When you open the app for the first time, you’ll be asked to download film profiles.

You can always check for updates in application Settings [S].

To remove the watermark, get a Subscription.

Note: This product does not offer a lifetime purchase.

If you already have an active Subscription, open Settings and sign in with your Dehancer Account to activate your seat.

Dehancer natively supports the following color profiles and pipelines:

+ embedded icc profiles

When opening a photo, Dehancer tries to extract the embedded profile and select the color space automatically. If it fails to for some reason, the default sRGB IEC61966-2.1 profile is applied.

RAW photos are processed in sRGB and converted to your current display color profile for preview and export.

Normally, the Output space is the same as the Input space, if it matches the system color profile. All color transformations are performed automatically in a virtually unlimited internal space.

A fresh, properly developed color slide film may produce a vibrant image slightly wider than sRGB. However, it complicates scanning, display and printing on a typical analogue media, where the gamut does not exceed sRGB.

Usually, film emulation doesn’t require the gamut wider than sRGB, due to the natural range of the print.

As you can see, there is no theoretical or practical benefits in a wide gamut color spaces for film emulation. You can use various color pipelines, but the extended gamut does not belong to the analogue media.

This does not prevent using modern screens and projectors with wide gamut and HDR support for viewing. With proper output adjustment, the film will look good. However, sRGB is generally sufficient for processing.

It is important that the color management is consistent throughout the entire processing and viewing pipeline.

You may prefer another supported working space, be it AdobeRGB or Display P3. In this case Dehancer reads you system color profile and applies the conversion to match color settings across the system.

To open Application Settings, click the [Gear] button on the toolbar, or press [S].

You can check your Subscription status here.

Press [Activate Dehancer] button to open the activation widget. Sign in with your account and select a seat to activate Dehancer.

After activation, you can [Manage Your Subscription] in the same widget.

Hit the [Update Profiles] button to check and update film profiles at any time. The Dehancer Profiles widget will open and the profiles will be automatically downloaded and installed.

If your system has multiple GPUs, select the best-performing one.

[Prefer shared memory instead of GPU RAM] option may result in better performance with some specific configurations.

If you experience unexpected behaviour, enable the [Dehancer Log] checkbox, restart Dehancer, and wait for the issue to appear.

Then go to Settings → Maintenance and press [Open Log Folder] to locate the log file and attach it to your bug report.

View the complete list of keyboard shortcuts specific for your OS.

Here you can find your current version and available updates, including Beta (if checked on). Also, you can visit the Downloads section on our website.

This section includes experimental settings. Please use them carefully and avoid depending on these beta features for critical work.

We’d love to hear your feedback.

1. Default RAW Processor

You can set the default RAW Processor from the list of frameworks available for your operating system.

This setting does not affect photos that have already been edited.

2. High resolution Inspector

Enables high resolution rendering of the visualizations like Histogram or Waveform.

3. Prefer 8-bit processing for RAW and high-bit-depth images

You can slightly improve the performance by forcing 8-bit input processing for 16-bit sources, with virtually no visible quality loss in most cases.

We designed Dehancer to be simple and intuitive, but you still have a few options to configure in your workspace.

Show or hide panels using the buttons on the toolbar or with the keyboard shortcuts for your OS.

Press [F] to show or hide all panels and maximise the preview or the thumbnails area (works in Browser and Editor).

Collapse or expand any panel by clicking its header.

Open Application Settings → Keyboard Shortcuts to view the full list of Dehancer shortcuts specific for your OS.

Dehancer starts with Browser.

Pick any folder in the tree to preview its contents.

Add frequently visited folders to Favorites with the [Heart] button in the panel header, or with the context menu.

Click the [Favorites] tab to show your favorite folders.

Sort thumbnails by Name, Date, or Rating, ascending or descending.

Dehancer supports JPEG, TIFF, PNG, and RAW photos.

You can filter images by file type to differentiate RAW from other formats.

Rate photos with keys [1] … [5], click the stars on a thumbnail, or use thumbnail context menu.

Filter images by Rating (multiple selection is possible).

Click photo thumbnail to select it.

[Cmd/Ctrl + Click] to add photos to the selection.

Click the first photo, then [Shift + Click] the last one to select a range.

