agfa APX, Ilford Pan F traditional medium speed films: Ilford FP4 and HP5, Kodak Tri X high speed, very grainy films: Ilford HPS, Kodak TMax 3200, Ilford Delta 3200 infrared films: Kodak and Rollei instant film: Polaroid
C5 Colored filters. Applying a filter to the lens during exposure modifies the light that hits the film. This method was almost inescapable in landscapes in the 1950s and 1960s but
Top: left, color image - rigth, red filter Bottom: left, black and white - rigth, green filter.
C6 Toning for black & white film. The toning technique is the application of chemical products that change the tonality of black & white prints on photographic paper. Naturally, these effects are primarily applied to images that have been processed in black & white, with or without a filter effect.
Metal toning a black and white print. LR, top to bottom: iron sulfate, selenium, and sepia
Chapter 2 The stand-alone application
DxO FilmPack quick start guide
To start the stand-alone DxO FilmPack application, click on its icon in the computers program menu. As the application transforms one photo at a time, it can be useful to prepare your work by grouping all the images to be modified into one folder. The best quality can be obtained from a TIFF or high definition JPG file, but the software can apply film profiles to any JPG file, even one already sized for the web. TIP: If you are preparing your images for DxO FilmPack, apply minimal after-processing to give a fairly neutral style and balanced lighting (neither too light nor too dark) and ensure that photos taken at high speed do not have digital noise visible when enlarging them on the screen. The processing method is very simple: from top to bottom, are the zoom function for expanding the image, the dialog box, color rendering for the selection of film type with an intensity slider, the color mode dialog box with contrast, saturation, the special mode (black & white toning) and filters, and the grain dialog box with intensity and size sliders. The output format can be found in the file menu;

If you have not saved your image, a dialog box will ask you if you want to do so when you attempt to open a new image or quit the program.
A. Customizing the interface
1. Open a JPG or TIFF image 2. Apply a rendering by clicking on the image, you can see the before and after results. The intensity slider allows the mixing of the original style with the film rendering 3. Where needed apply a filter for black & white (filter box) and/or toning (special box) 4. Where needed adjust the contrast and/or saturation sliders with moderation 5. Use the zoom function to enlarge the image at least to 75% (in practice, 100% is a good choice) and apply the grain. By default the grain is linked to the color profile, except for generic films, where it must be selected from the list 6. Where needed, adjust the size and strength of the grain 7. View the image in full screen mode to assess the overall style 8. Save a copy, as a JPG for immediate use or preferably as a TIFF if later retouching will be done. The command palette may be attached to the left-hand or right-hand edge of the window, be moved along this edge, or be moved anywhere within the image. All you have to do is click within the palette title bar and move it around. Alternatively, under Windows this positioning choice can also be accomplished using a right-click of the mouse in the palette title bar.

Floating palette

B. Viewing the effects of corrections
When you apply a film rendering, click on the image to make the before-after alternative views appear instantly. Changing the selection of colorimetric rendering has an immediate effect on the display and allows you to measure the effect of each profile. The specific rendering commands (black & white and color filters, special renderings with metallic toning) are also instantly displayed. On the other hand, to view the grain, you must always set the display to 75% (100% is more effective) to compare grain types, intensities, and sizes. Clicking on the image shows the before and after displays, and dragging the mouse changes the cursor to a hand allowing you to move across the image. Note that a grain can be applied without altering the profile of the original image, and the colorimetric profile can be used without grain.

C. Saving an image

DxO FilmPack does not alter the original image. It will as if you want to save a copy. It is possible to select the format and quality for saving, but not to resize the image. Also, if you want to use an image both for an enlargement and for the web, it is recommended to save it as an uncompressed TIFF, a file designed for high quality prints, then to use image manipulation software such as Adobe Photoshop to extract a smaller sized web copy. However, if you have made two copies of your image (for example an enlargement and an image for the web) before using DxO FilmPack, they can be processed one after the other very quickly.

Chapter 3 Photoshop Plug-in
Using DxO FilmPack in Photoshop
DxO FilmPack automatically integrates into a compatible version of Adobe Photoshop, and can be used at any time during processing, whether the original file type is RAW processed by Adobe Camera Raw, a JPG from the camera, or a high resolution TIFF. After having opened an image in the editing software, one can use the film profiles and grain types. To obtain the best quality, it is preferable to make basic corrections such as luminosity, contrast, brightness, white balance, etc. in advance so that the image to be processed is neutral and balanced. Then click on Filters DxO FilmPack to launch the application. Once the image to be corrected is ready in the programs window, the processing method is very simple: from top to bottom, are the zoom function for expanding the image, the dialog box, color rendering for the selection of film type with an intensity slider, the color mode dialog box with contrast, saturation, the special mode (black & white toning) and filters, and the grain dialog box with intensity and size sliders.
1. Select the desired film rendering. The intensity slider allows the mixing of the original style with the film rendering. Click on the image to compare the effect before/after 2. Where needed, apply a filter for black & white and/or toning from the special dialog box 3. Where needed, adjust the contrast and/or saturation sliders with moderation 4. Use the zoom function to enlarge the image at least to 75% (in practice, 100% is a good choice) and apply the grain. By default the grain is linked to the color profile, except for generic films, where it must be selected from the list
5. Where needed, adjust the size and strength of the grain 6. View the image in full screen mode to assess the overall style 7. Confirm the transformation by clicking OK at the bottom of the window 8. The DxO FilmPack window will close, and the image will be saved using the save as command in Photoshop so as not to modify the original
if needed in a highly compressed JPG format, resized to a width of 800 pixels as DSC_1xxx_ K64_web.JPG.

