Juan Melara Print Film Emulation LUTs

Juan Melara Print Film Emulation LUTs are DaVinci Resolve tools that shape log scans toward the density and colour response of print film. They suit editors looking for a focused print-film look, while colourists who need to adjust the grade should consider the editable PowerGrades. The free LUTs are a sensible starting point; fixed looks are a poor fit when a client’s product colour must match a swatch precisely.

Overview

The free PFE set emulates Fujifilm 3510, Kodak 2383 and Kodak 2393. In Resolve, install a LUT and apply it through a node’s 3D LUT menu. The LUTs expect log film scans in Rec.709 colour space, so footage must be prepared for that input; a Color Space Transform is one way to do it. This workflow is specific rather than universal: applying a print-film LUT without accounting for the source colour space is not the intended use.

The central trade-off is speed versus control. A LUT applies a fixed look, while a PowerGrade can be modified. That distinction matters for client work where a product’s colour needs to remain true to a reference swatch; the maker warns that the PFE LUTs can be difficult in that situation.

Key features

• Three free print-stock emulations: Fujifilm 3510, Kodak 2383 and Kodak 2393 offer a no-cost way to explore the PFE look.
• Five editable PowerGrades: Paid options cover those three stocks plus Fujifilm 3513DI and Fujifilm 3521XD. Choose one when the fixed LUT result needs adjustment.
• Colour-managed versions: The RCM / DaVinci Wide Gamut PowerGrades are designed for standard or node-based RCM workflows and SDR or HDR grading, making them the more adaptable option for those setups.
• Setup guidance: Each RCM PowerGrade comes with an eight-minute video covering installation, RCM and SDR/HDR setup, the node graph, and usage.
• Related film emulation: FilmUnlimited includes Kodak 5207 250D and Kodak 5219 500T negative stocks, along with halation, grain and gate weave emulation. Its in-camera version provides LUTs for previewing those emulations on set.

Pricing

The free PFE LUTs cost free and include Fujifilm 3510, Kodak 2383 and Kodak 2393. This is the economical choice for editors whose footage meets the Rec.709 log-scan input requirement and who can work with a fixed result.

Each individual RCM PowerGrade costs $29.99, paid once: Kodak 2393, Fujifilm 3510, Kodak 2383, Fujifilm 3513DI or Fujifilm 3521XD. Each includes the colour-managed SDR/HDR workflow and setup video. The All PowerGrades Bundle costs $89.99, paid once and includes all five. A single grade costs less if you need one stock; the bundle is the broader option for anyone who wants the full set. These are one-time prices, not recurring subscriptions.

Platforms

The listed platforms are macOS and Windows. The host software is DaVinci Resolve, and supported camera workflows include ARRI Alexa and Amira, Fujifilm X-H2S, Canon C70 and C300 Mark III, Sony A7SIII, A7IV, FX3 and FX6, Blackmagic Pocket Cinema Camera 4K and 6K, and Blackmagic URSA Mini G2. The maker also describes support for Blackmagic, Sony, Canon, Panasonic and DJI cameras via a Color Space Transform.

Who it's for

This is a good fit for Resolve editors and colourists working with log scans who want a defined print-film response, especially if they can prepare their footage in the required colour space. The free set suits exploration and straightforward grading. Choose a PowerGrade instead when the look needs refinement, when exact product colours matter, or when a standard or node-based RCM workflow and SDR/HDR grading are priorities.

It is less suitable for someone seeking a ready-made look that works without regard to input colour space, or for precision product work that cannot tolerate the constraints of a fixed LUT.

Pros and cons

• Pro: Three useful looks are free. The set covers Fujifilm 3510 and two Kodak stocks without an upfront cost.
• Pro: Editable grades extend the range. Five PowerGrades include two additional Fujifilm stocks and allow modifications.
• Pro: RCM guidance is included. The short video addresses installation and key colour-managed SDR/HDR workflow steps.
• Con: The LUTs have a specific input requirement. They expect log scans in Rec.709 colour space, so footage preparation is part of the workflow.
• Con: Fixed LUTs can hinder exact colour matching. For products that must match a swatch, the editable grade is the safer choice.

Alternatives

For a broader directory of choices, browse Video LUT Libraries. Pick the Canon LUT Library if you want free downloadable .cube look files compatible with colour-grading software or supported cameras. LUTify.me is another freemium option, with the Cine world Pro Warm and Cold packs priced at $15, paid once each; consider it if those packs suit your needs.

The free ARRI Look Library offers 87 looks and free log-to-log versions, with camera compatibility depending on the look. IWLTBAP LUTs may suit buyers seeking a larger pack: its $25, paid once Color Grading Pack includes 325+ LUTs. The free Panasonic VariCam LUT Library is another option. Consider CinePacks for a much broader asset collection: its $300, paid once Master Bundle includes 57 packs and 4,700+ assets. LUT Co and Bounce Color LUTs are also alternatives.

Verdict

Juan Melara’s PFE LUTs are a strong choice for Resolve users who want a focused print-film treatment and can meet the log-in-Rec.709 input requirement. The free three-stock set makes trying that workflow straightforward; choose a paid PowerGrade for editable control, RCM grading or exacting colour work. Look elsewhere if you need a fixed LUT to preserve precise product colours or a less specific input workflow.