Right-Click selected photos to open the context menu where you can access many useful image actions like Edit, Copy/Paste Edits, Export, Add to Project, Set Rating, etc.

Press [Space] to preview a photo in fullscreen.

Zoom In and Out with [+] or [-] keys, by double clicking the image or with the mouse wheel.

Press [0] to fit image to the screen.

Set a rating with [1]…[5] keys or click the stars.

Use the arrow keys [←] [→] [↑] [↓] to navigate between images in the current folder or project.

Click this button to Open Settings, or press [S].

Export selected photos. In the Export Settings dialogue you will be able to select destination folder and file format.

Enable/Disable Dehancer film emulation on the thumbnails and on the fullscreen preview.

Use Projects to organize your photos and sessions.

Think of a project as a virtual folder where you can place selected photos while keeping the source files untouched.

This saves disk space and allows you to create virtual duplicates. A single photo can belong to multiple projects – and each instance will have its own independent edits.

Add selected photos to the existing or a new project using the thumbnail context menu in Browser.

Open the [Projects tab] to view, edit and manage your projects.

Use the project context menu to Edit, Export, Rename, Clone or Delete selected project.

If you delete a source file in Browser or outside of Dehancer, this photo becomes unavailable in projects.

You can use the [Relink] command from the thumbnail context menu.

Dehancer features non-destructive editing. The source file remains untouched, and all edits are stored in the application library when you click [Apply] or press [Enter] in Editor.

This allows for virtual duplicates – one photo can belong to multiple projects, and each instance will have its own independent edits.

You don’t need to import photos in Dehancer and blow-up cache files. Just navigate folders in the Browser or open files from Finder file menu.

To open single photo, press [Enter] or double-click the image thumbnail.

To open selected images, click [Edit] in the image context menu.

To load the entire project in Editor, select [Edit] from the project context menu.

To open a photo from your OS, drag a file onto the application icon, or use the [Open with…] command from the system context menu.

Click the button to Show/Hide the Filmstrip.

Filmstrip allows you to navigate multiple photos with arrows [←] [→] or with horizontal scroll.

In the context menu you can Add Snapshots, Copy/Paste Edits, Apply to Filmstrip and Export.

Toggle Before/After image preview.

Zoom image to 100% pixel size.

Zoom image to fit the preview area.

[Inspector] button enables the Histogram or Waveform visualisation for RGB and Luminosity channels.

The [Clipping indication], shows underexposed shadows and overexposed highlights for 0-5 and 250-255 range.

There are 3 inspector modes available in the context menu:

The editing history is stored for the current editing session. Once the Editor is closed, the last image state is saved.

Reset all settings and disable all tools, including film and print profiles.

Revert to the initial settings from the start of the current editing session.

Undo last edit.

Redo last edit.

There are dozens of film presets bundled with Dehancer, and you can make your own.

Presets are a more general concept than just film profiles, including print media, effects and adjustments.

You can filter films by type, sort by name or by date.

In the context menu you will find more actions, like Apply to Filmstrip, Rename, or Rewrite with current edits.

For bigger previews, select [Large thumbnails] in the [View] menu.

Every photo can have the Snapshots – grading versions, ‘local presets’ for this particular image.

For example, if you want to try different films, just save current settings as a Snapshot, and create additional snapshots at the key points when major adjustments are made.

Every snapshot contains the complete look, including RAW Settings.

To create new snapshot, click the [+] button on the panel, use the image context menu, or press [S].

Click any snapshot to Apply Edits to the current photo.

Each panel section contains controls for a specific tool or feature set. You can collapse or expand any panel by clicking its name.

Use the checkbox to enable or disable any tool. There is no checkbox on the Source panel, as source corrections are always applied.

The [Revert] button resets all tool parameters to their default values.

The [Lock] button in the Crop, Source, Film Damage and Overscan tools preserves corrections when switching presets or snapshots.

Double-click any slider to Reset it to its default value.

Several effects have a drop-down list of Tool Profiles making them much easier to use. Tool Profiles are sets of pre-configured parameters designed to recreate the typical look of different film formats.

To adjust any tool profile, first select the one that fits best, then switch to Custom mode.

All parameters will become available, and their values will match the last selected profile.

