The appearance of printer points is a welcome addition, as its a control rarely seen in most recent color correction plug-ins or effects, except for dedicated color correction packages. Printer point controls allow for some quick but powerful adjustments over your image, should it have any type of color cast or white balance issue not fixed by the WB control. Basic Lift, Gamma, and Gain controls allows you to adjust your image, should it be too dark or bright after the emulation is applied.
White balance is offered within the plug-in, using manual kelvin (K) temperature or with the automatic function (which I found worked quite well for an "auto" function). Essentially, if you have a somewhat recent camera, it is likely supported directly within the plug-in, but if not, they also support generic Rec709, Log, and Cineon options to cover you. Moving onto the specifics of the plugin, it supports a huge variety of cameras and formats, both Rec709 and LOG. If you are looking for a one-touch button for color correction, you'll likely be disappointed with this plug-in (and with most plug-ins, for that matter. A key aspect I've found important to film emulation is using it as a "starting point" and never assuming its won't require additional color correction or grading. Although there are only 5 film stocks to emulate (each with a few variations), I found these subtle emulations to be fantastic starting points for a huge majority of my color grades. This is partially due to the fantastic looking film stocks available with Koji Advance, no matter if we are discussing the plug-in or the LUTs.
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As a benchmark test, I regrading a project I had graded with a Kojicolor LUT in Resolve, and I was pleasantly surprised how close I had come (ignoring the secondary corrections, power windows galore, and other fancy business done in the Resolve version). However, my numerous tests with Koji Advance left me feeling surprising creative. cube format.Īs a colorist, I crave control over the colors in an image and that control is not usually associated with plug-ins, look presets, and other "shortcuts".
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However, they've also included a huge variety of LUTs, in case you want to do more manual color correction in DaVinci Resolve, Adobe Speedgrade, or any other application that accept 3D LUTs in a. The plug-in comes from the same team that developed Koji Color, a set of film emulation LUTs developed under the supervision of color timer Dale Grahn. The Koji Advance plug-in is compatible with Adobe Premiere Pro, Adobe After Effects, and Apple Final Cut X. The true accuracy of the "film emulation" to a specific film stock is always a big question, but its clear this hasn't been a detractor for many who enjoy using these effects for quick and easy color starting points.įor this review, we'll be focusing on the Koji Advance plug-in and LUT package.
These "film emulation" type of plug-ins aim to do a similar effect with video, although to a far lesser extent than most of the photo based tools. It might sound like a strange idea but its easy to understand when you think about how pictures and "selfies" are typically shared: usually highly manipulated in some application like Instagram or Lightroom with a look that usually degrades the image in favor of a highly stylized feel. Many would ask, "Why do such a thing? It looks so clear and sharp". Products like Koji Advance, Magic Bullet Film, FilmConvert, Visioncolor Impulz and many similar products aim to "emulate" popular film stocks to add a less "digital" look to your image, mimicking as if it were shot on film instead of a digital camera. Film emulation is all the rage these days, from plug-ins to LUTs.
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