Parameter reference · Ashigrain

These defaults apply when you first add the effect. Choosing a film can update settings specific to that stock.

The ranges list every accepted value, including values beyond the slider’s limits. The workflow guide covers setup and practical examples. Read about the measurements and approximations in the stock reference.

Essentials

Essentials parameters
Parameter	Type	Default	Range	Description
View `ui_view`	choice	Simple	Simple, Pro	Simple shows the essentials: this group (with the film look, its stock and the print film), Presets and About. Pro shows every control, in the order the plugin processes the image. Hidden controls keep their values and still apply.
Input Color Space `input_gamut`	choice	Auto (from host)	Auto (from host), DaVinci Wide Gamut, Rec.709, ACES AP1, P3-D65, Rec.2020, sRGB, ACES AP0, Adobe RGB, ARRI Wide Gamut 3, ARRI Wide Gamut 4, Blackmagic Design Wide Gamut Gen 4/5, Canon Cinema Gamut, DCI XYZ, DJI D-Gamut, Fujifilm F-Gamut C, P3-DCI, Rec.2100, REDWideGamutRGB, SMPTE-C, Sony S-Gamut, Sony S-Gamut3, Sony S-Gamut3.Cine, Panasonic V-Gamut, Fujifilm F-Gamut (Rec.2020 primaries), Nikon N-Gamut (Rec.2020 primaries), DRAGONcolor, DRAGONcolor2, P3-D60, REDcolor2, REDcolor3, REDcolor4, Blackmagic Design Film Gen 1, Blackmagic Design 4K Film Gen 1, Blackmagic Design 4K Film Gen 3, Blackmagic Design 4K Video Gen 3, Blackmagic Design 4.6K Film Gen 1, Blackmagic Design 4.6K Film Gen 3, Blackmagic Design 4.6K Video Gen 3, Blackmagic Design Pocket 4K Film Gen 4, Blackmagic Design Video Gamut Gen 4, Blackmagic Design Video Gen 5, DJI D-Gamut2, Vivo Wide Gamut, Apple Wide Gamut	Primaries of the input image. Match the timeline or node colour space. Auto: the colour space the host reports through OpenFX colour management, else the host's assumed working space (Rec.709 primaries). Resolve 21.1 reports every image as Raw (no colour space), so there Auto falls back to a Rec.709 / Gamma 2.4 timeline; in colour-managed projects choose the fields manually. Resolved as shows the result.
Input Gamma `input_gamma`	choice	Auto (from host)	Auto (from host), DaVinci Intermediate, ACEScct, Gamma 2.2, Gamma 2.4, Gamma 2.6, sRGB, Rec.709 OETF (BT.709), Linear, ACEScc, Adobe RGB, Apple Log, ARRI LogC3 (EI 800), ARRI LogC4, Blackmagic Design Film Gen 5, Canon Log, Canon Log 2, Canon Log 3, Cineon Film Log, DCI (X'Y'Z' 2.6), DJI D-Log, Fujifilm F-Log, Fujifilm F-Log2, Gamma 2.5, Leica L-Log, Nikon N-Log, Panasonic V-Log, Rec.2100 HLG, Rec.2100 HLG (Scene), Rec.2100 ST2084, Rec.2100 ST2084 (Scene), RED Log3G10, Sony S-Log, Sony S-Log2, Sony S-Log3, GoPro GP-Log2, REDlogFilm, Blackmagic Design Film, Blackmagic Design 4K Film, Blackmagic Design 4.6K Film, Blackmagic Design Broadcast Film Gen 4, Blackmagic Design Pocket 4K Film Gen 4, Blackmagic Design Pocket 6K Film Gen 4, Blackmagic Design Video, Blackmagic Design Video Gen 4, Blackmagic Design Extended Video Gen 4, Blackmagic Design Video Gen 5, Blackmagic Design Extended Video Gen 5, REDgamma3, REDgamma4, DJI D-Log2, Vivo Log, Insta360 I-Log, AstroDesign A-Log, Rec.709-A, ST2084 300 nit, ST2084 500 nit, ST2084 800 nit, ST2084 1000 nit, ST2084 2000 nit, ST2084 3000 nit, ST2084 4000 nit, Stops (18% Gray)	Transfer function of the input image. Auto: from the host, else the host's assumed working space: Linear in Nuke and Natron, Gamma 2.4 in other hosts (including Resolve 21.1, which reports Raw). A display gamma (Gamma 2.2/2.4/2.5/2.6, sRGB, Adobe RGB, DCI, Rec.2100 ST2084 and HLG) takes the inverse display rendering set by Highlight expansion; Rec.2100 ST2084 and HLG decode 203 cd/m2 to display white 1.0. GoPro GP-Log2 follows GoPro's published formula on sensor-linear light: it decodes 18% grey to 0.0517, about 1.8 stops under the 0.18 the other logs use, until it is checked against a reference implementation (so raise Exposure to match).
Resolved as `working_space_resolved`	string	—	—	The input colour space and gamma the image is decoded as, and why: the manual choice, or with Auto the colour space the host reports, else the host's assumed working space: Linear / Rec.709 in Nuke and Natron, Rec.709 / Gamma 2.4 in other hosts (including Resolve 21.1, which reports Raw: no colour space). Refreshed when a control changes.
Output Color Space `output_gamut`	choice	Same as input	Same as input, DaVinci Wide Gamut, Rec.709, ACES AP1, P3-D65, Rec.2020, sRGB, ACES AP0, Adobe RGB, ARRI Wide Gamut 3, ARRI Wide Gamut 4, Blackmagic Design Wide Gamut Gen 4/5, Canon Cinema Gamut, DCI XYZ, DJI D-Gamut, Fujifilm F-Gamut C, P3-DCI, Rec.2100, REDWideGamutRGB, SMPTE-C, Sony S-Gamut, Sony S-Gamut3, Sony S-Gamut3.Cine, Panasonic V-Gamut, Fujifilm F-Gamut (Rec.2020 primaries), Nikon N-Gamut (Rec.2020 primaries), DRAGONcolor, DRAGONcolor2, P3-D60, REDcolor2, REDcolor3, REDcolor4, Blackmagic Design Film Gen 1, Blackmagic Design 4K Film Gen 1, Blackmagic Design 4K Film Gen 3, Blackmagic Design 4K Video Gen 3, Blackmagic Design 4.6K Film Gen 1, Blackmagic Design 4.6K Film Gen 3, Blackmagic Design 4.6K Video Gen 3, Blackmagic Design Pocket 4K Film Gen 4, Blackmagic Design Video Gamut Gen 4, Blackmagic Design Video Gen 5, DJI D-Gamut2, Vivo Wide Gamut, Apple Wide Gamut	Primaries of the output image. Same as input: the input's. An explicit display target (e.g. Rec.709 with Gamma 2.4) must be the last transform in the chain.
Output Gamma `output_gamma`	choice	Same as input	Same as input, DaVinci Intermediate, ACEScct, Gamma 2.2, Gamma 2.4, Gamma 2.6, sRGB, Rec.709 OETF (BT.709), Linear, ACEScc, Adobe RGB, Apple Log, ARRI LogC3 (EI 800), ARRI LogC4, Blackmagic Design Film Gen 5, Canon Log, Canon Log 2, Canon Log 3, Cineon Film Log, DCI (X'Y'Z' 2.6), DJI D-Log, Fujifilm F-Log, Fujifilm F-Log2, Gamma 2.5, Leica L-Log, Nikon N-Log, Panasonic V-Log, Rec.2100 HLG, Rec.2100 HLG (Scene), Rec.2100 ST2084, Rec.2100 ST2084 (Scene), RED Log3G10, Sony S-Log, Sony S-Log2, Sony S-Log3, GoPro GP-Log2, REDlogFilm, Blackmagic Design Film, Blackmagic Design 4K Film, Blackmagic Design 4.6K Film, Blackmagic Design Broadcast Film Gen 4, Blackmagic Design Pocket 4K Film Gen 4, Blackmagic Design Pocket 6K Film Gen 4, Blackmagic Design Video, Blackmagic Design Video Gen 4, Blackmagic Design Extended Video Gen 4, Blackmagic Design Video Gen 5, Blackmagic Design Extended Video Gen 5, REDgamma3, REDgamma4, DJI D-Log2, Vivo Log, Insta360 I-Log, AstroDesign A-Log, Rec.709-A, ST2084 300 nit, ST2084 500 nit, ST2084 800 nit, ST2084 1000 nit, ST2084 2000 nit, ST2084 3000 nit, ST2084 4000 nit, Stops (18% Gray)	Transfer function of the output image. Same as input: the input's. A display gamma (Gamma 2.2/2.4/2.5/2.6, sRGB, Adobe RGB, DCI, Rec.2100 ST2084 and HLG) encodes the print for that display, so it must be the last transform in the chain: no node or colour management may convert it afterwards. Rec.2100 ST2084 and HLG show the print's white at HDR print white. A scene gamma (including the (Scene) variants) carries the print's display light at scale 1.0 for a closing colour space conversion.