You can Copy/Paste Edits in the image context menu (in Browser, Filmstrip and the Preview) or with the shortcuts:

The image state recalls all parameters and adjustments, including RAW settings.

Press the [Export] button on the toolbar to export selected images.

In Editor, you can Export Current Image or Export all Filmstrip Images. Also you can Export the entire project via the project context menu.

In the Export Settings dialogue:

1. Check the files summary.

2. Select destination folder. If a file with the same name exists in the target folder, a unique filename is generated automatically to keep both files.

3. Choose file format and quality.

4. Click [Start Processing] to render your batch.

1. Preview, rate, sort and filter photos in Browser.

2. Select one or multiple photos.

3. You can open selected photos in Editor or Add to the Project.

4. If you prefer shooting in RAW, you can adjust RAW Settings.

5. The original image may still have some deviations, which can be adjusted with the Source Corrections tool.

6. Use the Crop tool to frame and align your shot.

7. Select your favourite look in Film Presets. You can switch between the presets with [↑] and [↓] arrows.

8. The Push/Pull setting in the x tool allows to further adjust the profile appearance depending on film exposure.

9. You can change the Print Medium, adjust Exposure, Contrast, and other Print settings.

10. Enable the Analogue Range Limiter to get the real contrast of print media and get a softer image with more shadow and highlight detail.

11. Use the Expand tool to set the black and white points.

12. CMY Color Head is a perfect tool for creative adjustments of print white balance and split toning.

13. Factory presets contain pre-adjusted film effects. Some effects may not be enabled by default, like Overscan and Film Damage.

14. Use Snapshots to store and manage multiple grading versions.

15. Click [Apply] to save the actual state of all photos loaded in Editor.

16. If you click [Close] or [Esc], you will be prompted to save or discard the last edits.

17. Click the Export button to export all photos loaded in Editor or selected in Browser/Projects.

Standardisation of cameras is a topic of debate.

While camera JPEG has its own style, RAW is considered neutral and ‘unprocessed’, but in modern cameras it also varies in color, contrast, latitude, and post-processing, like noise reduction, tone mapping, HDR, local contrast, lens correction, etc.

In Dehancer RAW support is under active development. We aim to give you a neutral look and sufficient headroom for processing, while allowing to select from multiple frameworks and to adjust some key parameters.

Dehancer relies on multiple RAW frameworks for better camera support and gives you the flexibility to choose the best interpretation.

You can select from the list of RAW processors available for your operating system. Both the image rendering and adjustments set will be different. For example, Apple provides a more vibrant image by default, while LibRaw exhibits technical precision, sometimes revealing unpleasant truth about your files.

We don’t provide any controls over the demosaic algorithm. The frameworks are tuned for a balanced image, without visible artifacts like noise reduction, sharpening or moire. Notice that in Dehancer the image structure is defined mostly by the Film Grain.

You can select the default framework for newly opened files in the Application Settings → Experimental

RAW Settings are stored with each photo and included in snapshots, but they are not included in presets.

Digitally pre-amplifies the signal to compensate for underexposure. In many cases, Pre-Gain performs better than Exposure Compensation in Source, since it works with unprocessed sensor data.

Some photos require extra headroom. This adjustment preserves highlight detail and provides better source for film emulation.

This option is enabled by default and lets the framework set the exposure automatically. Disable to adjust the exposure manually.

In different frameworks, exposure in RAW can be implemented in different ways and produce different results. Use this parameter to correct the most severe deviations.

Select [As Shot] when the on stage white balance looks acceptable, then fine-tune the look using Color Head.

For serious deviations, try [Auto] or [Custom].

In Custom mode the [Temperature] and [Tint] controls are enabled.

Use this adjustment to control shadow detail.

The contrast curve is applied to the photo by default. Reduce it to obtain a softer image and simplify further processing.

Local contrast reveals the texture of the image. Unlike Sharpness, it acts with a larger radius and affects the overall clarity.

This is a comprehensive post-processing parameter that affects the distribution of contrast between local areas of the image. By reducing this value, you can obtain a more ‘honest’ but more difficult to process image.

Controls the amount of unsharp masking effect applied to the image.

