Name: OW Film Lab — Kodak Vision3 250D
Brand: offwhitecolor
Price: 69.00 EUR
Availability: InStock

OW Film Lab Kodak Vision3 250D controls in DaVinci Resolve

A complete film lab in one Resolve node: Kodak VISION3 250D negative, development and 2383 print, calculated from Kodak's own data.

€69,00

Taxes included.

Instant download · DaVinci Resolve Studio · Cineon scan + Kodak 2383 print

A complete film lab in one DaVinci Resolve node. Your footage exposes a Kodak VISION3 250D negative, is developed, and printed onto Kodak 2383 for projection, calculated from Kodak's own data.

Negative, development and print, not a fixed look
Real lab controls: printer points, print density and DIR couplers
16 camera log profiles built in: ARRI LogC3 and LogC4, Sony S-Log3 (S-Gamut3 and S-Gamut3.Cine), Blackmagic Film Gen 5, RED Log3G10, Canon Log 2 and Canon Log 3, Panasonic V-Log, Apple Log and Apple Log 2, DJI D-Log, Fujifilm F-Log2, Nikon N-Log, DaVinci Intermediate and ACEScct
One switch, two outputs: the Cineon negative scan, or that same negative printed onto Kodak 2383 as a finished Rec.709 image

Includes: one OW Film Lab Kodak Vision3 250D DCTL for DaVinci Resolve Studio. Balanced for daylight (5500K).

1× OW Film Lab Kodak Vision3 250D DCTL for DaVinci Resolve Studio

Input menu with 16 camera log profiles
Output switch: Cineon negative scan, or the same negative printed onto Kodak 2383 (Rec.709 / gamma 2.4)
Printer points Master, Red, Green and Blue (±24)
Print grey density, DIR couplers, print dye crosstalk, printer flare, viewing glare and black point compensation

Input
Choose your camera in the Input menu. 16 log profiles are built in:
ARRI LogC3 (EI 800) / AWG3 · ARRI LogC4 / AWG4 · Sony S-Log3 / S-Gamut3.Cine · Sony S-Log3 / S-Gamut3 · Blackmagic Film Gen 5 / BMD Wide Gamut Gen 5 · DJI D-Log / D-Gamut · Apple Log · Apple Log 2 / Apple Wide Gamut · Panasonic V-Log / V-Gamut · Canon Log 2 and Canon Log 3 / Cinema Gamut · RED Log3G10 / REDWideGamutRGB · Fujifilm F-Log2 / F-Gamut · Nikon N-Log / N-Gamut · DaVinci Intermediate / DaVinci Wide Gamut · ACEScct / AP1.
Camera not listed (for example DJI D-Log M)? Place a Color Space Transform to ARRI LogC3 / ARRI Wide Gamut 3 before the DCTL and keep the default input.
White balance for daylight (5500K), the light Kodak VISION3 250D 5207 is balanced for.

Output
Negative scan: Cineon, base at code 95, 0.002 density per code value.
Print Kodak 2383 projected: display-referred Rec.709, D65, gamma 2.4. No further output transform needed.

Software
Requires DaVinci Resolve Studio with DCTL support.

Do I need DaVinci Resolve Studio?

Yes. DCTLs are not supported in the free version of Resolve. For other software, the OW Digital Film Stocks No.03 Kodak Vision3 250D LUT gives you the negative as a fixed file.

Which cameras does it support?

Sixteen log profiles are built in: ARRI LogC3 and LogC4, Sony S-Log3 (S-Gamut3 and S-Gamut3.Cine), Blackmagic Film Gen 5, RED Log3G10, Canon Log 2 and Canon Log 3, Panasonic V-Log, Apple Log and Apple Log 2, DJI D-Log, Fujifilm F-Log2, Nikon N-Log, DaVinci Intermediate and ACEScct. Pick yours in the Input menu. For any other camera, put a Color Space Transform to ARRI LogC3 / ARRI Wide Gamut 3 in front of the DCTL.

My image looks too dark or too bright. What's wrong?

Usually the clip's data levels. Check an 18% grey card on the waveform: it should read the code value listed for your camera in the DCTL. If it is clearly off, change the clip's Data Levels (Auto, Video or Full) in Resolve.

Scan or print: which output should I use?

The 2383 print gives you a finished Rec.709 image and the full lab controls. Choose the Cineon scan if you want to use your own print emulation or finishing pipeline.

What are printer points?

How film labs timed a print: more or less red, green and blue light on the print stock. One point is 0.025 log E. In the print output, plus means more of that colour or brighter. In the scan output they act as a density offset.

Should I add a Rec.709 transform after the print?

No. The print output is already display-referred Rec.709 / gamma 2.4. Keep to small trims after it.

How accurate is it?

