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.
The fastest route to a good image: make neutrals neutral, put skin about a stop above mid-grey, then let the Skin Analysis readout quote you the printing correction. That three-step workflow has its own guide in the FAQ, and its own video.
Here's the panel, top to bottom.
Master Strength fades the whole look on one fader — at zero you get your untouched picture, correctly decoded and delivered, with nothing you dialed lost. Camera Input tells Decoloris what your footage is — your camera's log format, the most important setting on the first frame. Output is what leaves: Rec.709 for delivery, P3, HDR, sRGB, or log to keep grading downstream. Full guide →
The "is my footage wired right" corner: the space the chain runs in, how much highlight your camera really carries — set automatically from its published ceiling — and overlays that mark, right on the picture, any pixel that says you picked the wrong format. Set once per project, then forget it. Full guide →
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 →
Exposure in real stops, and a declaration of what the scene was actually lit at — not what you want it to look like. Taste comes later, so you always keep a true zero; Auto Balance writes a checkable estimate when you don't know. Full guide →
Instruments, not autopilots: exposure maps in stops, Skin Analysis diagnostics that quote corrections the way a lab timer does, and a scope that reads the chain at points no host scope can reach. 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 →
Save and load grades as files that travel between hosts; export the frame you're looking at as a still, exactly as rendered. Full guide →
Bring your own LUT in — it runs last of all, so it must match your output space. Take your grade out as a LUT — it carries the color exactly, and honestly cannot carry grain or any other texture. Full guide →
The fine balance kit: trims in exact stops, warm/cool shifts in the same units lighting gels are sold in, and channel gains for the casts a color temperature can't describe. If the scene isn't straight, nothing downstream can save it — which is why this group runs first. 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. It measures your actual footage, every frame. 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. Some filter ladders were measured from footage of the real glass, grade by grade; the rest were matched by eye — and the list 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 frame width — the scale at which film feels alive without you spotting why. Full guide →
A colorist's grade rendered through the film — and the panel is honest that 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: contrast, shadow density, how the highlights roll off. Full guide →
Develop the negative longer or shorter — contrast and grain move together, the way they do in the tank. Bleach bypass leaves the silver in: dense blacks, drained color. 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 only becomes visible at high delivery resolutions — 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 →
Printer lights in real printer points — the unit a lab timer actually works in — negative exposure, and timing that holds mid-grey the way a lab times every release print. The Skin Analysis readout quotes its corrections in these same points; one to three points is a real correction. 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 it says so. Full guide →
Leave High Quality on — turning it off is a faster preview, not a milder look. The rest of Utility is study tools and bookkeeping the FAQ explains. Full guide →
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. Want to watch instead? The training videos cover one group at a time, starting with the five-minute mental model and the three-step balancing workflow.
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.