Image preparation

If DxO FilmPack is used as part of processing with Adobe Photoshop, starting with a RAW file will achieve the highest quality. When using Adobe Camera Raw to convert this file, select a TIFF output format (16 bit or 8 bit according to the Photoshop version) and a fairly neutral conversion profile. If the image was taken with a high ISO speed, use noise reduction in Adobe Camera Raw to eliminate digital noise (especially color interference), since applying a film grain over digital noise produces unaesthetic results. If some very fine details seem softened by the noise reduction, a slightly stronger grain will replace them and give the desired feel to the enlargement. Note that a grain can be applied without altering the profile of the original image, and the colorimetric profile can be used without grain. If your original image is a JPG, give it a fairly neutral style where possible. If you are working in black & white, use the DxO FilmPack black & white profiles rather than a previous conversion. In any case, never convert your image to black & white with the Adobe Photoshop grayscale conversion, as this procedure deletes the color information that is hidden in a file converted to black & white, and it is this hidden information that allows the use of film profiles and of colored filters for black & white.

Saving the image

After applying the DxO FilmPack grains and renderings, never use the save command and always select the save as command, otherwise the modifications will alter your original file. If you want several versions of your work, start by selecting the highest quality format, such as DNG, TIFF or a maximum quality JPG, and name this first copy, for example DSC_1xxx_K64_ A3.TIFF and by selecting the maximum resolution for the file. From this first version, you can resize the image to a smaller size and save it as DSC_1xxx_K64_A4.JPG for example, then
Chapter 4 DxO Optics Pro v5.3.1 Plug-in
Using FilmPack in DxO Optics Pro processing
Installing DxO FilmPack as a DxO Optics Pro 5.3.1 plug-in will add the film selections to the color palette and the grain selections to the detail palette. The additional plug-in does not appear separately and is completely integrated into the workflow. If the DxO FilmPack profiles are included in a preset, you can automatically apply film renderings to an entire batch of images.
Color palette with film renderings
Detail palette with grain control
It is possible to apply a film rendering to any image being edited with DxO Optics Pro 5.3. 1. On the Selection tab, open an image with the default DxO preset or any other preferred preset 2. On the Set-up tab, adjust the image to make it fairly neutral, and, where needed, apply sufficient noise reduction to remove color traces if it was taken with a high ISO with a camera compatible with DxO Optics Pro 3. On the color palette, select the film rendering and then the film type and line
4. You can keep the neutral profile of the original image or select a more stylized rendering (landscape, for example). Where needed, apply a filter for black & white and/or toning 5. Use the magnifying glass to enlarge the image to 100% and apply the grain. By default the grain is linked to the color profile, except for generic films, where it must be selected from the list 6. Adjust the size and strength of the grain with the magnification at 100% 7. Where necessary, use the DxO Optics Pro advanced controls (Exposure, Hue-SaturationLuminosity, Dirt, Geometry) to finish the image 8. On the Processing tab, select the type and size of the copy or copies to be saved, DxO Optics Pro never modifies your original
For an RGB original image (JPG or TIFF), the slider blends the original image and the
selected rendering only when using FilmPack. Without it, the command and slider are inactive.

Image processing

DxO Optics Pro allows you to select several output types, for example, you can simultaneously select the very high resolution of a TIFF and JPGs of various sizes and resolutions. However, if you choose to process large format and web output at the same time, the grain selection will be a compromise and not always optimal. If you have a large number of images to process, optimizing the processing with presets will allow you to save various processes in memory according to the desired goal. See chapter 6 of the DxO Optics Pro manual.

