Dehancer Photo Plugin Quick Guide
Dehancer Photo Plugin Quick Guide
Dehancer Photo Plugin Quick Guide
Contents
Contents 2
Installation, configuration, and first launch 3
Recommended color settings 4
Recommended RAW development settings 9
Dehancer Plugin Settings 11
Interface and keyboard shortcuts 12
Typical photo editing workflow 14
Batch processing multiple photos 16
Tool Profiles 20
Film Profiles, Push/Pull 21
Source corrections 23
Film Developer 24
Film Compression 26
Expand 28
Print Medium 29
Print Settings 30
CMY Color Head and Print Toning 32
Film Grain 34
Halation 37
Bloom 41
Film Damage 44
Overscan 48
Vignette 52
Application path and user data location 53
3
Please consider that Film Emulation usually doesn’t require any gamut
wider than sRGB due to the natural printed media gamut compression,
therefore you won’t get any theoretical or practical benefits from working
in Adobe RGB or ProPhoto RGB.
Display Setup
1. Set your display to its native sRGB color gamut mode if possible.
2. Use the appropriate calibration profile built especially for your display
in sRGB, Gamma 2.2 (color temperature is insignificant).
Tip: On Mac you can also use the Internet and Web (sRGB) reference
display preset provided with your new MacBook Pro or Pro Display XDR.
Adobe Photoshop
Use the same settings when exporting from Lightroom if you plan to process it
later in Photoshop.
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In the dialogue that follows the Edit With… command, select the appropriate
options:
RAW files for Dehancer can be processed with almost any software.
If you are shooting with an iPhone and using Apple ProRaw DNG, try setting
the Amount value for the Apple ProRaw profile to zero. Thus you will reduce
the automatic Apple algorithms that are not always reliable (but still, sometimes
acceptable). Meanwhile, we recommend setting the Sharpening value
in the Detail tab to zero in order to prevent oversharpening.
Tip: In Photoshop any RAW photo can be opened with the Open As Object
option. The smart object will be created and Dehancer plugin will be
applied as a Smart Filter, which allows you to easily access both
the RAW settings and the plugin’s parameters at any time.
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While processing photos in Capture One Pro and other RAW converters,
we recommend to:
• Use the Linear contrast curve if possible, avoiding clipping in shadows and
highlights
Tip: Recommended RAW settings are based on the fact that technically
the marketed ISO is usually overstated by camera makers,
and RAW software tends to mimic the camera jpeg, rather than
the real RAW exposure. Thus, the recommended -1Ev setting
for Adobe products is closer to the real exposure and also gives more
headroom in highlights.
Please consider that there is no ‘the one and only’ good settings,
since different cameras have different RAWs and there is no standards
for processing. Getting the most out of your camera always takes
some experimentation.
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Hit the gear icon in the plugin toolbar or press the [S] key to open Dehancer
plugin Settings.
This button launches the Activation widget that allows to check your License
status and to activate the plugin.
Processing GPU
If there are multiple GPUs available in your system, you can manually select
the best-performing one. You can also try a different GPU in case of any specific
problems with the plugin.
→ Learn:
Dehancer Updates
How to buy and activate the License?
12
Profiles
Show/Hide Profiles [Q]
Presets
Show/Hide Presets [W]
[Double click]
Zoom to fit / Zoom to 100%
on the image preview
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Buy License
Visit Dehancer web store
OK
Apply Dehancer processing [Enter]
The original image may still have some issues, which can be conveniently
corrected immediately with the Source Corrections tool.
Choose the Film Profile that best suits your scene. Note that you can switch
between Film Profiles with the up and down arrow hotkeys.
Also, remember that the Push/Pull option gives you the opportunity to further
adjust the profile appearance according to the film exposure.
To improve the detail at the extremes of the tonal range, you can optionally
enable the Analogue Range Limiter.
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Since the edits you made in the previous step can significantly affect the black
and white points, it is recommended that you readjust the Expand settings.
