Essentially, this adds a timeline down the left-hand side of the screen, organised by decades.
In FilmPack 6, DxO has not only added more film stocks, but also introduced a novel feature called Time Machine. So being able to get the film look from a single, easy-to-use package still appeals. Why should they fork out for an Ektar or Tri-X impersonation when they are shooting with the real thing and getting the negs digitised? While the film revival shows no sign of petering out, the majority of modern photographers are still shooting digitally.īrompton Oratory gets the Jean-Michel Basquiat look – note the Time Machine descriptions over to the left, which you can toggle on and off What’s more, LUT (Look up Table) packages are increasingly popular too, luring photographers who are eager to get more of a ‘cinematic’ look.Īnd let’s not forget the growing number of photographers who are discovering or rediscovering film, cutting out the emulation middlemen altogether.
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This is not just coming from other software firms, such as Mastin Labs, VSCO and all the other preset suppliers out there, but also from camera makers – particularly Fujifilm, whose cameras have long had quality film emulations built-in. The latest version, FilmPack 6, needs to deliver more than just a bunch of new film emulations and filters, however, as DxO now has a lot of competition. Its other image-editing packages attract positive attention too, particularly for the DeepPRIME noise-reduction features in PureRaw.ĭxO FilmPack has been around for a while, and as its name suggests, provides digital emulations of a lot of classic film emulsions.
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