Resolved as `output_resolved`	string	—	—	The output colour space and gamma the result is encoded in: the manual choice, or with Same as input the input's resolved field. Refreshed when a control changes.
Preset `look_preset`	choice	Custom	Custom, Kodak Vision3 50D, Kodak Vision3 500T, Kodak Portra 800, Fujifilm Pro 400H, Kodak Vision2 Expression 500T, Fujifilm Astia 100F, Agfa Agfachrome RSX II 100, Agfa Agfacolor Portrait XPS 160, Agfa Agfacolor Optima II 100, Kodak Vision3 250D, Kodak Vision3 200T, Fujifilm Eterna 250D, Fujifilm Eterna 500, Fujifilm Eterna Vivid 500, Kodak Kodachrome 64, Fujifilm Velvia 50, Agfa Agfacolor Ultra 50, Kodak Ektar 100, Kodak Ektachrome 100D, Kodak Ektachrome P1600, Svema LN-9, Eastman Color Negative 5247, Fujifilm Fujichrome 64T Type II, Kodak Aerocolor IV 2460, DS-5M, Eastman Double-X 5222, Kodak Tri-X Reversal 7266, Kodak T-Max P3200, Fomapan R 100, Ilford Ortho Plus, NK-2, Polaroid Type 669, Fujifilm FP-100C, Kodak Aerochrome III 1443, Technicolor Process II, 35mm cinema, Subtle, 16mm documentary, Super 8 home movie, Projected print, Bleach bypass	Applies a factory look or one of your saved presets (the files in ~/Library/Application Support/Ashigrain/Presets) as one undoable change. It sets the film and look controls and keeps the colour space and the Output & Debug settings. Custom: the controls no longer match a preset (changing a look control shows it); picking Custom changes nothing. Save adds a preset here; Load and Reset (in Presets) set every control.
Film look `film_look`	choice	Natural	Natural, Vivid & saturated, Vintage & odd, Black & white, Experimental	The kind of film to emulate; the stock menu below lists that look's stocks. Picking a look selects the stock its menu shows and resets the controls that come from the stock's data pack, as picking a stock does. Hidden when the grade's stock is in no look (Stock is shown instead).
Stock `stock_natural`	choice	Kodak Vision3 500T	Kodak Vision3 50D, Kodak Vision3 500T, Kodak Portra 800, Fujifilm Pro 400H, Kodak Vision2 Expression 500T, Fujifilm Astia 100F, Agfa Agfachrome RSX II 100, Agfa Agfacolor Portrait XPS 160, Agfa Agfacolor Optima II 100, Kodak Vision3 250D, Kodak Vision3 200T, Fujifilm Eterna 250D, Fujifilm Eterna 500	Camera film stock to emulate, among the stocks of the look chosen in Film look. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Shown while Film look selects this menu's look. Stock names are trademarks of their owners (see About).
Stock `stock_vivid`	choice	Fujifilm Eterna Vivid 500	Fujifilm Eterna Vivid 500, Kodak Kodachrome 64, Fujifilm Velvia 50, Agfa Agfacolor Ultra 50, Kodak Ektar 100, Kodak Ektachrome 100D	Camera film stock to emulate, among the stocks of the look chosen in Film look. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Shown while Film look selects this menu's look. Stock names are trademarks of their owners (see About).
Stock `stock_vintage`	choice	Kodak Ektachrome P1600	Kodak Ektachrome P1600, Svema LN-9, Eastman Color Negative 5247, Fujifilm Fujichrome 64T Type II, Kodak Aerocolor IV 2460, DS-5M	Camera film stock to emulate, among the stocks of the look chosen in Film look. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Shown while Film look selects this menu's look. Stock names are trademarks of their owners (see About).
Stock `stock_bw`	choice	Eastman Double-X 5222	Eastman Double-X 5222, Kodak Tri-X Reversal 7266, Kodak T-Max P3200, Fomapan R 100, Ilford Ortho Plus, NK-2	Camera film stock to emulate, among the stocks of the look chosen in Film look. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Shown while Film look selects this menu's look. Stock names are trademarks of their owners (see About).
Stock `stock_experimental`	choice	Polaroid Type 669	Polaroid Type 669, Fujifilm FP-100C, Kodak Aerochrome III 1443, Technicolor Process II	Camera film stock to emulate, among the stocks of the look chosen in Film look. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Shown while Film look selects this menu's look. Stock names are trademarks of their owners (see About).
Print film `print_film`	choice	Kodak Vision Color Print Film 2383	Kodak Vision Color Print Film 2383, Fujifilm Eterna-CP 3513DI, Kodak B&W Print Film 2302, Svema TsP-8R, Kodak Vision Premier Color Print Film 2393, Eastman EXR Color Print Film 5386, Agfa CP30 Colour Print Film	Print film the negative is printed onto in Print mode (inactive in Scan and Reversal). Every negative prints on every print film, colour or B&W; picking a camera film selects its recommended print. A print the stock's data does not list (older or third-party packs) is refused and the menu returns to the current print. Hidden when the grade's print is not in this menu (Print stock, in Film, is shown instead).
Strength `tone_mix`	double	1	0 to 1	Strength of the film look: blends the whole film rendering with the unprocessed image (only converted from the input to the output colour space), in output code values; 1 = full film rendering, 0 = unprocessed image. Applied before gate weave and flicker, so the whole frame moves together. Not applied in debug views.
Exposure `exposure_stops`	double	0	-10 to 10	Camera exposure offset in stops, on the light reaching the film: +1 doubles it, -1 halves it.
Grain amount `grain_amount`	double	0.8	0 to 4	Grain amplitude relative to the stock's datasheet RMS granularity; 1 = datasheet. Default 0.8, a little under the datasheet, as a look choice. Inactive while the Grain group's Enable is off.
Halation amount `halation_amount`	double	1	0 to 4	Halation strength relative to the stock's calibrated value; 1 = stock default. Inactive while the Halation group's Enable is off.