The specific DxO FilmPack commands are installed within the color (film rendering) and detail (film grains) palettes, and these commands directly interact with all the other functions of DOP. For example, with a RAW file developed by DxO Optics Pro, you can select a colorimetric rendering from a different digital camera on the color palette, and then apply a film grain with the detail palette. The best quality can be obtained by using a RAW file, a neutral profile, and sufficient noise reduction if the image was taken with a high ISO (typically, the DxO default preset works well). Do not sharpen the image too much; you can even use DxO to unsharpen it to simulate a soft film (portrait). With a RAW file, you can use the intensity slider to blend the neutral color rendering with the selected color rendering (other box, film profile, ICC profile):
at the 100 position, this slider will give the selected color rendering at the 0 position this slider will give a neutral rendering different from the so called
as shot rendering which can be used for more customized corrections selected color rendering
between 0 and 100, you move progressively from the neutral color rendering to the above 100, you will apply a color rendering that exaggerates the attributes of the
selected color rendering; be careful not to go too far with this slider!

Appendix 1

List of films and filters included in DxOFilmPackv2 and theirrenderingcharacteristics
Except for the Polaroids, the figures indicate the ISO speed of the film. Color positive films Fuji Astia 100 F Fuji Provia 100F Fuji Provia 400 F Fuji Provia 400 X Fuji Velvia 50 Kodak Kodachrome 25 Kodak Kodachrome 64 Kodak Kodachrome 200 Kodak Ektachrome 100 VS Kodak Ektachrome 100 GX Kodak Extracolour 100 Kodak 200 Kodak Elitechrome 400 Soft film, portrait, night scenes Neutral film, all purpose Neutral film, photojournalism Saturated film, photojournalism, landscapes Highly saturated film, landscape, travel Fairly cold film, landscape, seventies rendering Reddish film, landscape, studio, photojournalism Saturated film, dark shadows, photojournalism Saturated film, landscapes Neutral, saturated film, portraits, photojournalism Very warm, highly saturated film, travel, landscape High speed fairly neutral film, travel, photojournalism High speed grainy film, photojournalism

Generic positive films (without grain profile) Generic Kodak Ektachrome 100 VS Generic Kodak Kodachrome 64 Generic Fuji Astia 100 Generic Provia 100 Generic Velvia 100 Saturated landscape style 1980s style Portrait style Neutral style Landscape style, saturated
Instant color positive films Polaroid Polachrome Cool film, lined structure
Ilford Delta 400 Ilford Delta 3200 Kodak BW 400 CN Kodak Tmax 100 Kodak Tmax 400 Kodak Tmax 3200 Highly saturated film, landscape, studio All purpose, saturated, general public film Portrait, wedding film, soft tones All purpose, mass public film High speed film, saturated colors, photojournalism High luminosity film, weakly saturated All purpose film, neutral and saturated colors High speed all purpose film, neutral and saturated colors Portrait and wedding film, soft tones Photojournalism film, neutral but saturated tones Kodak Tri-X 400 Kodak IR Kodak filtered IR Rollei IR Instant black & white films Polaroid 664 Polaroid 667 Polaroid 672 Color filters Warm tones Cool tones Very fine grain, high contrast film Very fine grain film, soft style High speed, medium grain film Very fine grain, high contrast film Fine grain film, neutral rendering High speed, visible medium grain film 1970s coarse grain photojournalism film Chromogenic, ultra fine grain film Black & white filters Red Deep orange Orange Yellow Green Blue
Very fine grain photojournalism film Ultra high-speed coarse tabular grain film Chromogenic, ultra fine grain film Ultra fine grain portrait and landscape film Fine grain photojournalism film Ultra high-speed coarse tabular grain film High speed grainy photojournalism film Infrared film Infrared film with red filter Infrared film
Polaroid 669 Rather neutral film, portraits Polaroid 690 Rather saturated film, studio, still life Fuji FP 100 C All purpose, fairly saturated film Color negative films Agfa Ultra 100 Agfa Vista 200 Fuji 100 Fuji Superia 200 Fuji Xtra 800 Fuji Superia 1600 Kodak Elitecolor 200 Kodak Elitecolor 400 Kodak Portra 160 NC Kodak Portra 160 VC Black & white films Agfa APX 25 Fuji Neopan Acros 100 Fuji Neopan 1600 Ilford Pan F Plus 50 Ilford FP4 Plus 125 Ilford HP5 Plus 400 Ilford HPS 800 Ilford XP2 400

Soft rendering Light rendering Saturated rendering
Warms the image toward red tones Cools the image toward cool tones
Dramatic black & white Dramatic black & white Intense black & white High contrast skies Emphasizes plants Emphasizes skies
Toning (rendering according to photographic paper used) Gold Selenium Ferrous sulfate Sepia Gold sepia Earth sepia

Appendix 2

Table showing correspondence between slider settings of the stand-alone and Photoshop versions and the DxO Optics Pro dialog boxes Contrast As shot High Medium high Medium low Low Saturation As shot High saturation Medium high saturation Medium low saturation Low saturation slider @ 0 slider @ 100 slider @ 50 slider @ 25 slider @ 50 slider @ 0 slider @ 100 slider @ 50 slider @ 50 slider @ 100