After setting the tone of the image, you can make further adjustments to the
color balance. The CMY Color Head tool is perfect for this kind of fine-tuning.
Some salt and pepper will make the dish even better.
→ Learn:
How to manage image contrast and avoid clipping
16
A series of photos are often edited with the same or similar settings. The most
convenient way to organize the process is to use a combination
of Adobe Photoshop and Dehancer Film plugin.
Last Edits
Dehancer is automatically saving your last edits every time you apply
the processing with the ‘OK’ button in the plugin.
When you open the next image, you will see that the latest settings have
automatically been applied to it. Even if you've changed some parameters,
you can always recall the last settings by clicking the corresponding icon
in the toolbar:
Also, you can click the Last Edits preset with the same effect.
To apply Dehancer with your last edits without opening the plugin interface,
press Ctrl+Cmd+F (macOS) / Ctrl+Alt+F (Windows) or select Dehancer Film
in the top-line of the Photoshop Filters menu.
Attention: The Last Settings and Last Filter are retained during the current
Photoshop session and will be lost when you close the host application.
Dehancer Presets
Presets are a more reliable way to keep your favourite settings for a long-term
storage.
Once you have achieved the desired result, press A button on the keyboard
or click the appropriate icon in the Presets panel:
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Tip: Presets can also be exported and imported, allowing you to share
them with others or save them as a backup.
When you edit a normal layer, the effects are permanent and you can't alter
the plugin settings once it has been applied.
The Smart Object allows you to enclose the source layer in a ‘container’,
and your corrections and effects will be applied to it, with the option to switch
each filter on, off, or change settings at any time, without affecting the original
image permanently. This is the main concept of the non-destructive editing.
The Smart Filter settings are stored inside the document, so they are not lost
when you restart Photoshop. You just need to save the image as a PSD or TIFF
file with layers.
Dehancer fully supports the Smart Filter functionality. This means that after
applying the plugin to a Smart Object, you can revisit Dehancer settings at any
time and make the adjustments.
2. Press the right mouse button and click Convert to Smart Object.
This feature can also be used to transfer settings from one photo
to another. To do this, the source and target photos must be Smart Objects
in the same document. Then the entire set of filters and corrections,
including Dehancer, can be moved from one Smart Object to another
by drag-and-drop.
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Actions allow you to record and playback any sequence of image manipulations,
including filters and plugins.
Dehancer fully supports the Photoshop Actions functionality. This means that
all plugin settings once recorded will be reproduced when the action
is executed.
Actions can be launched manually with every photo or used in batch processing.
You can use the two built-in Photoshop tools that work in a very similar way,
but have a slightly different options:
3. Select the Destination (‘Save and Close’ overwrites the source images, while
‘Folder’ saves duplicates).
4. Click ‘OK’ and all your photos will be processed and saved automatically.
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4. In the Preferences section check the Run Action option and select your
pre-recorded Dehancer action.
5. Enable the Include ICC Profile option to ensure that your photos will display
correctly in any application or web browser.
6. Click ‘Run’ and all your photos will be processed and saved automatically.
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Tool Profiles
Several Dehancer tools have a drop-down list of Tool Profiles that makes them
much easier and simpler to use.
You will find more specific information on Tool Profiles in the dedicated tool
specifications in this manual:
Film Grain
Halation
Bloom
Film Damage
Tip: In order to change the parameters of any profile, you must first select
the most suitable one and then switch to Custom mode. All the usual
effect settings will be available to you, and the parameter values will match
the last selected profile.
→ Related article:
Dehancer Tool Profiles
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Film Profiles are heart and soul of Dehancer. Each film is accurately sampled
with all of its characteristics. If you are ready to bet on years of film experience –
then you can simply scroll and try film profiles in the list until you get the most
interesting or desired results.
Push/Pull (Ev)
All films behave differently depending on how much light they received during
exposure. In Dehancer film exposure is implemented with the Push/Pull (Ev)
parameter. In fact there are 3 different film exposures sampled to build each
film profile in Dehancer.