Color Space

Color Space parameters
Parameter	Type	Default	Range	Description
Source was display-referred video `source_display_referred`	bool	off	—	Applies the inverse display rendering to a scene-referred input gamma too, for Rec.709 video converted into e.g. DaVinci Wide Gamut / Intermediate. Pair it with the colour space conversion that did so: from Rec.709 / Gamma 2.4 with tone mapping None (or the project's colour management doing the same). Only for a scene input gamma.
Highlight expansion `input_highlight_expansion`	double	1	0 to 1	Only affects a display input gamma (e.g. Rec.709 / Gamma 2.4), or a scene gamma with Source was display-referred video. Video is display-referred: a plain gamma 2.4 decode puts white only 2.5 stops over mid-grey, so prints come out dark with dull highlights. This decodes it through the inverse of a standard display rendering instead: mid-grey and shadows stay as they are, and the highlights expand so video white lands 6 stops over mid-grey, with hues kept. 0 = plain decode, 1 = full expansion. Same-as-input output applies the exact inverse.
Output White Point `output_white`	choice	D65	D65, Gamut native (no adaptation)	White point of the output image. D65: a gamut whose white is not D65 (P3-DCI, P3-D60, the ACES gamuts, DCI XYZ) is adapted with Bradford, so RGB 1, 1, 1 is D65 and the print's white stays neutral. Gamut native (no adaptation): RGB 1, 1, 1 is the gamut's own white and colours are written colorimetrically, so a D65 print white is not R = G = B there and may clip in one channel. Also sets the input decode. B&W stays R = G = B either way.
HDR print white (nits) `hdr_print_white_nits`	double	203	48 to 1000	Luminance in cd/m2 of clear film through the projector (the print's white) when the output gamma is Rec.2100 ST2084 or HLG. Everything below scales with it, like a brighter projector: 406 doubles every luminance. 203 is the ITU-R BT.2408 HDR reference white, where BT.2408 places SDR white. Highlights above it are kept up to the signal's peak. The Scan mode and a bypassed Branch ignore it.