The tone scale and grey balance come from Kodak's measured data. The largest uncertainties are the camera's own colour response and the exact DIR strength of VISION3, which is why DIR is adjustable. Real film also depends on exposure, processing, the lab and projection.

Is this affiliated with Kodak?

No. OW Film Lab is independently developed by Offwhitecolor. Kodak and VISION3 are trademarks of Eastman Kodak Company.

Version 1.0 — November 2026: initial release.

OW Film Lab 250D

Not a look.
A film lab.

Most film emulation copies what a finished frame looks like. OW Film Lab calculates how that frame was made: your image exposes a Kodak VISION3 250D 5207 negative, the negative is developed, and a lab prints it onto Kodak 2383 for projection. All of it inside one DaVinci Resolve node.

The same frame at every stage of the lab. Default settings, no grading.

What happens inside

Five steps of a real film lab, calculated per pixel.

01ExposureYour image becomes the light each of the film's three layers would receive, fitted to the stock's spectral sensitivity.
02DevelopmentEvery layer follows Kodak's own characteristic curves. The layers inhibit each other like DIR couplers in real film: colours separate, grey stays put.
03Negative scanTake the negative out as a Cineon scan, for your own print or finishing.
04PrintOr send it to the lab: the negative is printed onto Kodak 2383 through a real printer lamp, wavelength by wavelength.
05ProjectionThe print is projected with a xenon lamp and arrives as a finished Rec.709 image.

Measured, not tuned

Built from manufacturer data. Not tuned by eye.

73wavelengths, 380 to 740 nm, calculated for every print pixel

214real surface colours used to fit the film's spectral response

16camera log profiles decoded inside the tool

0.025log E per printer point, as on a lab printer

Every number in the tool comes from a manufacturer datasheet, from published film science, or from our own fit to them. Nothing was adjusted by eye to look "filmic".

Your lab controls

Time a print the way a colour timer did.

Printer pointsMaster · R · G · B ±241 point = 0.025 log E, as on a real printer. Warmer, cooler, lighter, darker.

Print grey density0.80 – 1.30How dense the lab prints mid-grey. The neutral balance is re-solved for every value.

DIR couplers0 – 3 · default 1.0Strength of the inter-layer effect. 1.0 matches published measurements.

Print dye crosstalk0 – 100%At 100%, each print dye follows only its own layer, the way subtractive dyes work.

Flare & glareprinter 0–5% · viewing 0–3%Stray light in the printer and reflection in the theatre, for softer, lived-in shadows.

OutputCineon scan · 2383 printA negative for your own pipeline, or a finished print. One switch.

Supported log profiles

16 camera inputs, built in. Pick yours in the Input menu.

ARRILogC3 / ARRI Wide Gamut 3 (EI 800)LogC4 / ARRI Wide Gamut 4

SonyS-Log3 / S-Gamut3.CineS-Log3 / S-Gamut3

BlackmagicFilm Gen 5 / Wide Gamut Gen 5

REDLog3G10 / REDWideGamutRGB

CanonCanon Log 2 / Cinema GamutCanon Log 3 / Cinema Gamut

PanasonicV-Log / V-Gamut

AppleApple Log / Rec.2020Apple Log 2 / Apple Wide Gamut

DJID-Log / D-Gamut

FujifilmF-Log2 / F-Gamut

NikonN-Log / N-Gamut

DaVinciDaVinci Intermediate / DaVinci Wide Gamut

ACESACEScct / AP1

Every input is decoded with the manufacturer's published log curve and gamut, then follows the same film chain. Camera not listed, for example DJI D-Log M? Put a Color Space Transform to ARRI LogC3 / ARRI Wide Gamut 3 in front and keep the default input.

Why not a LUT?

A LUT is a snapshot. This is the process.

	Film LUT	Resolve 2383 LUT	OW Film Lab
Camera inputs	one per file	–	16 built in
Negative emulation	fixed	–	calculated
Print emulation	–	fixed	spectral
Printer points	–	–	✓
Print density	–	–	✓
DIR coupler control	–	–	✓
Cineon scan or finished print	one of them	print only	both

The workflow

Balance. Expose. Print. Done.

Balance exposure, and white balance for daylight (5500K), the light 250D is made for.
Apply OW Film Lab and choose your camera in the Input menu. Not listed? Put a Color Space Transform to ARRI LogC3 / ARRI Wide Gamut 3 in front.
Choose the print and time it with printer points and print density.
Trims only. The print is already your display image.

Made by a colorist

"I wanted a film tool I could defend in a grading suite: every curve traceable, every control meaning what it meant in a lab."

Thijs Kern, senior colorist, Offwhitecolor

Get OW Film Lab 250D

Requires DaVinci Resolve Studio. Kodak, VISION3 and Eastman are trademarks of Eastman Kodak Company, used only to describe the stocks modelled. Not affiliated with Kodak.

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