RAW Settings are not included in the presets. When you switch presets, it’s convenient to keep RAW adjustments with the image, providing a normalised source.

Use the Snapshots to store the complete editing state, including RAW Settings.

If your RAW format is not supported yet, or for some reason you are not satisfied with the results, there are workarounds:

1. Try alternative RAW Processors

In Dehancer you can select from the list of RAW Processors available for your operating system.

2. Convert to DNG

Convert unsupported photos to DNG using the Adobe DNG Converter. This preserves the source data and makes it readable for Dehancer.

3. Use third-party RAW software

You can pre-process your images in any other RAW software at your taste. Normalise the look, use the normal contrast curve, avoid clipping, disable sharpening and export as sRGB, TIFF 16 bit.

The Crop panel is located below the RAW Settings, as cropping is applied after RAW processing.

Crop adjustments are saved with photos in the library, but are not included in presets or snapshots, so you can change film looks without affecting the crop.

Press the [Crop Overlay] button to show / hide the crop frame interface.

Move the frame handles to adjust the crop. Hold [Shift] key to crop from center. Drag outside the frame to rotate the canvas.

Click the [Crop Overlay] button again, or press [Enter] to apply crop.

When the Crop overlay is active, Dehancer emulation is temporarily disabled.

[Rotate 90°] button rotates the photo clockwise in 90° increments.

[Reset] button resets the crop to its original state.

[On/Off] checkbox enables or disables the crop tool.

Choose a ratio from the list or enter a custom values.

Use the [Swap] button to switch between Portrait and Landscape orientation.

Use the Perspective H and Perspective V sliders to correct horizontal and vertical perspective.

When the crop overlay is active, some extra options are available in the preview area context menu.

Select the 3x3 or 9x9 grid, or disable the grid overlay.

Reset the crop frame, rotation, or perspective correction individually without affecting the other parameters.

The Source settings and corrections are designed to fix technical issues of the image (no creative adjustments here).

Dehancer currently supports source images in the following color spaces:

We try to extract the embedded color profile information from the image and automatically select the detected color space. If it fails to for some reason, the default sRGB IEC61966-2.1 profile is applied, or you can set it manually.

This setting can be used to compensate for the exposure errors of the source media. This is a technical correction that applies before film and print profile.

Print Exposure, on the other hand, is a creative tool, where the outcome depends on Print Media selection, Exposure and Tonal Contrast settings.

Use these adjustments to compensate for strong deviations of the white balance and prefer CMY Color Head for creative adjustments.

Defringe helps reduce chromatic aberrations along high-contrast edges that may interfere with Dehancer effects such as Halation and Bloom.

In some cases Defringe may introduce visible halos around the edges. Lowering the Defringe Amount and Radius helps to deal with this issue.

Normally, applying a film preset or image snapshot replaces all adjustments, including the source correction.

But sometimes it’s convenient to preserve these adjustments when switching presets or snapshots, so you don’t have to redo them each time.

Click the [Lock] button to keep source corrections intact when changing presets or snapshots.

Various films respond differently depending on how much light they receive.

Underexposed or overexposed film requires Push/Pull processing – the development and print corrections.

Each film profile is built using 3 separate film exposures, printed and sampled individually.

On negative films, Push/Pull affects color and contrast.

On positive films, Push/Pull directly affects film exposure.

When creating film profiles, we light the color target with the reference light source with the color temperature specified by the film manufacturer. Daylight films are shot under 5500K, while Tungsten emulsions require 3200K incandescent bulbs. This ensures neutral color reproduction at capture.

During optical printing, white balance is further refined using color filters in the enlarger, bringing neutrals precisely to the reference point.

As a result, all film profiles are technically designed for source images with a neutral white balance.

If needed, you can fine-tune the source using Temperature Comp. and Tint Comp. in the Source tool.

This parameter controls the developer contrast. In analogue processes, development contrast is determined by developer temperature and concentration. In Dehancer this parameter can take both positive values (contrast increases) and negative values (contrast decreases).

In film processing gamma correction controls the contrast ratio of a negative, in relation to the exposure time. This parameter determines how much the midtones are shifted towards shadows or highlights. Gamma correction is possible with any Contrast Boost value other than zero.

