Earthy colour, dense tonal structure

Fujifilm Vivid 500T has a rich and concentrated colour response, with earthy warmth, dense tonal separation and a distinct relationship between greens, yellows, reds and skin. Although the original stock was balanced for tungsten exposure, the scanned references used for this emulation were colour-balanced during scanning. The resulting response is therefore not defined by a fixed cool or warm white balance.

Instead, its character comes through in the way colour is distributed through the image: fuller midtones, grounded shadow colour and an earthier, more organic relationship between neutral surfaces and saturated elements. Because the film references were balanced during scanning, the emulation does not impose the original tungsten white balance as a fixed creative cast. It reproduces the scanned stock response: denser and earthier in character, while remaining responsive to the white balance and lighting of the source image.

This emulation was developed from real Cineon scans and colour-chart references photographed on the stock, paired with ARRI Alexa reference footage. The aim was to translate those colour relationships into a controlled digital workflow without reducing Vivid 500T to a generic blue-shadow night look.

The package provides two routes. The Cineon-to-Print version is designed to feed a separate print-film emulation, keeping the negative and print stages independent. The Cineon-to-Display version adds a custom display transform for a more direct standalone result.

What you will notice

Earthier, more concentrated colour than the cleaner daylight response of 250D.
Dense midtones and shadow colour without forcing the image toward a single blue or green cast.
Warm, grounded neutrals with distinctive separation between greens, yellows, reds and skin.
Rich saturation that remains integrated into the image rather than sitting on top of it.
Two workflow options: a modular negative-to-print route and a direct display-ready route.

How it was developed

The emulation was created from actual colour-chart references photographed on Fujifilm Vivid 500T and compared with ARRI Alexa footage. Real Cineon scans informed the negative response.

Because the film references were balanced during scanning, the emulation does not impose the original tungsten white balance as a fixed creative cast. It reproduces the scanned stock response: denser, earthier and warmer in character, while remaining responsive to the white balance and lighting of the source image.

As with any film reproduction, the final image is shaped by more than the negative alone. Exposure, processing, scanning, print emulation and display rendering all contribute. The Cineon-to-Print and Cineon-to-Display options keep that distinction explicit.

Best suited for

Narrative, fashion, music and commercial imagery that benefits from a denser, earthier palette.
Interiors, exteriors and mixed-light scenes where rich colour separation matters more than clinical neutrality.
Colorists who want to combine the negative response with their own print-film emulation.
Creators who want a direct film response through the included display-rendered version.

• Cineon-to-Print LUT: designed for use with a separate compatible print-film emulation.
• Cineon-to-Display LUT: a standalone version with a custom display transform.
• Versions for ARRI LogC3, Sony S-Log3 and Blackmagic Design Generation 5, with a bundle option containing all supported camera inputs.

Choose the input version that matches your source footage. Use the Cineon-to-Print LUT when you want to follow the emulated negative with a separate print-film LUT. Use the Cineon-to-Display version when you want the product to provide its own display rendering without an additional film-print stage.

The .cube files work in DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro and other applications with LUT support. Apply only the version intended for the source log profile. Exposure, white balance, noise reduction and camera matching should be handled as part of the wider grade.

What is the difference between Cineon-to-Print and Cineon-to-Display?

Cineon-to-Print keeps the print stage separate so you can choose a compatible print-film emulation later in the node or effect chain. Cineon-to-Display includes a custom display rendering and can be used as a more direct standalone route.

How does this differ from Kodak Vision3 250D?

Kodak Vision3 250D is cleaner, more open and restrained in its saturation response. Fujifilm Vivid 500T is denser and earthier, with more concentrated colour through the midtones and a stronger relationship between greens, yellows, reds and skin.

Can I use the emulation on daylight footage?

Yes. The emulation can be used with daylight, tungsten and mixed-light footage, provided you select the correct camera input version and establish an appropriate source balance. Its identity comes from its earthy colour separation and dense tonal response, not from forcing every image toward a tungsten cast.

Which camera package should I buy?

Choose the individual option matching your source log profile, or select the bundle when you need all currently supported camera inputs.

Does the LUT add grain, halation or gate weave?

The core product is a colour and tonal emulation delivered as LUTs. Texture effects should only be expected when they are explicitly listed in the included files.

Version 1.0 — Initial release