Film

Film parameters
Parameter	Type	Default	Range	Description
Stock `stock`	choice	Kodak Vision3 500T	Kodak Vision3 50D, Kodak Vision3 250D, Kodak Vision3 200T, Kodak Vision3 500T, Kodak Ektachrome 100D, Eastman Double-X 5222, Kodak Tri-X Reversal 7266, Fujifilm Eterna 250D, Fujifilm Eterna 500, Fujifilm Eterna Vivid 500, Kodak Vision3 500T, rem-jet removed, Kodak Kodachrome 64, Fujifilm Velvia 50, Kodak Ektachrome P1600, Kodak Portra 800, Fujifilm Pro 400H, Kodak Vision2 Expression 500T, Kodak T-Max P3200, Svema LN-9, Fujifilm Astia 100F, Agfa Agfachrome RSX II 100, Agfa Agfacolor Portrait XPS 160, Agfa Agfacolor Optima II 100, Agfa Agfacolor Ultra 50, Kodak Ektar 100, Eastman Color Negative 5247, Fujifilm Fujichrome 64T Type II, Kodak Aerocolor IV 2460, DS-5M, Fomapan R 100, Ilford Ortho Plus, NK-2, Polaroid Type 669, Fujifilm FP-100C, Kodak Aerochrome III 1443, Technicolor Process II, Kodak Vision3 250D, rem-jet removed, Kodak Vision3 50D, rem-jet removed	Camera film stock to emulate. Picking a stock resets the controls that come from its data pack (format, mode, print stock, camera filter, scene light, grain balance, printer lights, halation and bloom radius and threshold); your relative adjustments stay. Stock names are trademarks of their owners (see About). Shown only for a stock no Film look menu lists (e.g. from an older grade); otherwise Film look and its stock menu set it.
Mode `mode`	choice	Print	Print, Scan, Reversal, Auto (stock default)	What the lab does with the developed film. Print: the negative printed onto the print film (colour or B&W, whatever the negative) and projected; shows the Print group. Scan: a flat, log-like scan of the negative; shows the Scan group. Reversal: the reversal stock's own positive, displayed directly. Auto: the stock's own mode, Print for most negatives (Scan for still negatives made for scanning), and Reversal for colour and B&W reversal stocks. A mode the stock cannot use behaves as Auto, so a reversal stock is never printed (reversal stocks render as Reversal, colour reversal also as Scan; negatives as Print or Scan).
Print stock `print_stock`	choice	Kodak Vision Color Print Film 2383	Kodak Vision Color Print Film 2383, Kodak Vision Premier Color Print Film 2393, Fujifilm Eterna-CP 3513DI, Kodak B&W Print Film 2302, Svema TsP-8R, Eastman EXR Color Print Film 5386, Agfa CP30 Colour Print Film	Print film the negative is printed onto in Print mode, or Auto on a negative (inactive in Scan and Reversal). Every negative prints on every print film, colour or B&W; the stock's default is its recommended print. A print the stock's data does not list here falls back to the stock's default print. Shown only for a print the Print film menu does not list; otherwise Print film sets it.
Format `film_format`	choice	Super 35 (4-perf)	Super 35 (4-perf), Super 35 (3-perf), 35mm Academy, 35mm still (135), 16mm, Super 16, Standard 8, Super 8	Film gauge and camera aperture. The image width (or height, see Fit) maps to this frame size on film, so every physical size (grain, halation and bloom radius, sharpness, gate weave) converts to pixels through it: smaller gauges show larger grain and wider glows. Auto gate weave and flicker follow it. Every format can be used with every stock; the stocks were historically made in: Kodak Vision3 50D: 35 mm, 16 mm, Super 8; Kodak Vision3 250D: 35 mm, 16 mm; Kodak Vision3 200T: 35 mm, 16 mm, Super 8; Kodak Vision3 500T: 35 mm, 16 mm, Super 8; Kodak Ektachrome 100D: 35 mm, 16 mm, Super 8; Eastman Double-X 5222: 35 mm, 16 mm; Kodak Tri-X Reversal 7266: 16 mm, Super 8; Fujifilm Eterna 250D: 35 mm, 16 mm; Fujifilm Eterna 500: 35 mm, 16 mm; Fujifilm Eterna Vivid 500: 35 mm, 16 mm; Kodak Vision3 500T, rem-jet removed: 35 mm, 16 mm, Super 8; Kodak Kodachrome 64: 35 mm; Fujifilm Velvia 50: 35 mm; Kodak Ektachrome P1600: 35 mm; Kodak Portra 800: 35 mm; Fujifilm Pro 400H: 35 mm; Kodak Vision2 Expression 500T: 35 mm, 16 mm; Kodak T-Max P3200: 35 mm; Svema LN-9: 35 mm; Fujifilm Astia 100F: 35 mm; Agfa Agfachrome RSX II 100: 35 mm; Agfa Agfacolor Portrait XPS 160: 35 mm; Agfa Agfacolor Optima II 100: 35 mm; Agfa Agfacolor Ultra 50: 35 mm; Kodak Ektar 100: 35 mm; Eastman Color Negative 5247: 35 mm; Fujifilm Fujichrome 64T Type II: 35 mm; Kodak Aerocolor IV 2460: 35 mm; DS-5M: 35 mm; Fomapan R 100: 35 mm, 16 mm, 8 mm, Super 8; Ilford Ortho Plus: 35 mm; NK-2: 35 mm, 16 mm; Polaroid Type 669: 35 mm; Fujifilm FP-100C: 35 mm; Kodak Aerochrome III 1443: 35 mm; Technicolor Process II: 35 mm; Kodak Vision3 250D, rem-jet removed: 35 mm, 16 mm; Kodak Vision3 50D, rem-jet removed: 35 mm, 16 mm, Super 8.
Fit `fit`	choice	Width	Width, Height	Which image dimension maps to the frame's size on film when the image and the frame have different aspect ratios.