When creating film profiles, we illuminate the color target using the light source
with the color temperature for which a particular film is intended
by the manufacturer. Thus, Daylight films are shot under the reference light
source with a temperature of about 5300K, while Tungsten emulsions require
3200K incandescent bulbs. Therefore, we get the neutral color reproduction
with minimal deviations in white balance at the shooting stage.
When printing the negative optically, we additionally correct the white balance
using color filters in the enlarger, bringing the neutrals to the reference value
with great accuracy.
This means that technically any film profile is designed for source material
with neutral white balance.
Remember that you can use the Temperature Comp. and Tint Comp. settings
in the Input section to additionally compensate for the source white balance.
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→ Related articles:
How we build film profiles
What is Push/Pull and how it works?
Modern motion picture color negative films
Complete list of Dehancer film profiles
23
Source corrections
Exposure Comp.
This setting can be used to compensate for the exposure errors of the source
media.
Defringe
Defringe helps to deal with the chromatic aberrations visible at the edges
that may interfere with some of the Dehancer effects, such as Halation
and Bloom.
Tip 1: Temperature and Tint compensation are better suited for strong
deviations of a source, while Color Head is designed mostly for creative
application and more subtle adjustments.
Tip 2: In some particular cases Defringe may lead to visible halos around
the edges in combination with the Bloom or Halation effects. Lowering
the Defringe amount and radius settings helps to deal with this issue.
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Film Developer
Contrast Boost
Gamma Correction
Color Separation
The color separation of the negative film is determined by the color filters
in the emulsion layers, the sensitisation of each layer and their order.
In Dehancer you can control the ‘chemical component’ of the developer, which
affects the sensitisation of the emulsion layers.
When Color Separation value is reduced, saturation of the most intense colors
is reduced first, while medium and low saturation colors remain almost
unaffected.
By default, the Color Separation setting has a maximum value of +100. It affects
the image at any Contrast Boost value other than zero.
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Color Boost
→ Related article:
Film Developer – a new Dehancer tool
26
Film Compression
Usually on a negative film, clipping in the highlights occurs much later than
on a digital camera.
Impact
This parameter determines the degree of compression. The higher the Impact
value, the more the highlights are pushed towards the midtones.
White Point
The White Point parameter defines the ‘film clipping threshold’, and directly
affects contrast because it determines the steepness of the transition
to the clipping area. As the white point gets closer to the midtones, the more
contrast the image appears.
By default, White Point = 100. This means that it stays at its initial position.
The White Point can be lowered, thereby increasing the overall contrast
of the compressed range. The minimum possible value is 50. The lower
the White Point is, the more likely clipping will occur in the highlights.
Alternatively, the white point value can be increased. In this case, the overall
contrast of the compressed range is reduced. The maximum possible value
is 120. The higher the White Point is, the more flat and grayed the highlights
appear.
Tonal Range
Color Density
Different films reproduce color differently as they get closer to the highlights.
Negative films tend to noticeably loose saturation in the highlights.
Slides remain more vibrant, even though the clipping occurs earlier.
The Color Density parameter controls the color intensity of the compressed
range. Color Density = 0 produces the lowest saturation in the highlights,
which is more typical for negative films. Color Density = 100 provides maximum
saturation, and the image looks more like positive films.
→ Related article:
Film Compression — new Dehancer tool
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Expand
Expand tool provides a separate manual control for black and white points
in relation to the output color space.
All films naturally have different contrast, different black and white points.
At the sampling stage, we avoid digital correction to preserve the individual
features of the films, which ensures a fair and convincing simulation.
Thus, film profiles in Dehancer, without additional adjustment, usually lack
contrast, but at the same time they have a lot of headroom for creative
adjustments.
During a grading session you will probably revisit this tool several times.
Color Mode
The Color Mode option can be useful if you encounter unwanted color shift
or oversaturation. In the Luma mode Expand affects only the luminance
component of an image, but does not affect its color, so the changes in contrast
have no effect on the saturation.