The color separation of the negative film is determined by the color filters in the emulsion layers, the sensitisation of each layer and their order. In Dehancer you can control the ‘chemical component’ of the developer, which affects the sensitisation of the emulsion layers.

When Color Separation value is reduced, saturation of the most intense colors is reduced first, while medium and low saturation colors remain almost unaffected.

By default, the Color Separation setting has a maximum value of +100. It affects the image at any Contrast Boost value other than zero.

Some color development processes allow saturation to be controlled by the properties of the dyes that are introduced into the emulsion at the development stage. In Dehancer, this feature is implemented in the Color Boost parameter, which increases or decreases the overall saturation of the image (not only the most saturated colors, as with Color Separation). This type of color enhancement is gentle and does not lead to clipping, i.e. all colors remain inside the color gamut.

This parameter determines the degree of compression.

The higher the Impact value, the more the highlights are pushed towards the midtones.

The White Point parameter defines the ‘film clipping threshold’, and directly affects contrast because it determines the steepness of the transition to the clipping area. As the white point gets closer to the midtones, the more contrast the image appears.

By default, White Point = 100. This means that it stays at its initial position.

The White Point can be lowered, thereby increasing the overall contrast of the compressed range. The minimum possible value is 50. The lower the White Point is, the more likely clipping will occur in the highlights.

Alternatively, the white point value can be increased. In this case, the overall contrast of the compressed range is reduced. The maximum possible value is 120. The higher the White Point is, the more flat and grayed the highlights appear.

This parameter represents the width of the tonal range affected by Film Compression tool. A minimum value = 0 means no compression. A maximum value = 100 means that the compression affects the wide range from the brightest highlights almost all the way down to the deepest shadows.

Different films reproduce color differently as they get closer to the highlights. Negative films tend to noticeably loose saturation in the highlights. Slides remain more vibrant, even though the clipping occurs earlier.

The Color Density parameter controls the color intensity of the compressed range. Color Density = 0 produces the lowest saturation in the highlights, which is more typical for negative films. Color Density = 100 provides maximum saturation, and the image looks more like positive films.

Set the black and white points to ‘fit’ an image into a dynamic range of your output color space. It also enhances visual contrast and punch.

You will probably revisit this tool several times after making image adjustments with other tools.

The Color Mode option can be useful if you encounter unwanted color shift or oversaturation. In the Luma mode Expand affects only the luminance component of an image, but does not affect its color, so the changes in contrast have no effect on the saturation.

Only a ‘pure’ profile of a selected film is used, without the influence of the characteristics of photographic paper.

Selected film is ‘printed’ into Cineon film scan format. This parameter also makes it possible to ‘print-out’ negatives outside Dehancer.

Selected film is ‘printed’ onto Kodak Vision Color Print Film 2383 or Fujicolor Positive Film Eterna-CP 3513DI.

Selected film is ‘printed’ onto Kodak Endura Premier Glossy Paper.

We optically print BW negative films on this wonderful paper with expressive texture and noble warm tone.

You can set Print / Saturation = 0 to get pure black & white.

It’s generally best to follow the analogue pipeline when choosing a print medium if you need an authentic look. Try these combinations for best results:

Experimentation is welcome. You know, almost anything is possible in a real darkroom. For example, you can create an intermediate negative duplicate from a positive film frame, then print it on photographic paper or print film. All you need is a slide duplicating device, a color enlarger and print development.

Only available when Kodak 2383 Print Film or Fujifilm 3513 Print Film is selected. Allows to adjust the temperature of the printing light source in the 5500-6500 K range.

The Exposure tool is based on characteristic curves of optical prints. With the analogue approach to the exposure correction it naturally affects the image contrast too. This parameter is measured in the exposure value steps (Ev).

The Tonal Contrast tool inherits a nonlinear nature of analogue processes. Increase the value to give more punch or apply negative correction to visually ‘soften’ an image. Notice that changing the contrast also visually affects the exposure, which is also typical for analogue media.

Traditional ‘digital’ saturation affects all hues equally and linearly. On the contrary, the Color Density tool provides perceptual saturation control, i.e. it affects aesthetically significant colors in a higher degree.

Color Density can be used to quickly solve many specific problems – for example, to mitigate oversaturated accents or emphasise meaningful colors without painstaking adjustment.