Scene Light

Scene Light parameters
Parameter	Type	Default	Range	Description
Scene light `scene_light`	choice	Stock design light	Stock design light, Custom	The light the scene was lit by, as the film sees it. Stock design light: the light the stock is balanced for (3200 K tungsten for T stocks, 5500 K daylight for D and B&W stocks), so a neutral surface records neutral. Custom: a CIE light at Light temperature and Light tint; a light away from the design light records warmer or cooler on the negative, as it would on film, and the print timing then corrects it towards neutral. Picking a stock resets it to the design light. Not used when Input white balance is Fixed.
Light temperature `light_cct`	double	5500	2800 to 10000	Correlated colour temperature of the Custom scene light in kelvin, 2800-10000 K: about 3200 K for studio tungsten, 5500-5600 K for daylight and HMI, 6500 K and up for overcast sky and shade. Custom scene light only.
Light tint `light_tint`	double	0	-100 to 100	Green-magenta tint of the Custom scene light in CC units (colour-compensating filter density x 100): positive is magenta, negative green, e.g. -30 for fluorescent-green light. Custom scene light only.
Input white balance `input_wb`	choice	Balanced	Balanced, Fixed at decode white	How the footage was white-balanced. Balanced: a neutral surface is neutral in the image (auto or matched white balance), and Scene light says what light it was under. Fixed at decode white: the camera or raw decode used a fixed white balance (Decode temperature and tint), so the image keeps the colour of the light, and that white is taken to be the scene light.
Decode temperature `decode_cct`	double	5600	2800 to 10000	White balance the footage was decoded at, in kelvin (the camera's or raw decode's colour temperature setting), 2800-10000 K. Fixed input white balance only.
Decode tint `decode_tint`	double	0	-100 to 100	Tint the footage was decoded at, in CC units (colour-compensating filter density x 100): positive is magenta, negative green. Fixed input white balance only.

Camera

Camera parameters
Parameter	Type	Default	Range	Description
Camera filter `camera_filter`	choice	None	None, 85 (daylight on tungsten film), 80A (tungsten on daylight film)	Colour-conversion filter on the camera lens, with its exposure loss (85: 2/3 stop, 80A: 2 stops) and its colour. Every stock defaults to none: the default scene light is the stock's design light, which needs no filter. Use the 85 for tungsten film under daylight, the 80A for daylight film under tungsten light.
EI override `ei`	double	0	0 to 25600	Exposure index (ISO arithmetic) the stock is rated at in the camera. 0 uses the stock's rated EI through the camera filter (native EI less the filter factor: 5219 with the 85 is EI 315); rating it higher underexposes the film by log2(EI / rated EI) stops. The rated EI follows Rem-jet removed: 5219 with it ticked is rated at EI 800.
Vignette `vignette_enabled`	bool	off	—	Vignette: lens falloff on the light reaching the film, darkening the frame towards its corners before the film records it, so a corner prints darker by the film's and the print's tone response. Part of the camera exposure: Bypass Exposure bypasses it.
Vignette amount `vignette_amount`	double	0.3	0 to 1	Light loss of the lens at the frame corners, before the film: 0 = none, 1 = no light.
Vignette size `vignette_size`	double	1	0.1 to 4	Radius of the lens falloff relative to the frame's half-diagonal.
Vignette roundness `vignette_roundness`	double	1	0 to 1	Shape of the lens falloff: 1 = circular, 0 = follows the frame's aspect ratio.

Halation

Halation parameters
Parameter	Type	Default	Range	Description
Enable `halation_enabled`	bool	on	—	Adds halation: light scattered back from the film base into the emulsion, a mostly red glow around bright highlights.
Radius (mm on film) `halation_radius_mm`	double	0.07999999821186066	0.01 to 2	Spread of the halation glow: the Gaussian sigma in mm on the film plane. Its pixel equivalent depends on the format and image size (pixels per mm = image width / frame width), so the same radius spans more pixels on smaller formats. Default from the stock pack.
Threshold `halation_threshold_stops`	double	2.5	-4 to 8	Exposure above which highlights halate, in stops above mid-grey exposure (a soft threshold). Default from the stock pack.
Knee `halation_knee`	double	1	0.05 to 8	Softness of the threshold, in multiples of the mid-grey exposure; larger is softer. Default from the stock pack.
Tint R `halation_tint_r`	double	1	0 to 4	Multiplier on the halation reaching the red-sensitive layer (the glow's colour); 1 = stock weights.
Tint G `halation_tint_g`	double	1	0 to 4	Multiplier on the halation reaching the green-sensitive layer (the glow's colour); 1 = stock weights.
Tint B `halation_tint_b`	double	1	0 to 4	Multiplier on the halation reaching the blue-sensitive layer (the glow's colour); 1 = stock weights.
Rem-jet removed `antihalation_removed`	bool	off	—	Simulates the film without its rem-jet backing (or, on films without one, its antihalation layer): much stronger halation. Where a repackager publishes a rating for the film without rem-jet (e.g. Vision3 500T at EI 800), the film is rated at it.

