You know the look — Classic Chrome street shots, Nostalgic Negative golden hour, Classic Negative editorial portraits. These eleven film simulation profiles are built from colour-target measurements of that rendering, rebuilt as Lightroom profiles for Canon bodies. They land within a mean 2.15 ΔE2000 of the measurement, on the standard perceptual scale where 1.0 is the threshold of human vision.
Every one of these was measured, patch by patch.
Each profile is fit to colour-target measurements from real hardware. Not slider presets — embedded colour transforms that stack with your own edits.
Muted, documentary colour. Warm shadows, desaturated greens. The look that launched a thousand street photographers.
Vintage colour negative with distinctive hue shifts and high contrast. Feels both retro and modern.
Heavy amber warmth with lifted blacks and low contrast. 1970s colour, shoebox memories.
Punchy saturation and steep contrast. Deep blues, vivid greens, rich reds. The landscape look.
Gentle contrast, enhanced skin tones. Designed for portrait work — flattering and natural.
Controlled saturation with accurate skin rendering. The studio natural look.
Studio portrait with more midtone punch. Skin stays safe, everything else gets bolder.
Low saturation, flat curve. Maximum latitude for grading. The motion picture look.
Deeply desaturated with high contrast. Silver-retention cinema. Metallic and raw.
Clean, balanced baseline. Accurate colour with subtle enhancement.
Accurate colour with a firmer tonal response. Saturation sits where the scene does; the work happens in the curve. The documentary choice.
Each simulation is measured from a 24-patch colour target photographed on the hardware that renders it, under controlled light. Nothing here is reverse-engineered from screenshots or guessed at with sliders.
Camera sensors see colour differently, and the only correction worth applying is one measured on the body itself. We shoot a colour target on a camera before we claim a correction for it. Anything else is arithmetic dressed up as calibration.
The colour transform is baked into a 3D LUT inside the profile. You can adjust exposure, contrast, and white balance freely — the look stays intact.
11 profiles + 11 .cube LUTs
Calibrated for the R5 Mark II sensor
11 profiles + 11 .cube LUTs
No body restriction. In the Complete Collection too
Want film emulations too? Get the Complete Photography Collection
80 film emulation profiles across 9 collections
Every simulation ships as both a Lightroom profile and a .cube LUT. Use the same look across photo and video workflows — or match colour across cameras on multi-cam shoots.
The universal pack works on any camera. A body gets its own pack once we have shot a colour target on it; the Canon R5 Mark II has one today.
Shoot a different body? Let us know — we calibrate new cameras regularly.