Decoloris runs your footage down the whole path of film — decoded from your camera, balanced, exposed onto a negative, printed onto release stock, roughed up by everything a real print picks up on its way to a screen, and delivered to your standard. The panel is laid out in that same order, top to bottom: the further down you scroll, the later in film's life you are.
In Premiere, do this first: two color settings must be off, or the picture comes out wrong. See Which Premiere color settings should I use?
The fastest route to a good image:
That three-step workflow has its own guide in the FAQ.
Here's the panel, top to bottom.
The "is my footage wired right" corner: the space the chain runs in, how much highlight your camera really carries — set automatically from the camera format you pick — and your film gauge. Set once per project, then forget it. Leave High Quality on: turning it off is a faster preview, not a milder look. Full guide →
Instruments, not autopilots.
They measure — you dial. Every overlay renders into the frame on purpose, and the amber DIAG badge tells you one is live: check for it before you export. Full guide →
White balance is two controls, Temperature and Tint: a gel on the lens, in the units lighting gels and CC filters are sold in, applied before the film ever sees the scene. At zero they change nothing. You set them by eye: the vectorscope and Skin Analysis quote the settings that would make your white neutral — a reading to check, never written for you — and the Balance Wheel lets you drag the balance straight on the vectorscope and watch the picture follow. Then Exposure, in real stops. Balance one shot, then copy it to the rest of the scene. Full guide →
Decoloris opens with Film Look off, so you can balance first. Tick Film Look to see your stock and print; your film settings are kept while it's off. Pick your negative — camera stocks, two black-and-white silver stocks, a reversal, a print emulsion — and use the two strength faders to dial how much of the stock's character and how developed the print is. Most of film's signature lives in the print. Full guide →
The everyday switches for what a real strip of film carries: grain, halation, the emulsion's own sharpness, and gate weave. Each has its own group further down when you want the detail. Full guide →
The scene-side shaping kit, still before any film: contrast about mid-gray, source saturation, warm/cool by tone, and the veil a real lens lays over the blacks. Full guide →
Printer lights in real printer points — the unit a lab timer actually works in — timing that holds mid-gray the way a lab times every release print, and bleach bypass. With Film Look on, Skin Analysis reads out in these same points. A real trim is one to three. Full guide →
A light clean of your digital plate before the film adds its own texture — color noise first, because that's the half that's safe to remove. You set it by hand: raise Noise Level until the color noise is gone, and stop before color starts to bleed on fine detail. It is not a rescue tool for ruined footage, and doesn't pretend to be. Full guide →
Lens falloff applied before the film records the scene, so the corners change in contrast, not just brightness. The presets are named for their look, not measured from real lenses — and we say so. Full guide →
A filter screwed onto the lens on the day: bloom around the highlights, gently lifted blacks. Off until you pick a filter. Some filter ladders were measured from footage of the real glass, grade by grade; the rest were matched by eye — and the FAQ tells you which is which. Full guide →
The tiny frame-to-frame wander of film through a gate. Real weave is a fraction of a percent of the frame — the scale at which film feels alive without you spotting why. Full guide →
A colorist's grade rendered through the film. It's a grade, not a film process. It sits just above the film stock because that's where it acts; presets ship at half strength, because the full version of any look is a lot. Full guide →
Bend the stock's own curve without leaving the stock: shadow density, how the highlights roll off, each layer's toe and shoulder. Push or pull the negative in development, in stops, for more or less contrast. Full guide →
A physical emulsion model, not a noise overlay: its size and structure follow your film gauge and your stock. It ships neutral-colored because streaming codecs chew up color grain — an honest default you can override for an uncompressed master. Full guide →
Film's red glow around bright lights — light bouncing off the back of the film base and re-exposing the image from behind. Calibrated per stock; the silver stocks glow neutral, because silver has no dye to color the glow. Full guide →
The emulsion's own softness, per color layer. It works at every size, HD included, but at 35mm it's subtle — and we'd rather tell you that than sell you a control you can't see. Full guide →
Development chemistry at edges — the subtle bite film gets where dense meets thin. Full guide →
What color-negative grain physically is: the developed dye clouds themselves, layer by layer. Full guide →
Dust and debris — and where it sat decides how it looks: dirt on the negative prints bright, dirt on the print shows dark. One click reseeds it per clip, so no two shots share specks. Full guide →
Decades in a storage can, as controls: era, storage conditions, years. The cyan dye dies first — that's why old prints go pink. Full guide →
The brightness wander of a projector lamp, a hand-cranked camera, or a mains-driven light — in real stops, at real frequencies. Full guide →
Presence in the midtones, kept away from shadows, highlights and edges. Also not a film process — and the FAQ says so. Full guide →
The trial is the full Decoloris with a watermark: every control, every host, full resolution. When you buy at decoloris.com/pricing, your license file arrives by e-mail.
Easiest: save the file in the same folder as the Decoloris installer (usually Downloads), then run the installer. It finds the license and puts it in place.
Not installed yet? Download Decoloris for Windows or Mac.
Already installed? Place it by hand. It must be named exactly decoloris.license, so rename it first if your computer added "(1)" or similar.
C:\ProgramData\Decoloris into File Explorer's address bar (create the folder if it doesn't exist) and copy the file in./Library/Application Support, create a folder named Decoloris if it doesn't exist (your Mac asks for your administrator password), and copy the file in.The watermark disappears on the next rendered frame, with no restart. Your first license file covers the 14-day refund period; your permanent file follows automatically by e-mail when that period ends. Replace the first file with it.
Want depth on any of this? Every card above has a full entry in the Decoloris FAQ — every control, its real units, its honest limits.
Trying Decoloris? Everything on this page works exactly the same in the trial. When it earns a place in your work, decoloris.com is where it becomes yours.