This is a more "traditional" saturation control based on altering the chroma components in YCrCb space. This correction is available only in the reduction way due to the fact that oversaturation usually degrades the aesthetics.

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.

The effect of changing these parameters corresponds respectively to their labels.

Dehancer uses the real-life measured color filters values.

Thus, even with the identical adjustments in all three axis, the color changes are visible. For your convenience, we have provided the Gang checkbox, which allows changing all three filters at once.

In a general analogue sense, toning refers to giving a paper print or film positive additional tints that are not originally characteristic of a particular media combination. This technique is widely used to give a special character or atmosphere when the original film properties are insufficient.

In addition to the natural variations across the tonal range, a print can be intentionally colored in the shadows, midtones, or highlights.

Toning can be achieved using a variety of methods, including special processing, additional treatment, and printing methods.

In Dehancer, the toning control is based on split printing through color filters, with masking performed automatically.

You can control the color temperature separately within three equally quantised ranges – in shadows, midtones, and highlights.

During the analogue printing the exposure is affected by color filters. Dehancer inherits this behaviour. When Preserve Exposure is set to 100%, it automatically compensates any exposure changes, introduced by the Color Head corrections.

This slider adjusts an overall impact of the effect, acting like ‘opacity’.

We’ve created grain profiles for 8, 16, 35 and 65 mm, each avilable in three versions: ISO 50, 250 and 500.

In order to change the parameters of any profile, you must first select the most suitable one and then switch to Custom mode.

All the usual effect settings will be available to you, and the parameter values will match the last selected profile.

Custom settings let you fine-tune Film Grain any way you like.

Negative – grain is more pronounced in the highlights, with slightly higher micro-contrast, typical for negative film.

Positive – uses a classic algorithm that produces softer grain, less visible in the highlights, characteristic of positive film.

Analogue – the original grain model. Requires more processing power but delivers the most lifelike emulation.

Noise – a high-performance simplified grain model. Useful for dithering tasks (for example, reducing posterization), for low-resolution projects, and for draft exports.

Controls the size of silver-halide granules. A higher value corresponds to a more photosensitive and therefore more granular emulsion.

Sets the total amount of generated grain, corresponding to the optical density of ‘film’.

Adjusts how grain is distributed across the tonal range by setting grain levels independently for shadows, midtones, and highlights. This helps match the texture of your scene or grading style.

Usually the smallest image detail on film does not exceed the grain size.

Dehancer Film Grain accounts for this by design, and you can adjust the effect manually to mimic a specific film resolution or compensate for softness.

A value of 100 preserves the original sharpness of the source image. Lowering the Resolution results in gradual loss of detail, while an image becomes more blurred. A value of 50 represents detail balanced with the current grain size and amount.

Grain chromaticity may vary on different films. This setting controls the saturation of the dye granules in film emulsion.

There is 8 basic profiles with average values for the main film formats that solve most creative tasks and provide a convenient basis for creative adjustments.

Each Halation profile has two versions – a standard emulsion and a film of the same format, but with the anti-halation layer removed (No Remjet). On films without remjet, Halation is usually excessively pronounced.

In order to change the parameters of any profile, you must first select the most suitable one and then switch to Custom mode.

All the usual effect settings will be available to you, and the parameter values will match the last selected profile.

The Custom settings allow you to configure Halation as you like:

This setting defines the minimum light source brightness that is able to produce halation. The default value = 0 means that even the weakest source is able to produce halation. By increasing this value, you can cut the effect produced by low intensity lights.

This parameter sets the range of the background tones on which halation becomes visible. Default value allows halation to appear on most backgrounds. Decreasing this value eliminates the effect over the lighter ones.

This integral parameter controls the distribution of the halation effect between the large and small sources, visually smoothing smaller halation details. Increasing the Smoothness value reduces the effect around the point sources in favour of the larger areas. Setting the Smoothness to zero leads to the most detailed halos.

This parameter defines how far the light spreads in an ‘emulsion’. The higher the Local Diffusion value, the larger the geometric size (radius) of the halos.

Global Diffusion controls the degree of the secondary glare produced by scattered light. This is a more global effect that affects mostly low-contrast midtones and also enhances the primary halation.