Tip: If your source doesn’t have enough headroom for the Expand
adjustments try to enable the Analogue Range Limiter checkbox
in the Print toolset which gives more ‘relaxed’ extremes.
Also you can use the Film Compression tool to make the highlights more
textured and smooth out the clipping.
→ Related article:
How to manage image contrast and avoid clipping
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Print Medium
Optical printing is the last stage of the analogue production. As the result we get
a paper print for direct viewing or a positive film for screen projection. Both can
be scanned for digital delivery. Optical printing is the only analogue solution that
can be used for proper interpretation of the negative films.
Beyond the technical significance, any print medium has its own tint, photo
latitude and contrast curve that makes it a useful creative tool.
In the Print parameters group, you have a choice of the print mediums:
Linear
Selected film is ‘printed’ into Cineon film scan format. This parameter also
makes it possible to ‘print-out’ negatives outside Dehancer.
Selected film is ‘printed’ onto Kodak Vision Color Print Film 2383 or
Fujicolor Positive Film Eterna-CP 3513DI.
→ Related article:
Print Film Profiles in Dehancer
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Print Settings
Target White
Only available when Kodak 2383 Print Film or Fujifilm 3513 Print Film
is selected. Allows to adjust the temperature of the printing light source in the
5500-6500 K range.
Exposure (Ev)
Tonal Contrast
Color Density
Saturation
By default, Print adjustments work within the boundaries of the ‘digital’ contrast
range. Black and white points are normalised to the digital brightness values
of 0 and 100, respectively.
To obtain a softer image and improve the detail at the extremes of the tonal
range, enable the Analogue Range Limiter which uses the uncorrected black
and white point values as they were measured on the reference prints.
Tip 3: Some combinations of the print settings may produce colors falling
out of the gamut, with visible artefacts, especially when Color Density
is increased. In this case lower the contrast and saturation or try another
film or print media profile.
→ Related article:
How to manage image contrast and avoid clipping
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Subtractive CMY Color Head is based upon the analogue color correction tool
integrated in photo enlargers. The similar method is used in Printer Lights –
a special device for optical movie printing to a positive film. Both have the same
principle – changing the color of light used for print exposure.
In Dehancer the Color Head tool is represented with three complementary color
pairs (YMC-BGR or commonly used CMY-RGB), combining both analogue
devices into one digital tool:
Yellow — Blue
Magenta — Green
Cyan — Red
Gang
Dehancer uses the real-life measured color filters values. Thus, even with
the identical adjustments in all three axis, the color changes are visible. For your
convenience, we have provided the Gang checkbox, which allows changing
all three filters at once.
Shadows Tone
Midtones Tone
Highlights Tone
In a general analogue sense, toning refers to giving a paper print or film positive
additional tints that are not originally characteristic of a particular media
combination. This technique is widely used in movie production to give a special
character or atmosphere when the original film properties are insufficient.
Unlike the digital world, where you can ‘fill’ the entire picture with a single hue,
analog media is more varied. In addition to the natural variations across
the tonal range, a print can be intentionally colored with different
tints in the shadows, midtones, or highlights.
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In Dehancer, the toning control is a natural evolution of the CMY Color Head tool.
Therefore, it’s based on split printing through color filters, with the only
difference that masking is performed automatically.
You can control the color temperature separately within three equally quantised
ranges – in shadows, midtones, and highlights.
Preserve Exposure
Impact
This slider adjusts an overall impact of the effect, acting like ‘opacity’.
Tip 1: Prefer the Color Head tool for creative adjustments, while leaving
the Input Temperature and Tint compensation for strong WB deviations
of a source material.
→ Related article:
CMY Color Head – analogue correction for digital images
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Film Grain
Real grain on film isn’t just overlaid on top of an image, but in fact the image
itself entirely consists of grain. Dehancer literally reconstructs the shot, using
the local color and brightness characteristics along with a complex physical
modelling of a film emulsion.
