Once you’ve selected your negative film stock in Step 4, your footage is now prepped and “normalized” — meaning, its tonal characteristics are brought closer to how a specific negative film stock would behave. This step sets the stage to apply print film emulation, allowing the look to take on the final color response of projected film. The choice you make here shapes the final color character of your footage.
What Print Stock does under the hood?
Print film stocks in this context are inspired by the characteristics of Kodak Vision print films (most notably Vision 2383). While they aren’t 1:1 exact data match, these are modeled to capture the color response and feel of the film without restricting he look to exact data-points — a choice made to avoid digital artifacts and inconsistencies that can arise from strict LUT-based profiling of scanned film negatives.
Understanding the Options
Each print stock you’ll see listed in the dropdown (as shown in the screenshot below) comes in a combination of:
- Two major base stocks (Inspired by Kodak Vision 2383 & Fujifilm DI 3513)
- Three white point temperature variations:
- D55 (warmer)
- D60 (neutral)
- D65 (cooler)
- Preview Variant – used for quick comparative visualization
- EXP Variant – a slightly expanded variation of the same print stock
Why White-Point Lives Here (and not in Display Settings)
Most color-management systems shift white point only at the display transform level. Filmverse Arsenal treats print + negative as an artistic look container, so we embed the D55 / D60 / D65 options inside the Print Stock itself.
- Creative Context – Historical print film was struck for different projection environments, and those white-point choices altered more than just overall tint; they nudged hue bias, saturation roll-off, and density response.
- Unified Character – Housing temperature inside the look ensures those secondary shifts stay glued together, something a final display white balance alone can’t replicate.
- Cleaner Workflow – You can still output to Rec. 709, P3, HDR, etc., without juggling extra offset nodes to “warm up” or “cool down” the print feel.