It is important not to confuse this setting with the Impact as the Amplify affects the sensitivity of an ‘emulsion’ to the scattered light, not the opacity of the effect. Increasing the Amplify value makes the effect more pronounced and shifts the halation toward yellow hues.

This parameter modifies the sensitivity of the green layer of an ‘emulsion’ to the scattered light. Use this setting to better match halation hues to a scene in the wide range from cool reds to warm yellows.

Cool backgrounds usually dampen the halation. Blue Compensation allows to counterbalance this effect.

This parameter can be conventionally referred to as ‘opacity’, since it controls not the physical parameters of the emulation, but the overall transparency of the superimposed effect.

This checkbox enables a special preview mode which allows you to better control the settings with the effect preview isolated from the source image.

In some cases chromatic aberrations interfere with the Halation effect. Defringe tool helps to deal with this issue.

Usually these effects coexist on film and mutually influence each other. Therefore, it is generally best to use Halation and Bloom in tandem to get a more accurate emulation.

To emulate the Bloom diffuse glow effect, we’ve created four versatile profiles for 8, 16, 35, and 65 mm film formats. These profiles use average settings that capture the general character of each format.

To adjust any profile, first select the one that fits your image best, then switch to Custom mode. All Bloom controls will become available, and their initial values will match the last selected profile.

The Custom settings allow you to configure Bloom as you like:

This setting acts as the ‘sensitivity’ of the effect and determines the brightness threshold at which bloom appears.

The higher the value, the wider the tonal range that produces blooming.

Source Limiter cuts off unwanted blooming from the lower end of the tonal range defined by Highlights.

Controls how the bloom is distributed between large and small light sources.

Increasing the value makes the effect more detailed and precise – right down to tiny point sources. Lower values produce a broader, more global glow across the frame.

Controls how far the bloom spreads from its boundaries. The higher the Diffusion value, the larger the geometric size of the glow radius.

Controls the overall strength of the effect by virtually ‘changing’ both the brightness of light sources and the diffusion properties of the emulsion.

Higher values make the effect more prominent.

Bloom affects not only surrounding areas but also increases the brightness of the light source itself.

In a digital pipeline, this may cause clipping. Save Lights protects highlights from possible clipping introduced by the Bloom effect.

Bloom naturally inherits the hue and saturation of the light source. This setting allows you to reduce its saturation to your taste.

This parameter can be loosely described as ‘opacity’. It doesn’t affect the physical parameters of the emulation, but controls the overall transparency of the superimposed effect.

This checkbox enables a special preview mode that isolates the effect from the source image, giving you more precise control over the settings.

Click the [Lock] button to keep Film Damage adjustments when switching presets or snapshots.

We’ve created profiles that represent the most characteristic defects of major photographic film formats. The smaller the film format, the larger the artifacts appear relative to the frame, and the more frequently they occur.

To adjust any profile, first select the most suitable one, then switch to Custom mode. All standard effect controls will become available, with parameter values inherited from the selected profile.

The Custom settings let you fine-tune Film Damage to your taste.

The Film Damage tool is composed of several modules, each responsible for a specific type of artifact:

Sets the total number of dust particles visible in the frame at the same time.

Controls the overall scale of the dust, acting as a single magnification factor for all particles.

Adjusts the ratio between small and large dust artifacts.

At the minimum value, only the smallest particles are visible; at the maximum, only the largest ones. Mid values produce a balanced mix of different sizes.

Controls the balance between light and dark dust artifacts.

At the leftmost position, only light particles appear; at the rightmost, only dark ones. The middle position produces an even mix of both.

Enables or disables the Dust effect entirely.

Sets the total number of hair artifacts visible in the frame at the same time.

Defines the overall scale of hairs — a single magnification factor applied to all particles.

Controls the distribution of hair sizes.

At the minimum, only the smallest hairs appear; at the maximum, only the largest ones. The middle position produces a balanced mix of different sizes.

Adjusts the balance between light and dark hair artifacts.

Enables or disables the hair artifacts entirely.

Sets the total number of scratches visible in the frame at the same time.

Controls the overall magnification of scratches relative to the frame size.