Bloom

Bloom parameters
Parameter	Type	Default	Range	Description
Enable `bloom_enabled`	bool	on	—	Adds bloom: a wide, neutral glow around the brightest highlights.
Amount `bloom_amount`	double	1	0 to 4	Bloom strength relative to the stock pack's value; 1 = stock default.
Radius (mm on film) `bloom_radius_mm`	double	0.029999999329447746	0.01 to 5	Spread of the bloom: the Gaussian sigma in mm on the film plane. Its pixel equivalent depends on the format and image size. Default from the stock pack.
Threshold `bloom_threshold_stops`	double	3.5	-4 to 8	Exposure above which highlights bloom, in stops above mid-grey exposure (a soft threshold). Default from the stock pack.

Development

Development parameters
Parameter	Type	Default	Range	Description
Push/Pull `push_pull_stops`	double	0	-3 to 3	Push (+) or pull (-) processing in stops, at development: pushing raises contrast, fog and grain, pulling lowers them.
Contrast `contrast`	double	1	0.1 to 4	Scale on the gradient of the negative's characteristic curves about the mid-grey density; 1 = datasheet curves.
Shadow compression `toe`	double	0	-1 to 1	Compresses or expands the shadows more than 2 stops below a normally exposed mid-grey, before the film's characteristic curve. Positive: lifted, softer shadows that keep more detail; negative: deeper shadows that block up sooner. 0 = datasheet curve, -1 to 1.
Highlight compression `shoulder`	double	0	-1 to 1	Compresses or expands the highlights more than 2 stops above a normally exposed mid-grey, before the film's characteristic curve. Positive: softer highlights that roll off gently; negative: brighter highlights that clip sooner. 0 = datasheet curve, -1 to 1.
Saturation method `saturation_method`	choice	Normal	Normal, Even, Dense	How Saturation scales the negative's colour in density. Normal: about the stock's neutral axis. Even: about the midpoint of the layers, like HSL saturation. Dense: about the most-exposed layer, like HSV saturation, so richer colours also go darker. Not used on black-and-white stocks.
Saturation `saturation`	double	1	0 to 4	Scales the negative's colour in density about the pivot the Saturation method sets, after the interlayer effects; neutrals and the grey card's timing are unchanged. 0 = monochrome negative, 1 = unchanged, above 1 = more colourful. Not used on black-and-white stocks.
Interlayer effects `interlayer_strength`	double	1	0 to 4	Strength of the interlayer (DIR) colour effects between the negative's layers during development, relative to the stock's fitted value; 1 = stock, 0 = off. Not used on black-and-white stocks.

Grain

Grain parameters
Parameter	Type	Default	Range	Description
Enable `grain_enabled`	bool	on	—	Adds film grain, calibrated per layer to the stock's datasheet RMS granularity.
Size `grain_size`	double	1	0.25 to 4	Grain size relative to the stock's modelled dye-cloud or silver-clump size; 1 = the stock model. This size is an approximation, not a measured datasheet value. It is a size on film, so smaller formats look coarser.
Color/luma balance `grain_correlation`	double	0.30000001192092896	0 to 1	Correlation between the three layers' grain: 0 = independent grain per layer (colour grain), 1 = the same grain in every layer (luma grain). Default from the stock pack.
Amount R `grain_amount_r`	double	1	0 to 4	Grain multiplier for the red-sensitive layer; 1 = datasheet.
Amount G `grain_amount_g`	double	1	0 to 4	Grain multiplier for the green-sensitive layer; 1 = datasheet.
Amount B `grain_amount_b`	double	1	0 to 4	Grain multiplier for the blue-sensitive layer; 1 = datasheet.
Response Shadows `grain_response_shadows`	double	1	0 to 4	Grain weight in the shadows (by film density); 1 = datasheet granularity at that density.
Response Midtones `grain_response_midtones`	double	1	0 to 4	Grain weight in the midtones (by film density); 1 = datasheet granularity at that density.
Response Highlights `grain_response_highlights`	double	1	0 to 4	Grain weight in the highlights (by film density); 1 = datasheet granularity at that density.
Temporal mode `grain_temporal_mode`	choice	Animated	Animated, Static	Animated: a new grain pattern every frame, as on film. Static: frame 0's pattern on every frame.
Seed `grain_seed`	int	0	0 to 2147483647	Seed of the grain pattern. The same seed, frame and settings always give the same grain; change it to get a different pattern.
Highlight grain `grain_highlight_amount`	double	0.5	0 to 1	How much grain the highlights keep, 0 to 1. 1 = the physical grain: film grain is density noise, and a print keeps it visible up to its upper midtones (a blue sky, about one stop over mid-grey). Lower values fade the grain from mid-grey up by the exposure the film shows there (at 0.5 that sky keeps 75% of its grain), reaching this fraction 2 stops over grey (a reversal stock whose brightest white is lower, at that white); mid-grey and the shadows keep all their grain. A look control, not datasheet data. Default 0.5.

