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What is halation, and how to add it in DaVinci Resolve

The red-orange glow film adds around bright highlights: what causes it, how antihalation layers and gauge change it, and how to add it in DaVinci Resolve.

Ashigrain teamPublished

Ashigrain model render of synthetic point highlights on Vision3 500T with rem-jet removed, each with a red halo. Not a scan of film.
Spread on film
0.08mm
Gaussian sigma, every stock (model approximation)
Threshold
2.5stops
Above mid-grey exposure, default
Layer weights
1 · 0.25 · 0
Red · green · blue (model approximation)
No backing
×6
Rem-jet strength, rem-jet removed

Short answer

Halation is a glow around bright highlights on film, and the halation effect people add in grading imitates it.

Light goes through the emulsion, bounces back off the film base and exposes the emulsion a second time, just beside where it first landed. On colour negative it shows as a red to orange fringe round lamps, practicals and specular highlights. To add it in DaVinci Resolve, put Ashigrain on a node on the Color page, choose a film stock, and set Halation amount.

01 — What halation is

What halation is

Film is a stack of layers: the light-sensitive emulsion sits on a transparent base, and in a colour film the emulsion itself is several layers, one each for red, green and blue light. Some light passes right through the emulsion. Where the emulsion meets the base, part of it bounces back up and exposes the emulsion again. Kodak’s Essential Reference Guide for Filmmakers describes the result as “a secondary exposure around images of bright objects” and names it halation. It costs the image some sharpness and scatters a little light (Kodak H-845, PDF p.33).

“A secondary exposure around images of bright objects.”

Kodak, Essential Reference Guide for Filmmakers, H-845, PDF p.33

The reflected light re-enters the emulsion from below. In Ashigrain’s model, the layers nearest the base take most of it. It shows up next to bright objects, where enough light gets through to leave a visible second image. A grey wall does not halate. A bare bulb, a street lamp at night or the sun on chrome does.

So halation belongs to the highlights, not to the whole image. Its colour depends on which layers the light re-exposes, and Ashigrain assumes, as a model approximation, that the returning light mostly reaches the red-sensitive layer, with a little reaching the green layer and none reaching the blue. That gives the familiar red-orange halo.

02 — How film stocks fight halation

How film stocks fight halation: rem-jet, undercoat and dyed base

Kodak treats halation as an unwanted side effect. Many films carry an antihalation layer, a dark coating in or on the base that soaks up the reflected light. Kodak describes three common ways of doing this (Kodak H-845, PDF pp.33-34); the fourth class is taking it away.

  • ×1Default amount 0.04

    Rem-jet backing

    Rem-jet (short for removable jet black) is a backing of carbon black in a binder that dissolves in water, coated on the back of the film. Besides absorbing stray light, it stops static, helps the film run smoothly and guards the base against scratches (PDF p.33). The lab washes it off at the very start of processing, ahead of the developer (PDF p.34).

    Example stock: Vision3 500T 5219. The Kodak Vision3 camera negatives use it; the 5219 datasheet lists a rem-jet backing (Kodak H-1-5219t, p.1).

  • ×0.5Default amount 0.02

    Antihalation undercoat

    An antihalation undercoat sits between the emulsion and the base: a gelatin layer coloured with silver or dye. Kodak mentions it for some thin-emulsion films, and processing clears its colour (PDF p.34).

    Example stock: Velvia 50. Fujifilm Velvia 50’s datasheet prints the undercoat (Fujifilm AF3-0221E2, p.7).

  • ×2Default amount 0.08

    Grey (dyed) base

    A dyed film base has a grey, neutral-density dye mixed into the base itself. The dye cuts halation and also keeps light from travelling along the base from the film’s edge. Kodak puts the dye density anywhere from almost nothing up to roughly 0.2, and says the denser bases are mostly black-and-white negatives on cellulose, where the dye is there for halation (PDF p.34).

    Example stock: Double-X 5222, on a grey acetate base (Kodak H-1-5222, p.1).

  • ×6Default amount 0.24

    No backing

    Rem-jet removed: with no absorber, the back of the base reflects the light straight into the emulsion. See rem-jet removal and the no-backing look.

    Example stock: Vision3 500T 5219 with the Rem-jet removed option on.

