I've been chasing the Kodak Tri-X 400 look for over a year.
This is the closest I've ever seen on a digital file. Deep blacks, creamy midtones, real grain structure — not the plastic noise you get from a slider. It's built from my documentary work: protests, streets, people. The kind of situations where you need the image to hit hard.
Every value in this preset has been tweaked, re-tweaked, and tested across hundreds of frames. And unlike film, it works on every camera, every shoot, every lighting condition.
This is the preset that makes people stop and ask: "What film did you shoot that on?"
I've been chasing the Kodak Tri-X 400 look for over a year.
This is the closest I've ever seen on a digital file. Deep blacks, creamy midtones, real grain structure — not the plastic noise you get from a slider. It's built from my documentary work: protests, streets, people. The kind of situations where you need the image to hit hard.
Every value in this preset has been tweaked, re-tweaked, and tested across hundreds of frames. And unlike film, it works on every camera, every shoot, every lighting condition.
This is the preset that makes people stop and ask: "What film did you shoot that on?"