Adjusts the proportion between small and large scratches.

Scratches may appear light or dark depending on the production stage at which they were introduced. This control sets the balance between light and dark scratches.

Enables or disables scratches entirely.

Adjusts the overall intensity of all artifacts at once, without the need to tweak each type individually.

Film defects are irregular along the length of a roll. Global Period controls how often artifacts appear from frame to frame.

Lower values produce a more even distribution, while higher values create longer sections with more or fewer defects. At Global Period = 1, neighbouring frames have nearly the same amount of dirt.

Controls the overall visibility of the effect by adjusting artifact transparency. It does not change the number of artifacts, only the optical density.

Dirt interacts with light in complex ways, depending on transparency, thickness, distance from the film surface, the depth of damage of the emulsion layers and their exposure.

As transparency decreases, light artifacts tend to appear cooler (bluish), while dark ones become warmer.

Global Chromaticity controls the overall saturation. At the minimum value, all defects appear strictly black and white, regardless of transparency.

Click the [Lock] button to keep Overscan adjustments when switching presets or snapshots.

The film gate type defines the film format and the camera used. The following options are available:

Super 8 motion picture film with aspect ratio of 1.33:1 (4:3)

16 mm motion picture film shot in standard aspect ratio of 1.37:1

Super 16 mm motion picture film with a 1.66:1 aspect ratio

16 mm motion picture film shot in aspect ratio of 1.85:1

35 mm motion picture film shot in standard aspect ratio of 1.37:1

35 mm motion picture film shot in widescreen aspect ratio of 1.85:1

65 mm motion picture film shot in Ultra Panavision aspect ratio of 2.76:1

The shape of the film gate depends on the specific camera. The most common options are:

The type of film perforation is represented by three options:

Negative, Positive, OFF

Negative scans are inverted, so backlit perforations appear black.

Positive film does not require inversion and preserves naturally white perforations. During postproduction they may be filled with the film base color – this behavior is emulated by the OFF mode.

In cinema cameras film moves vertically through the film gate, while in most 35 mm photo cameras it travels horizontally. In both cases, the camera may be rotated 90° while shooting, and the scan can later be rotated in postproduction so the scene appears correctly.

However, in both cases, you can rotate the camera 90 degrees while shooting. The film scan can also be rotated on postproduction so that the scene will have the correct orientation when viewed.

The Landscape/Portrait option lets you emulate both horizontal and vertical film movement while preserving the normal subject orientation.

Adjusts image scaling (crop) after scanning. Range: 0 to 100. At Scale = 100, the film gate stays completely outside the visible frame.

Compared to the Scale parameter, Lens Zoom allows to zoom the scene inside the film gate, as if you were zooming the lens in or out while shooting.

At Lens Zoom = 100 (default), the image is zoomed in to cover the full film width, including the overscan area.

At Lens Zoom = 0, the image fits exactly within the Film Gate area.

Sometimes after applying Overscan effects, you may want to reposition the image to better align it with the film gate.

Values of +100 and -100 shift the image by half of its width or height in the corresponding direction.

The sharpness of the frame depends on how tightly the film lies against the film gate, as well as on the camera type and its technical condition. In Dehancer you can adjust the amount of defocus from 0 to 100 conventional units.

Depending on the backlight intensity and the exposure used during scanning, the halation effect along the perforation edges may appear more or less noticeable. The Exposure parameter adjusts the simulated scan exposure from –2 EV to +2 EV, allowing you to make the perforation edges either more pronounced or more subdued.

Normally, the layout of the perforations and the gate is determined by the film format and the technical standards of the camera and scanner. For creative purposes, however, the Flip option lets you mirror the perforations and frame horizontally without affecting the image itself.

Negative Exposure values result in dark vignette while positive values, respectively, produce the light vignette.

This setting defines a size of the vignetting circle.

Feather controls the amount of blur applied to the vignette circle.

This parameter affects the proportions of the vignette, allowing to make it elliptical (in both the X and Y directions).

Specify the X and Y offset of the vignette center relative to the frame.

The Total Impact slider controls the overall impact of all the effects engaged in Dehancer plugin.

Total Impact is not equivalent to opacity function as it properly reduces the amount of all the effects including those based on geometric transformation.