The strengths are relative to rem-jet and are model approximations. None of these sources says how much halation each method leaves: the available datasheets do not quantify halation.

03 — Rem-jet removal

Rem-jet removal and the no-backing look

Take the rem-jet off a stock like Vision3 500T and the film loses its main defence. Hard highlights then pick up a much stronger red halo.

Two enlarged crops of a bright white point on a dark background. Left, with rem-jet: a faint thin red rim. Right, without rem-jet: a wider, stronger red-orange halo.: With rem-jet (5219)Two enlarged crops of a bright white point on a dark background. Left, with rem-jet: a faint thin red rim. Right, without rem-jet: a wider, stronger red-orange halo.: Without rem-jet (5219 no-rem-jet)
Model render of our point-highlights test chart: Kodak VISION3 500T 5219 with its rem-jet backing (left) and the same stock without it, the model's 5219 no-rem-jet variant (right), printed on 2383, Super 35 at 1920 px, 2× nearest-neighbour enlargement. Without the backing the model uses the no-antihalation strength, six times the rem-jet strength (a model approximation).

Sources: KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 1; KODAK Essential Reference Guide for Filmmakers, H-845, p. 33; KODAK Essential Reference Guide for Filmmakers, H-845, p. 34.

With rem-jet
1.87
Levels of 255, 8-bit sRGB
Rem-jet removed
8.12
Levels of 255, 8-bit sRGB

In a ring 3 to 20 px from each point of that render, red exceeds the average of green and blue by 1.87 levels (of 255, 8-bit sRGB) with rem-jet and by 8.12 without. That measures our model, not film.

In Ashigrain this is the Rem-jet removed option, in the Halation group, and it works on every film. It renders the film without its rem-jet backing or, on a film without one, without its other antihalation layer. Every film then gets the no-layer halation strength, six times the rem-jet strength, which is a model approximation. The option does not change the film’s characteristic curves, grain, dyes or sharpness.

Some Vision3 films are sold for still photography with the rem-jet removed, under a repackager’s own name and box speed. Where a repackager publishes such a rating, Rem-jet removed also rates the film at it, and the rating sets the exposure, tone and print like any film’s EI:

Film Kodak rating Rating with Rem-jet removed Source
Vision3 500T 5219 EI 500 (tungsten) EI 800 (tungsten) CineStill 800T; Reflx Lab 800T
Vision3 250D 5207 EI 250 (daylight) EI 400 (daylight) Reflx Lab 400D
Vision3 50D 5203 EI 50 (daylight) EI 100 (daylight) Reflx Lab 100D
Vision3 200T 5213 EI 200 (tungsten) EI 200, unchanged Reflx Lab 200T

These ratings are repackagers’ box speeds, not measurements. Each Reflx Lab page names the Kodak film it is made from, for example “Made from fresh 5219 motion picture film”, and the 400D, 100D and 200T pages say “Rem-Jet layer removed”. CineStill’s 800T page gives EI 800 at 3200K and says the film is “Remjet backing free”, but it does not name the Kodak film. Reflx Lab’s 200T has Kodak’s own rating, so on 200T the option changes only the halation. Every other film keeps its rating.

Ashigrain used to list a separate film, Kodak Vision3 500T, rem-jet removed. The option replaces it: a grade or preset saved with that film opens as Vision3 500T 5219 with Rem-jet removed on, so it keeps the no-layer halation and the EI 800 rating.

04 — Why gauge matters

Why gauge matters

Halation happens inside the film, so its size is fixed in millimetres, not pixels. A smaller gauge has a smaller frame, and when that frame is scanned or rendered at the same pixel width, every millimetre of film covers more pixels.

Ashigrain uses a Gaussian spread with a sigma of 0.08 mm on the film. That figure is a model approximation, because no source gives the base thickness the real spread would depend on.