Grain Profiles
We’ve created grain profiles for 8, 16, 35 and 65 mm, each in three versions:
ISO 50, 250 and 500.
In order to change the parameters of any profile, you must first select the most
suitable one and then switch to Custom mode. All the usual effect settings
will be available to you, and the parameter values will match the last selected
profile.
Custom settings
The Custom settings allow you to configure Film Grain as you like.
Film Type
2. Positive grain uses the ‘classic’ algorithm that reproduces a softer grain,
which is less pronounced in the highlights and is more typical for positive
films.
Processing Mode
1. Analogue is the original type of grain that requires more processing power
but results in lifelike simulation.
Size
This parameter determines a size of silver halide granules. A higher Size value
corresponds to a more photosensitive (and therefore more granular) emulsion.
Amount
Film Resolution
Usually the smallest image detail on film does not exceed the grain size.
Dehancer Film Grain is considering this fact by design. Also it is possible
to manually adjust this effect to mimic a specific emulsion resolution
or to compensate for an excessive image softness.
Film Resolution parameter set to 100 keeps the initial sharpness of a source
media. Lowering the Resolution results in gradual loss of detail, while an image
becomes more blurred. Resolution set to 50 represents the detail balanced
with a current grain size and amount.
Chroma
Tip 1: On the real film, grain can be found in both the deepest shadows
and the lightest highlights. But it cannot be visible on pitch black or pure
white – technically there’s no detail in there. That is why Film Grain
naturally affects black and white points, lowering visible contrast when
enabled. Thus the Expand correction is recommended to regain
the contrast.
Tip 2: Sometimes, even at the minimum Size and Amount settings, grain
appears too obvious for some applications. To get even subtler and softer
grain lower the Shadows, Midtones and Highlights values and use
the Film Resolution to make-up the excessive sharpness. Also you can try
different grain types and processing modes.
→ Related article:
How does film grain work in Dehancer OFX plugin
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Halation
Halation is the film emulsion effect visible as the local red-orange halos around
the bright light sources, specular highlights and contrasting edges. Also, halation
may produce a well pronounced red glare in the midtones, mostly affecting
the skin tones.
Halation Profiles
There is 8 basic profiles with average values for the main film formats that solve
most creative tasks and provide a convenient basis for creative adjustments.
In order to change the parameters of any profile, you must first select the most
suitable one and then switch to Custom mode. All the usual effect settings
will be available to you, and the parameter values will match the last selected
profile.
Custom settings
Source Limiter
This setting defines the minimum light source brightness that is able to produce
halation. The default value = 0 means that even the weakest source is able
to produce halation. By increasing this value, you can cut the effect produced
by low intensity lights.
Background Gain
This parameter sets the range of the background tones on which halation
becomes visible. Default value allows halation to appear on most backgrounds.
Decreasing this value eliminates the effect over the lighter ones.
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Smoothness
This integral parameter controls the distribution of the halation effect between
the large and small sources, visually smoothing smaller halation details.
Increasing the Smoothness value reduces the effect around the point sources in
favour of the larger areas. Setting the Smoothness to zero leads to the most
detailed halos.
Local Diffusion
This parameter defines how far the light spreads in an ‘emulsion’. The higher
the Local Diffusion value, the larger the geometric size (radius) of the halos.
Global Diffusion
Amplify
It is important not to confuse this setting with the Impact as the Amplify affects
the sensitivity of an ‘emulsion’ to the scattered light, not the opacity
of the effect. Increasing the Amplify value makes the effect more pronounced
and shifts the halation toward yellow hues.
Hue
Blue Comp.
Impact
Mask Mode
This checkbox enables a special preview mode which allows you to better
control the settings with the effect preview isolated from the source image.
Halation + Defringe
Halation + Bloom
Usually these effects coexist on film and mutually influence each other.
Therefore, it is generally best to use Halation and Bloom in tandem to get a
more accurate simulation.