Resolution

Resolution parameters
Parameter	Type	Default	Range	Description
Enable `resolution_enabled`	bool	on	—	Applies the stock's modelled sharpness (MTF) as a blur on film. The fit and, for some stocks, the underlying response are an approximation; see the stock reference for the available measurements and limits.
Sharpness `sharpness`	double	1	0.1 to 4	Relative to the datasheet MTF; above 1 is sharper (the blur's size on film scales by 1 / sharpness).
Amount R `resolution_amount_r`	double	1	0 to 4	Blur amount of the red-sensitive layer; 1 = its datasheet MTF, 0 = no blur.
Amount G `resolution_amount_g`	double	1	0 to 4	Blur amount of the green-sensitive layer; 1 = its datasheet MTF, 0 = no blur.
Amount B `resolution_amount_b`	double	1	0 to 4	Blur amount of the blue-sensitive layer; 1 = its datasheet MTF, 0 = no blur.

Print

Print parameters
Parameter	Type	Default	Range	Description
Printer light R `printer_light_r`	double	0	-50 to 50	Printer lights are offsets on the automatic grey-card timing, which prints a metered 18% grey on the print's aim. The red printer light in printer points (1 point = 0.025 log exposure of the print stock). More light in one channel makes the print denser in that layer's dye. Print mode, colour print films only: a B&W print film has one layer, timed by Print density.
Printer light G `printer_light_g`	double	0	-50 to 50	Printer lights are offsets on the automatic grey-card timing, which prints a metered 18% grey on the print's aim. The green printer light in printer points (1 point = 0.025 log exposure of the print stock). More light in one channel makes the print denser in that layer's dye. Print mode, colour print films only: a B&W print film has one layer, timed by Print density.
Printer light B `printer_light_b`	double	0	-50 to 50	Printer lights are offsets on the automatic grey-card timing, which prints a metered 18% grey on the print's aim. The blue printer light in printer points (1 point = 0.025 log exposure of the print stock). More light in one channel makes the print denser in that layer's dye. Print mode, colour print films only: a B&W print film has one layer, timed by Print density.
Print density `print_density`	double	0	-50 to 50	Overall print exposure in printer points (on a colour print, all three lights together), on top of the grey-card timing; positive makes the print denser (darker). Print mode only.
Print contrast `print_contrast`	double	1	0.1 to 4	Scales the print's densities about the print aim, the density the metered 18% grey prints to, so grey stays put while shadows get denser and highlights lighter (above 1) or the reverse (below 1). 1 = the print stock's datasheet curves. Print mode only.
Mix `print_mix`	double	1	0 to 1	Blend of the print with a flat scan of the negative, matched at 18 % grey; 1 = full print, 0 = scan look. Print mode only.

Scan

Scan parameters
Parameter	Type	Range	Description
Scan balance R `scan_balance_r`	double	-50 to 50	Scan mode: the red channel's offset in points on top of the automatic grey-card scan balance; +1 point brightens that channel by 0.025 log exposure at the layer's mid-scale gradient. Colour negative and colour reversal stocks only; no effect on black-and-white stocks.
Scan balance G `scan_balance_g`	double	-50 to 50	Scan mode: the green channel's offset in points on top of the automatic grey-card scan balance; +1 point brightens that channel by 0.025 log exposure at the layer's mid-scale gradient. Colour negative and colour reversal stocks only; no effect on black-and-white stocks.
Scan balance B `scan_balance_b`	double	-50 to 50	Scan mode: the blue channel's offset in points on top of the automatic grey-card scan balance; +1 point brightens that channel by 0.025 log exposure at the layer's mid-scale gradient. Colour negative and colour reversal stocks only; no effect on black-and-white stocks.

Projection & Motion

Projection & Motion parameters
Parameter	Type	Default	Range	Description
Gate weave `weave_enabled`	choice	Auto (format default)	Auto (format default), On, Off	Frame-to-frame movement of the image in the gate, applied to the finished image. Auto follows the format: on for 8 mm and 16 mm, off for 35 mm and still.
Weave amplitude `weave_amplitude`	double	1	0 to 10	Relative to the format's typical weave amplitude (in µm on film); 1 = default.
Weave speed `weave_speed`	double	1	0.05 to 10	Relative to the default weave rate (a new key every 12 frames); above 1 is faster.
Weave rotation `weave_rotation_deg`	double	0	0 to 5	Peak rotation of the frame in the gate, in degrees; 0 = none.
Flicker `flicker_enabled`	choice	Auto (format default)	Auto (format default), On, Off	Frame-to-frame brightness variation of the finished image, as from a projector. Auto follows the format: on for 8 mm only.
Flicker amount `flicker_amount`	double	1	0 to 10	Relative to the format's typical flicker; 1 = default.
Seed `motion_seed`	int	0	0 to 2147483647	Seed of the weave and flicker motion. The same seed and frame always give the same motion.