  • One highlight, three gauges, four sizes

    A bright white disc 4 px across on a dark background on Super 35 4-perf: the red-orange halo reaches about 11 px beyond the disc.
    Super 35 4-perf, 4 px Halo reaches about 11 px beyond the 4 px disc.
    A bright white disc 16 px across on a dark background on Super 35 4-perf: the red-orange halo reaches about 15 px beyond the disc.
    Super 35 4-perf, 16 px Halo reaches about 15 px beyond the 16 px disc.
    A bright white disc 58 px across on a dark background on Super 35 4-perf: the red-orange halo reaches about 15 px beyond the disc.
    Super 35 4-perf, 58 px Halo reaches about 15 px beyond the 58 px disc.
    A bright white disc 120 px across on a dark background on Super 35 4-perf: the red-orange halo reaches about 15 px beyond the disc.
    Super 35 4-perf, 120 px Halo reaches about 15 px beyond the 120 px disc.
    A bright white disc 4 px across on a dark background on Super 16: the red-orange halo reaches about 14 px beyond the disc.
    Super 16, 4 px Halo reaches about 14 px beyond the 4 px disc.
    A bright white disc 16 px across on a dark background on Super 16: the red-orange halo reaches about 27 px beyond the disc.
    Super 16, 16 px Halo reaches about 27 px beyond the 16 px disc.
    A bright white disc 58 px across on a dark background on Super 16: the red-orange halo reaches about 29 px beyond the disc.
    Super 16, 58 px Halo reaches about 29 px beyond the 58 px disc.
    A bright white disc 120 px across on a dark background on Super 16: the red-orange halo reaches about 30 px beyond the disc.
    Super 16, 120 px Halo reaches about 30 px beyond the 120 px disc.
    A bright white disc 4 px across on a dark background on Super 8: the red-orange halo reaches about 2 px beyond the disc.
    Super 8, 4 px Halo reaches about 2 px beyond the 4 px disc.
    A bright white disc 16 px across on a dark background on Super 8: the red-orange halo reaches about 49 px beyond the disc.
    Super 8, 16 px Halo reaches about 49 px beyond the 16 px disc.
    A bright white disc 58 px across on a dark background on Super 8: the red-orange halo reaches about 62 px beyond the disc.
    Super 8, 58 px Halo reaches about 62 px beyond the 58 px disc.
    A bright white disc 120 px across on a dark background on Super 8: the red-orange halo reaches about 64 px beyond the disc.
    Super 8, 120 px Halo reaches about 64 px beyond the 120 px disc.
    Model render of a synthetic highlight at four sizes: discs 4, 16, 58 and 120 px across (a tiny point, a bulb, a lamp and a window; scene-linear 16 on 0.02) on the 5219 no-rem-jet variant, printed on 2383, at Super 35 4-perf, Super 16 and Super 8, 1920 px wide frames, 1:1 crops 384 px square, gate weave and flicker off. The halation spread is the same on film (sigma 0.08 mm, a model approximation), so it covers about 6.2, 12.3 and 27 px. From the tiny point to the window the halo's reach beyond the disc never shrinks: 11 to 15 px on Super 35 4-perf; 14 to 30 px on Super 16; 2 to 64 px on Super 8 (to where the red excess falls below 4 of 255). The halo of a tiny point reaches 11 px on Super 35 4-perf, 14 px on Super 16 and only 2 px on Super 8: on Super 8 the same light spreads over more pixels and is fainter in each one, so most of it stays below the threshold. Sources: ARRI Ground Glasses and Masks: ANSI Super 35 Formats (data sheet 2-7-0), data sheet 2-7-0, p. 1; Wikipedia, '16 mm film', revision 1374653089, retrieved 2026-09-23; filmkorn.org super 8 database, 'super 8 film format standards', retrieved 2026-09-23; KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 1; KODAK Essential Reference Guide for Filmmakers, H-845, p. 33; KODAK Essential Reference Guide for Filmmakers, H-845, p. 34.

  • Halation sigma in pixels

    Format Frame width Sigma at 1920 px Sigma at 3840 px
    Super 35 (4-perf) 24.89 mm 6.2 px 12.3 px
    Super 16 12.52 mm 12.3 px 24.5 px
    Super 8 5.69 mm 27.0 px 54.0 px
Bar chart of halation sigma in pixels: Super 35 4-perf 6.2 px at 1920 and 12.3 px at 3840; Super 16 12.3 px at 1920 and 24.5 px at 3840; Super 8 27 px at 1920 and 54 px at 3840.6.212.32712.324.554