→ Related article:
Halation and its simulation in Dehancer
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Bloom
Bloom Profiles
To simulate the Bloom diffuse glow effect, we have created four versatile
profiles for 8, 16, 35 and 65 mm film formats. We have selected the average
settings, which reflect the general image character.
In order to change the parameters of any profile, you must first select the most
suitable one and then switch to Custom mode. All the usual effect settings
will be available to you, and the parameter values will match the last selected
profile.
Custom settings
Highlights
Source Limiter
Source Limiter is used to cut-off the unwanted blooming from the lower end
of the tonal range defined by the Highlights setting.
Details
This setting controls the distribution of the bloom effect between large
and small light sources. Increasing the value makes the effect more detailed
and precise, up to the smallest point sources. Lowering the Details results
in a more global effect across a frame, affecting larger objects.
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Diffusion
Diffusion controls the extent of the bloom effect relative to the boundary where
it appears. The bigger is the Diffusion value, the larger is the geometric size
of the glow radius.
Amplify
Amplify controls the overall effect strength by virtually ‘changing’ the brightness
of a light source and the diffusion properties of an emulsion. The higher
the value, the more obvious the whole effect becomes.
Save Lights
Bloom affects not only the background but also increases brightness of a light
source itself. In digital pipeline this may lead to clipping. Save Lights protects
the highlights from possible clipping induced by the Bloom effect.
Saturation
Naturally Bloom inherits the hue and saturation of a light source. This setting
makes it possible to desaturate the effect at your taste..
Impact
Mask Mode
This checkbox enables a special preview mode which allows you to better
control the settings with the effect preview isolated from a source image.
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→ Related article:
Bloom: what it is and how it works
44
Film Damage
We have created profiles of the most characteristic defects for the major
photographic film formats. The smaller the film format, the greater the scale of
the artifacts relative to the frame size and the more frequently they appear.
In order to change the parameters of any profile, you must first select the most
suitable one and then switch to Custom mode. All the usual effect settings
will be available to you, and the parameter values will match the last selected
profile.
Custom settings
The Custom settings allow you to configure Film Damage as you like.
Film Damage tool consists of several modules, each responsible for a different
type of artifact:
1. Dust
Dust Amount
The total number of dust particles that can be present within the frame
at the same time.
Scale
The parameter sets the scale of dust, i.e., the single coefficient of magnification
for all particles.
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Size Balance
The Size Balance slider adjusts the ratio between artifacts of different sizes.
At the minimum value only the smallest particles are added, at the maximum –
the largest ones, and in the middle position – about the same amount of dust
of different sizes.
White-Black
The White-Black parameter adjusts the quantitative ratio between light and dark
artifacts. In the leftmost position only light particles will appear, in the rightmost
position – the dark ones, and in the middle position both light and dark particles
will appear equally.
Dust Enabled
2. Hairs
Hairs Amount
The total number of hairs that can be present within the frame at the same time.
Scale
The parameter sets the scale of hairs, i.e., the single coefficient of magnification
for all particles.
Size Balance
The Size Balance slider adjusts the ratio between hairs of different sizes.
At the minimum value only the smallest hairs are added, at the maximum –
the largest ones, and in the middle position – about the same amount of hairs
of different size.
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White-Black
This parameter adjusts the quantitative ratio between light and dark artifacts.
Hairs Enabled
3. Scratches
Scratches Amount
The total number of scratches that can be present within the frame
at the same time.
Scale
The parameter sets the magnification of all scratches relative to the frame size.
Size Balance
Size Balance adjusts the ratio between large and small scratches.
White-Black
Scratches Enabled
4. Global Settings
Total Amount
You can use the Total Amount slider to decrease or increase the total amount
of all artifacts within the frame, with no need to reconfigure each type
individually.
Global Period
The defect areas on film are irregular along its length. The Global Period
parameter controls how often artifacts appear. The smaller the value, the more
evenly the defects are distributed along the length of the roll.
