Kodak Gold 200 — Native Cineon Film Emulation LUT

A scanner-independent reproduction of Kodak Gold 200’s warm, saturated colour response, delivered as both a Cineon grading stage and a Rec.709 display transform.

The film response before the scanner look

Kodak Gold 200 is known for warm, saturated daylight colour with an immediate, recognisable energy. A finished film scan, however, contains more than the response of the stock itself. Scanner profiling, lab correction and output contrast can all influence the final image.

This emulation was developed to separate those stages. Rather than matching the appearance of one finished scan, it isolates the underlying colour and tonal behaviour of Kodak Gold 200 and translates it into a controlled digital grading workflow.

The included Native Cineon version retains the open, negative-style response for further grading and print-film processing. A second version adds a custom Rec.709 gamma 2.4 display transform, providing a more direct viewing route based on the full R4A print pipeline.

What you will notice

Warm, saturated colour relationships derived from Kodak Gold 200 rather than a generic warm cast.
Clearer separation between the profiled red, green and blue channels.
A negative-style tonal response without additional display contrast baked into the Native Cineon version.
A display-ready Rec.709 interpretation for faster editing and finishing.
Colour that remains connected to the source image rather than sitting on top of it as a surface effect.

How it was developed

Kodak Gold 200 was profiled using controlled narrowband RGB exposures. Each colour channel was measured separately to minimise cross-talk and reduce scanner-induced colour shifts. The resulting data was then translated into a Cineon-based digital response.

No additional saturation, contrast or scanner character was added to the Native Cineon version. Its character comes from the measured relationships within the film response itself.

The Rec.709 version adds a custom gamma 2.4 display transform designed around the R4A print pipeline. This provides a finished viewing route while preserving the colour relationships established during profiling.

This is a reference-led reproduction of a defined Kodak Gold 200 response. It is not a claim to recreate every possible combination of exposure, C-41 processing, scanner, lab correction and print output.

Best suited for

Daylight lifestyle, travel, documentary and narrative footage.
Images that benefit from warmer colour and a more pronounced saturation response.
Colorists building a negative-to-print or Cineon-to-display workflow.
Creators who want the Gold 200 response without inheriting the character of one particular scanner.
Faster projects that benefit from an included Rec.709 display version.

2 variations — one Cineon-based version capturing the raw film response, and one with a Rec.709 gamma 2.4 display transform.

Available for:

Sony S-Log3
Blackmagic Film Generation 5
ARRI LogC3
Panasonic V-Log
RED IPP2
Fujifilm F-Log2
DJI D-Log M
Apple Log

Compatible with DaVinci Resolve, Adobe Premiere Pro, Final Cut Pro and other applications that support 3D .cube LUTs.

Choose the version that exactly matches the log profile of your source footage.

Use the Native Cineon version as the film-negative stage of the grade. Place it before a compatible Cineon-to-display transform or print-film emulation.

Use the Rec.709 Gamma 2.4 version when you want the film response and display transform combined into one practical output.

Do not apply both versions together. Correct exposure, white balance and input colour management remain part of the grade.

What is the difference between Native Cineon and Rec.709?

Native Cineon provides the isolated film response as an open grading stage. It still requires a compatible print-film or Cineon-to-display transform.

The Rec.709 version combines the film response with a custom gamma 2.4 display transform and can be used as a more direct route to a finished image.

Which camera version should I choose?

Choose the variant that exactly matches the log profile of your footage. The camera input is built into the transform and cannot be exchanged without affecting the result.

Does the LUT include film grain, halation or blur?

No. A 3D LUT transforms colour and tone; it does not generate spatial effects such as grain, halation, bloom or film softness. These can be added separately when required.

Is this based on a finished Kodak Gold scan?

No. The purpose of this product is to isolate the native film response before scanner character and lab correction are introduced.

Is it an exact recreation of every Kodak Gold 200 image?

It reproduces a defined, reference-led response derived from controlled profiling. Real film images also vary with exposure, processing, scanner settings and output choices.

Can I still adjust the image after applying it?

Yes. The Native Cineon version is specifically intended to remain open to exposure, balance, print choice and creative finishing.

Version 1.0 - Initial Release