Chart data
gaugeSerieshalation sigma in pixels (0.08 mm on film)
Super 35 4-perf1920 px wide image6.2
Super 161920 px wide image12.3
Super 81920 px wide image27
Super 35 4-perf3840 px wide image12.3
Super 163840 px wide image24.5
Super 83840 px wide image54
The model's halation spread is fixed on the film (sigma 0.08 mm, a model approximation), so it covers more pixels on a smaller gauge: the frame widths are 24.89 mm (Super 35 4-perf), 12.52 mm (Super 16) and 5.69 mm (Super 8). Sources: ARRI Ground Glasses and Masks: ANSI Super 35 Formats (data sheet 2-7-0), data sheet 2-7-0, p. 1; Wikipedia, '16 mm film', revision 1374653089, retrieved 2026-09-23; filmkorn.org super 8 database, 'super 8 film format standards', retrieved 2026-09-23.

Choose a gauge, then drag Highlight size from a tiny point to a window. As the highlight grows, the halo’s reach beyond it grows or stays the same; it never shrinks. A wider halo is not always a brighter one, though. The same amount of reflected light is spread over more pixels, so each pixel of it is fainter. A tiny point of light shows this most: in these renders its halo reaches 11 px on Super 35 4-perf and 14 px on Super 16, but only 2 px on Super 8, where most of it stays below the visibility threshold. For a larger highlight, such as a lamp shade or a window, the halos from all its pixels add up and the visible glow gets wider: a 120 px window’s halo reaches 15 px on Super 35 4-perf and 64 px on Super 8.

On Super 8 you may also see very small highlights come out dimmer and warmer than on 35 mm. That is the film’s softness (its MTF) and the default gate weave smearing a few pixels of light, not halation.

05 — How Ashigrain models halation

How Ashigrain models halation

Ashigrain adds halation to the exposure each film layer receives, before the film’s curves, so the halo goes through the negative and the print like the rest of the image. The stage has four parts.

  1. 012.5 stops · knee 1

    Threshold

    Only exposure above a soft threshold halates. The default is 2.5 stops above the mid-grey exposure, with a knee of 1 (in multiples of the mid-grey exposure) that sets how gradually it starts.

  2. 02Sigma 0.08 mm

    Spread

    The light above the threshold is blurred with a Gaussian, sigma 0.08 mm on the film. This radius is a model approximation: no source states a base thickness, so it does not change from stock to stock.

  3. 031 · 0.25 · 0

    Layer weights

    The blurred light is added back to the red, green and blue layers with weights of 1, 0.25 and 0, a model approximation of the returning light mostly reaching the red layer. A black-and-white film has one layer, so its halation is neutral.

  4. 04×0.5 to ×6

    Strength by antihalation class

    The amount depends on the film’s backing, relative to rem-jet: ×1 rem-jet, ×0.5 undercoat, ×2 grey base, ×6 none (the class cards above give each default amount and example stock). These strengths are model approximations; the available datasheets do not quantify halation.

The ordering follows from where each absorber sits. An undercoat stops the light before it crosses the base, rem-jet absorbs it at the back of the base, a grey base only dims it on the way through and back, and with no absorber the back of the base reflects it into the emulsion. The ratios between them are our choice, not measurements. The stock guide lists each film’s class and says where the class is printed on the datasheet and where it is assumed.

Line chart, logarithmic scale: red-layer exposure falls away from a point highlight over about 0.3 mm of film. The no-antihalation curve sits highest, then grey base, rem-jet backing and undercoat.

Dotted line: background exposure 0.111111.