When Global Period = 1, the amount of dirt between neighboring frames will be
almost the same. When Period is increased, the areas with the maximum and
minimum amount of artifacts will be more extended.
Global Opacity
Global Opacity allows you to adjust the total transparency of the effect, to make
it more or less noticeable. This parameter doesn’t affect the number of artifacts,
but only their visual density.
Global Chromaticity
Dirt particles affect the light flow, and their transparency, thickness, distance
from the film surface, depth of damage and other factors determine the affected
emulsion layers and their exposure.
When transparency is reduced, light artifacts visually take on a bluish hue, while
dark artifacts, on the contrary, appear warmer.
The Global Chromaticity parameter adjusts the overall saturation. When it is set
to minimum, artifacts become pure black and white, regardless of their
transparency.
→ Related article:
Dehancer Film Damage
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Overscan
Usually film is scanned with additional area for further processing. In this case,
the scanning area may contain the interframe space, perforations, portions
of the previous and next frame.
Normally, scans are cropped using the exposed area, but sometimes
information outside the film gate is intentionally included. This technique
is called Overscan.
Gate Type
The type of film gate sets the film format and the type of camera. The following
options are available:
Tip: The 16:9 aspect ratio is not here, since it does not exist on film.
The closest film format is Widescreen 35mm 1.85:1 with a frame pitch of
3 perforation holes (3 perf), and it is cropped to 16:9 with minimal loss.
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Gate Shape
The shape of the film gate is determined by the specifics of a particular camera.
The most common options are available:
Perforation Mode
The negative scan is inverted and the backlit perforations become black.
Positive films, on the other hand, do not need to be inverted and retain their
original white perforations. At the postproduction stage, they can be filled with
the film base color. This action is simulated by the OFF mode.
Film Orientation
In cinema cameras film is pulled down through the film gate vertically,
while in most 35 mm photo cameras film travels horizontally.
However, in both cases, you can rotate the camera 90 degrees while shooting.
The film scan can also be rotated on postproduction so that the scene will have
the correct orientation when viewed.
Scale
Lens Zoom
Compared to the Scale parameter, Lens Zoom allows to zoom the scene within
the film gate, as if you were zooming the lens in/out at the shooting stage.
When Lens Zoom = 100 (default), the image is zoomed in to cover the entire
film width, including the overscan area.
With Lens Zoom set to 0, the image fits the Film Gate area.
Offset X, Offset Y
Sometimes after applying Overscan effects, you may want to move the image
to better fit the gate.
Values of +100 and -100 correspond to shifting the image by half of its width
or height in the forward or opposite direction, respectively.
Gate Defocus
The frame focus depends on the tightness of the film against the film gate,
the type of camera and its technical condition. In Dehancer you can control
the degree of defocusing in the range from 0 to 100 conventional units.
Exposure
Flip
Normally, the layout of the perforations and the gate is determined by the film
format and the technical standard of the camera and scanner.
However, for creative tasks, we have added a Flip option that mirrors
the perforations and frame horizontally while keeping the image unchanged.
Enabled
This option allows you to completely enable or disable the Overscan tool.
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Notice:
Since Overscan Tool contains a number of practical simplifications,
it is appropriate to call it stylization rather than imitation.
We have implemented the basic components for the most common
formats. In the future, the tool will be improved by expanding
the set of gates, formats and additional elements.
→ Related article:
Dehancer Overscan Tool
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Vignette
Exposure
Size
Feather
Aspect Ratio
Below you can find the main system paths of the installed application
components and user data locations, which you may need when contacting
support or maintaining the plug-in.
Installation (macOS)
Shared folder:
/Users/{user}/Library/Application Support/com.dehancer.film_shared
/Users/{user}/Library/Application Support/com.dehancer.film_shared/
dehancer_logs/dehancer_pro.log
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Installation (Windows)
Shared folder:
C:\Users\{user}\AppData\Local\dehancer\com.dehancer.film_shared