FILM, UNDERSTOOD.

The Complete Film Emulation Suite for DaVinci Resolve.

OFX · Metal · CUDA · macOS · Windows

Lab Class Tools

Lab Class Tools

© Lab Class 2026

© Lab Class 2026

THE METHOD

Model the system. Not just the look.

THE METHOD

Model the system. Not just the look.

There are two ways to emulate film. You can approximate the output, a LUT, a grain overlay, a glow in post. Or you can model the system that created it.

We chose the second path. It took longer. It's harder to market. But the moment you load it up, you'll understand why.

Lab Class Tools doesn't give you a look. It gives you a chain. Separate plugins. Correct colour space at each step. A clear photochemical order as the starting point. You can still grade between stages, bypass what you don't need, or reorder. The chain is the starting point. The node graph is still yours.

THE SUITE

Eight tools. One story.

THE SUITE

Eight tools. One story.

Lab Log Shoulder
Lab Log Shoulder
Log curve
Shapes the upper end of the image while it’s still in camera log — the soft roll-off of film’s characteristic curve, where bright energy stops climbing the way a digital sensor does.
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01
LOG CURVE
Lab Log Shoulder
Soft roll-off of film’s characteristic curve while the image is still in camera log.
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Lab Film Neg
Lab Film Neg
Camera negative
Turns the scene into a developed negative — silver density, stock personality, and the feel of different emulsions under the light you shot.
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CAMERA NEGATIVE
Lab Film Neg
Developed negative density and stock personality under the light you shot.
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Lab Halation Pro
Lab Halation Pro
Base scatter
The glow around bright sources when light scatters through the emulsion and off the film base — the re-exposure that once lived beside the anti-halation layer.
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BASE SCATTER
Lab Halation Pro
Glow around bright sources from scatter through the emulsion and film base.
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Lab Grain Pro
Lab Grain Pro
Silver & dye
Measured film texture across 16 / 35 / 65mm — silver grain and dye-cloud character, push and pull, bloom and soften, and how grain opens up through the tones the way real stock does — not a flat noise overlay.
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SILVER & DYE
Lab Grain Pro
Measured 16 / 35 / 65mm texture, dye clouds, push/pull, bloom — not flat noise.
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Lab Film Print
Lab Film Print
Print stock
Turns negative density into positive image — print contrast, printer lights, and the world of the projection print.
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PRINT STOCK
Lab Film Print
Print stock and printer lights — the positive you grade from the negative.
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Skin Lab Pro
Skin Lab Pro
Lab finish
A finishing pass for skin after the print stage — timing for faces without undoing the emulsion work beneath.
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LAB FINISH
Skin Lab Pro
Finishing for faces after the print stage, without undoing the emulsion work.
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Lab Match Pro
Lab Match Pro
Timer match
Shot-to-shot harmony in the finished picture — matching takes the way a timer keeps a sequence consistent across rolls.
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TIMER MATCH
Lab Match Pro
Shot-to-shot harmony — matching takes the way a timer keeps a sequence consistent.
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Lab Frame Pro
Lab Frame Pro
Aperture
Theatrical framing and soft matte presentation — the aperture you would have locked for projection. Always last in the chain.
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APERTURE
Lab Frame Pro
Theatrical framing and soft matte — always last in the chain.
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WHY WE BUILT THIS

''Growing up watching films, I didn't know what I was looking at. I just knew it looked like a film. There were ingredients in that image: texture, glow, the way light fell off, and I couldn't name any of them. But I knew they were there.

That's where the obsession started. Working out what all those things actually are. The grain. The halation. The density. The physics of it. And once I understood it, I wanted those stages as real tools, in the right order, in a way that was actually accessible. So I built it myself.

These tools don't just give you a look. They give you an understanding of what makes film look like film. That's what I wish I'd had starting out. Not a preset. A way in.

Can't wait to see what people make with these.''


Warren, Lab Class.