Chart data
Seriesdistance from the point on film (mm)red-layer exposure (× 18 % grey)
rem-jet backing089.0107
rem-jet backing0.0129689.009
rem-jet backing0.025930.226496
rem-jet backing0.038890.219308
rem-jet backing0.051850.210098
rem-jet backing0.064820.199339
rem-jet backing0.077780.187689
rem-jet backing0.090740.175805
rem-jet backing0.103710.164343
rem-jet backing0.116670.153959
rem-jet backing0.129640.144738
rem-jet backing0.14260.136759
rem-jet backing0.155560.130106
rem-jet backing0.168530.12486
rem-jet backing0.181490.120825
rem-jet backing0.194450.117805
rem-jet backing0.207420.115602
rem-jet backing0.220380.114021
rem-jet backing0.233340.112941
rem-jet backing0.246310.112244
rem-jet backing0.259270.111808
rem-jet backing0.272230.111515
rem-jet backing0.28520.111334
rem-jet backing0.298160.111232
rem-jet backing0.311120.111181
rem-jet backing0.324090.111147
rem-jet backing0.337050.111128
rem-jet backing0.350020.111119
rem-jet backing0.362980.111115
rem-jet backing0.375940.111113
rem-jet backing0.388910.111112
antihalation undercoat088.9498
antihalation undercoat0.0129688.9489
antihalation undercoat0.025930.168803
antihalation undercoat0.038890.165209
antihalation undercoat0.051850.160604
antihalation undercoat0.064820.155225
antihalation undercoat0.077780.1494
antihalation undercoat0.090740.143458
antihalation undercoat0.103710.137727
antihalation undercoat0.116670.132535
antihalation undercoat0.129640.127924
antihalation undercoat0.14260.123935
antihalation undercoat0.155560.120609
antihalation undercoat0.168530.117986
antihalation undercoat0.181490.115968
antihalation undercoat0.194450.114458
antihalation undercoat0.207420.113357
antihalation undercoat0.220380.112566
antihalation undercoat0.233340.112026
antihalation undercoat0.246310.111677
antihalation undercoat0.259270.11146
antihalation undercoat0.272230.111313
antihalation undercoat0.28520.111222
antihalation undercoat0.298160.111172
antihalation undercoat0.311120.111146
antihalation undercoat0.324090.111129
antihalation undercoat0.337050.11112
antihalation undercoat0.350020.111115
antihalation undercoat0.362980.111113
antihalation undercoat0.375940.111112
antihalation undercoat0.388910.111112
grey base089.1325
grey base0.0129689.129
grey base0.025930.341881
grey base0.038890.327505
grey base0.051850.309084
grey base0.064820.287567
grey base0.077780.264267
grey base0.090740.240498
grey base0.103710.217574
grey base0.116670.196808
grey base0.129640.178364
grey base0.14260.162407
grey base0.155560.149101
grey base0.168530.138609
grey base0.181490.13054
grey base0.194450.124499
grey base0.207420.120094
grey base0.220380.116931
grey base0.233340.114772
grey base0.246310.113376
grey base0.259270.112505
grey base0.272230.111919
grey base0.28520.111556
grey base0.298160.111354
grey base0.311120.11125
grey base0.324090.111184
grey base0.337050.111146
grey base0.350020.111127
grey base0.362980.11112
grey base0.375940.111115
grey base0.388910.111113
no antihalation layer089.6197
no antihalation layer0.0129689.6093
no antihalation layer0.025930.803419
no antihalation layer0.038890.760291
no antihalation layer0.051850.70503
no antihalation layer0.064820.640479
no antihalation layer0.077780.57058
no antihalation layer0.090740.499273
no antihalation layer0.103710.4305
no antihalation layer0.116670.368201
no antihalation layer0.129640.31287
no antihalation layer0.14260.264999
no antihalation layer0.155560.22508
no antihalation layer0.168530.193606
no antihalation layer0.181490.169397
no antihalation layer0.194450.151274
no antihalation layer0.207420.138059
no antihalation layer0.220380.128571
no antihalation layer0.233340.122093
no antihalation layer0.246310.117907
no antihalation layer0.259270.115294
no antihalation layer0.272230.113535
no antihalation layer0.28520.112446
no antihalation layer0.298160.111839
no antihalation layer0.311120.111529
no antihalation layer0.324090.111329
no antihalation layer0.337050.111214
no antihalation layer0.350020.111159
no antihalation layer0.362980.111137
no antihalation layer0.375940.111123
no antihalation layer0.388910.111116
Red-layer exposure around one point highlight after the Ashigrain halation stage, for the four antihalation classes of the model. All classes share one Gaussian spread (sigma 0.08 mm on film) and differ only in strength. The class table, strength and radius are model approximations: no datasheet quantifies halation. Synthetic point (scene-linear 16 on 0.02), Super 35 at 1920 px. Sources: KODAK Essential Reference Guide for Filmmakers, H-845, p. 33; KODAK Essential Reference Guide for Filmmakers, H-845, p. 34; KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, H-1-5219t, Revised 7-15, p. 1.

