I would like to reorder some tools inside my workspace. Is it possible?

We will implement workspaces and custom presets functionality in the future updates.

Do the Halation, Grain, etc. modules change when the film stock is changed?

We offer built-in tool profiles for 8, 16, 35 and 65mm, each in three grain versions: ISO 50, 250 and 500.
These profiles are not strictly associated with specific films, and there’s no natural reason for this, since various film formats are completely different in terms of grain size, halation, and also don't forget the Push/Pull process which also affects the grain and contrast in real life.

Also, we have numerous factory presets in the iOS app, Ps, LrC, C1, APh plugins and Dehancer Online, and it's a more creative rather than technically realistic approach.

Can we use HLG profile?

Camera profiles in Dehancer are designed to interpret low contrast (Log) video to normal contrast (Rec.709). Creative shooting modes (e.g. S-Cinetone), as well as video with normal contrast (e.g. HLG) do not need gamma curve interpretation and can be used as is, while Rec.709 should be selected in the Input of the plugin.

What is the difference between your Bloom tool and the Lightroom’s Clarity tool?

Bloom is the effect of light scattering in the film emulsion. Clarity is simply the reduction or enhancement of local contrast. These are different tools in nature and purpose.

You can learn more about our Bloom tool in the official Quick Guide .

What does Analogue Range Limiter do?

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.

Can you suggest a grain setting which is like “Oppenheimer film” and film damage amount and which iso to use and which mm for perfect mile grain and damage?

There is no any bullet-proof combination of camera, mode, film and grain or damage profile, any new production needs a special attention while setting up these parameters to meet technical or aesthetic requirements.

These articles may be useful for you: Dehancer Tool profiles , Dehancer Film Damage

What is the right way to use the White Balance?

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.

If I’m using Dehancer as my CST what is the output of Dehancer? And if I want to use DaVinci Wide Gamut for my timeline, prior to Dehancer, do I need to do any CST from DWG into Dehancer?

Please, read the Quick Guide pages 7-11. Dehancer output technically matches the selected Dehancer input. Rec.709 is gamma 2.4.

In the same Quick Guide we provide super detailed instructions for setting up your DWG workflow. If you select DWG as the plugin input, obviously, you don’t need to do any additional CST before/after Dehancer.

The internal processing is performed in the very wide working space which is virtually infinite in terms of bit depth and gamut. The most important thing to note, however, is that the color gamut of a real analog print (whether we're talking paper or slide) is much smaller than any digital space, including Rec.709. Therefore, if you interpret the source material properly, you don't lose useful data at later stages. Film Emulation usually doesn’t require any gamut wider than Rec.709 / sRGB due to the natural printed media gamut compression, therefore you won’t get any theoretical or practical benefits from emulating film in wider gamuts.

I would like to be able to create custom presets for Halation, Bloom, and Grain. Is it possible?

We will implement workspaces and custom presets functionality in the future updates.