Output & Debug

Output & Debug parameters
Parameter	Type	Default	Range	Description
Debug view `debug_view`	choice	None	None, Layer exposures, Densities, Grain only, Halation only, Print densities	Shows an intermediate of the pipeline instead of the result, as false colour (film layers on R, G, B), recomputed with the bypass settings. Layer exposures: log exposure, -5 to 1 log lux-seconds shown as 0 to 1. Densities: the negative's density, 0 to 3 shown as 0 to 1. Print densities: the print's density (print mode only, black otherwise), 0 to 4 shown as 0 to 1. Grain only: the density change the grain adds, after the resolution softening, on mid-grey, shown as 0.5 + change / 0.25 (a change of 0.125 density reaches white or black). Halation only: the halation and bloom light added, on black; 1 = the exposure of the 18% grey card. Both need the spatial stages: without them, or with that stage off or bypassed, they show mid-grey or black.
Bypass Decode `bypass_decode`	bool	off	—	Passes the Decode stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Exposure `bypass_exposure`	bool	off	—	Passes the Exposure stage through unchanged, to compare its effect. It includes the vignette, which is lens falloff in the camera exposure. For inspection, not for grading.
Bypass Projection `bypass_projection`	bool	off	—	Passes the Projection stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Halation & bloom `bypass_halation_bloom`	bool	off	—	Passes the Halation & bloom stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Curves `bypass_curves`	bool	off	—	Passes the Curves stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Interlayer `bypass_interlayer`	bool	off	—	Passes the Interlayer stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Grain `bypass_grain`	bool	off	—	Passes the Grain stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass MTF `bypass_mtf`	bool	off	—	Passes the MTF stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Branch `bypass_branch`	bool	off	—	Passes the Branch stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Encode `bypass_encode`	bool	off	—	Passes the Encode stage through unchanged, to compare its effect. For inspection, not for grading.
Bypass Motion `bypass_post`	bool	off	—	Passes the Motion stage through unchanged, to compare its effect. For inspection, not for grading.
Split compare `split_compare`	bool	off	—	Shows the input on the left and the result on the right of a vertical split.
Split position `split_position`	double	0.5	0 to 1	Position of the split as a fraction of the image width, from the left.
Debug log `debugLog`	bool	off	—	Append diagnostic lines to ~/Library/Logs/Ashigrain/ashigrain.log. Off by default; the environment variable ASHIGRAIN_DEBUG_LOG=1 also enables it. Does not change the image.

Presets

Presets parameters
Parameter	Type	Default	Range	Description
Preset file `preset_file`	string		—	Full path of the preset file (JSON) to load or save; ~ is your home folder. Leave it empty and press Save to save into ~/Library/Application Support/Ashigrain/Presets under a name made of the stock and the date and time.
Load preset `preset_load`	button	—	—	Sets every control from the preset file, as one undoable change, the colour space and debug settings included (the Preset menu in Essentials keeps those). Controls the file does not list take the preset stock's defaults; settings this version does not know are ignored and named in a warning.
Save preset `preset_save`	button	—	—	Saves every control (not the diagnostics) to the preset file, replacing it. With an empty path it saves to ~/Library/Application Support/Ashigrain/Presets, fills in the path and selects the new preset in the Preset menu.
Reset to stock defaults `preset_reset`	button	—	—	Resets every control to the selected stock's defaults, as one undoable change, the colour space and debug settings included.

About

About parameters
Parameter	Type	Default	Range	Description
Trademarks `about_notice`	string	—	—	Film stock names are used only to identify the stock whose published data each emulation is based on. They are trademarks of their owners: Kodak, Vision3, Ektachrome, Eastman, Double-X, Tri-X, Vision, Kodachrome, Portra, Vision2, T-Max, Ektar, Aerocolor, Aerochrome, EXR (Eastman Kodak Company); Fujifilm, Eterna, Velvia, Astia, Fujichrome (FUJIFILM Corporation); Svema, DS-5M, NK-2, Technicolor (their respective owners); Agfa, Agfachrome, Agfacolor (Agfa-Gevaert AG); Foma, Fomapan (FOMA BOHEMIA); Ilford, Ortho Plus (HARMAN technology Limited); Polaroid (Polaroid Corporation); Agfa (Agfa-Gevaert N.V.). Ashigrain is not affiliated with or endorsed by them.
About `about`	string	—	—	Ashigrain version and build identifier.
Activate `license_activate`	button	—	—	Opens the activation page in your browser and shows a code. Approve this Mac there with your Ashigrain account; the license then applies to every Ashigrain instance. Needs an internet connection.
License `license_status`	string	—	—	License status: "Licensed" with the license id and the date by which Ashigrain renews it online, "Waiting for approval" with the code to approve in the browser, or "Trial" with the reason. In trial mode Ashigrain renders with a watermark. Updates when you change a control.
Deactivate `license_deactivate`	button	—	—	Releases the license from this Mac so you can activate another one; this Mac returns to trial mode. Needs an internet connection.
Update `update_status`	string	—	—	Shown when a newer Ashigrain version is available for your license. Ashigrain checks when it renews the license online, once each time the host application loads Ashigrain. Updates are free.
Get update `update_get`	button	—	—	Opens your account page in the browser, where you download the new installer. Quit the applications that use Ashigrain, then open the installer; your activation and presets are kept.
Language `ui_language`	choice	Auto	Auto, English (UK), Español, Français, Italiano, Deutsch, Polski, Українська	The language of the plugin's controls and messages. Auto uses the first supported language in your macOS language order (System Settings > General > Language & Region), else English (UK). Saved for your user account on this Mac, not in projects or presets, and never changes the image. Takes effect after you restart the host application.
Language in use `ui_language_active`	string	—	—	The language the plugin uses now, chosen when the host application started. A different choice under Language is named here until you restart the host application.