For the whole chain from light to print, see How film emulation works.

06 — In DaVinci Resolve

How to add halation in DaVinci Resolve with Ashigrain

Ashigrain is an OpenFX plugin for macOS. It runs in DaVinci Resolve 20 or later, both the free edition and Studio. The Mac App Store edition of Resolve cannot activate it.

Place the node

On the Color page, find Ashigrain in the Effects library under OpenFX and drag it onto a node. Grade, especially exposure, in the nodes before it. If Ashigrain outputs a display gamma such as Rec.709 / Gamma 2.4, it must be the last node. In a DaVinci Wide Gamut timeline it can sit in the middle, with Resolve’s output transform after it.

Match colour management

Halation depends on how much exposure lands above the threshold, so Ashigrain has to decode your footage correctly. Set Input Color Space and Input Gamma to match the clip or timeline. The workflow guide has four Resolve setups, from a plain Rec.709 clip to a colour-managed project. Camera log footage helps here: a Rec.709 clip holds only the range Rec.709 can, while log in a wide-gamut workflow keeps the highlight detail that drives halation.

Pick a film

Choose a Preset or, in Pro view, a film in the Film section. The stock sets the default halation strength. Picking a stock also resets Radius and Threshold to their defaults. Choose Format too, since the gauge changes the size of the halo in pixels.

Set Halation amount

In Essentials, Halation amount is relative to the stock’s own strength: 1 is the stock default, 0 removes it, and the slider goes to 2 (typed values go up to 4).

Fine-tune in the Halation group

Switch View to Pro for the full Halation group:

  • Radius (mm on film): the spread, default 0.08 mm.
  • Threshold: in stops above mid-grey exposure, default 2.5. Lower it and more of the image halates.
  • Knee: the softness of the threshold, default 1.
  • Tint R, Tint G and Tint B: multipliers on the halation reaching each layer, default 1. These change the colour of the glow.
  • Rem-jet removed: the no-layer strength, for a rem-jet-removed look on any stock. On Vision3 500T, 250D and 50D it also sets the repackager’s published rating (see Rem-jet removal). It is available even with Halation off; then it only sets the rating, since the stronger glow needs Halation on.

Bloom has its own group: a neutral glow around the brightest highlights that keeps the source colour, with a higher default threshold (3.5 stops).

Check it

In Output & Debug, set Debug view to Halation only. It shows only the halation and bloom light added, on black, so you can see which highlights glow. Bypass Halation & bloom turns the stage off for a quick before and after, and Split compare puts the input and result side by side. Every control is listed in the parameter reference.

07 — Common mistakes

Common mistakes

  • A glow on every highlight

    If skin, white shirts and overcast skies all glow, the threshold is too low or the exposure going into Ashigrain is too high. Keep Threshold near the stock default, and check with Halation only that just the hard highlights light up.

  • The wrong colour

    In Ashigrain’s model, halation on colour negative is red to orange because the returning light is assumed to reach mostly the red-sensitive layer. A white or blue glow is closer to what Ashigrain treats as bloom. With the model’s layer weights the halo is red with a little green. Use the Tint controls with care, and leave black-and-white films neutral.

  • A radius set in pixels

    A blur set in pixels changes between HD and 4K and ignores the gauge. Ashigrain’s radius is in millimetres on the film, so the same setting gives about 6.2 px at 1920 and 12.3 px at 3840 on Super 35. If the glow looks too wide, check the Format before you shrink the radius.

08 — Questions people ask

Questions people ask

Is halation the same as bloom?

No. In Ashigrain, halation is the reflection off the base, mostly red, and bloom is a separate neutral glow around the brightest highlights. Each has its own controls.

Does every stock show film halation?

Every camera film in Ashigrain gets some halation, scaled by its antihalation class. Films with an undercoat get the least, and a film with Rem-jet removed the most. These strengths are model approximations.

Is the halation in Ashigrain measured from real film?

No. Some datasheets name the antihalation layer, but none gives halation figures, so the strength, radius and layer weights are approximations that we chose and document.

Why does my halo get bigger when I switch to Super 16?

The radius is fixed on the film. The Super 16 frame is about half the width of Super 35, so the same 0.08 mm covers about twice as many pixels.

Does it work in the free version of Resolve?

Yes, in Resolve 20 or later on macOS. Only the Mac App Store edition cannot activate it.

For the other half of the film look, read film grain: what it is and how to emulate it.

Sources

  1. Eastman Kodak Company, KODAK Essential Reference Guide for Filmmakers, publication H-845 (2007), “Antihalation Backing”, PDF pages 33-34 (printed pages 31-32). https://www.kodak.com/content/products-brochures/Film/kodak-essential-reference-guide-for-filmmakers.pdf (retrieved 2026-09-23).
  2. Eastman Kodak Company, KODAK VISION3 500T Color Negative Film 5219 / 7219 Technical Data, publication H-1-5219t, revised 7-15, page 1. https://www.kodak.com/content/products-brochures/Film/VISION3-500T-Color-Negative-Film-7219-TECHNICAL-DATA.pdf (retrieved 2026-09-23).
  3. FUJIFILM Corporation, FUJICHROME Velvia 50 Professional [RVP 50] Data Sheet, AF3-0221E2 (2007), page 7. https://asset.fujifilm.com/www/us/files/2020-03/742f83fe2440fce58fbcc08f7370a7e6/AF3-0221E2Velvia50PIB.pdf (retrieved 2026-09-29).
  4. Eastman Kodak Company, EASTMAN DOUBLE-X Negative Film 5222 / 7222 Technical Data, publication H-1-5222, revised 7-15, page 1. https://www.wittnercinetec.com/WebRoot/Sage/Shops/WittnerCinetec-Super8-16mm-Film/MediaGallery/PDFs/PDFs_Kodak_16mm/EASTMAN_DOUBLE-X_Negative_Film_5222_7222.pdf (retrieved 2026-09-23).
  5. ARRI, Ground Glasses and Masks: ANSI Super 35 Formats, data sheet 2-7-0 (2010), page 1: Super 35 frame width (ARRI gives 24.9 mm; Ashigrain uses 24.89 mm). https://www.arri.com/resource/blob/75846/d954e726489ab40665b69e0910ac125e/2-7-0-ground-glasses-and-masks-ansi-super-35-formats-data.pdf (retrieved 2026-09-23).
  6. Wikipedia, “16 mm film”, revision 1374653089: Super 16 frame width. https://en.wikipedia.org/w/index.php?title=16_mm_film&oldid=1374653089 (retrieved 2026-09-23).
  7. filmkorn.org super 8 database, “super 8 film format standards”: Super 8 frame width. https://www.filmkorn.org/super8data/database/articles_list/super8_fotmat_standards.htm (retrieved 2026-09-23).
  8. CineStill, CineStill 800Tungsten High Speed Color Negative Film, 35mm 135 36exp. EI 800, 3200K, product page, Wayback Machine capture of 2026-09-15. https://web.archive.org/web/20260915053519/https://cinestillfilm.com/products/800tungsten-c41-36exp-35mm-high-speed-color-negative-135 (retrieved 2026-09-29).
  9. Reflx Lab, Reflx Lab 800T Tungsten 35mm Color Negative Film, product page, Wayback Machine capture of 2022-11-30. https://web.archive.org/web/20221130054626/https://reflxlab.com/products/pre-order-reflx-lab-800t-tungsten-color-negative-35mm-film (retrieved 2026-10-22).
  10. Reflx Lab, Reflx Lab 400D Daylight 35mm Color Negative Film, product page, Wayback Machine capture of 2023-02-09. https://web.archive.org/web/20230209082314/https://reflxlab.com/products/reflx-lab-400d (retrieved 2026-10-22).
  11. Reflx Lab, Reflx Lab 100D 35mm Color Negative Film 36EXP, product page, Wayback Machine capture of 2023-03-30. https://web.archive.org/web/20230330203504/https://reflxlab.com/products/reflx-lab-100d-daylight-35mm-color-negative-film (retrieved 2026-10-22).
  12. Reflx Lab, Reflx Lab 200 Tungsten 35mm Color Negative Film 36EXP, product page, Wayback Machine capture of 2024-09-15. https://web.archive.org/web/20240915104849/https://reflxlab.com/products/reflx-lab-200-tungsten-35mm-color-negative-film-36exp (retrieved 2026-10-22).

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