RH Filmic Colors DCTL
Before / After Comparison
Before
After
Look Development
RH Filmic Colors DCTL – The Subtractive Film Engine
Beyond Emulation. True Film Physics.
Most "film looks" in the digital world are cosmetic—simple curves or LUTs that mash pixels together. RH Filmic Colors is different. It is a physics-based simulation engine that mathematically reconstructs how light interacts with film emulsion.
Instead of treating your image as additive RGB pixels, this DCTL treats it as light passing through physical dye layers. By utilizing Status A and Status M spectral sensitivity arrays and Bell Curve spectral shaping, it calculates the actual light absorption and transmittance. The result is a "thick," subtractive color density that digital tools simply cannot reproduce mathematically.
This is not just a grade; it is a reconstruction of your image through a virtual film stock.
Key Features
| Feature | Description |
| Spectral Dye Simulation | Uses Status A / Status M density standards and transmittance algorithms to approximate how specific wavelengths of light are absorbed by film dyes. This creates true subtractive color mixing—where adding color adds density, not just brightness. |
| Non-Additive Zone Control | Manipulate Shadows, Mids, and Highlights independently using the subtractive engine. Unlike standard Lift/Gamma/Gain (which is additive), pushing color here interacts with the "dye layers," creating rich, organic tonal separation. |
| 6-Vector Density Engine | A precision color modifier allowing you to adjust Hue, Saturation, and Density for 6 individual vectors (R, Y, G, C, B, M). This allows you to sculpt specific colors (e.g., pulling density out of skin tones while crushing blues) before they hit the film simulation. |
| Soft Pivot & Tone Shaping | Features a Soft Pivot algorithm that blends tonal zones (Shadows/Mids/Highs) with mathematical smoothness, preventing the harsh "breaking" points common in standard split-toning tools. |
| Global Blend (Film vs. Digital) | A master mix control that lets you linearly blend between the pristine digital input and the full film simulation. This gives you endless look possibilities—from subtle "digital with soul" to hard-hitting vintage stock. |
| Pin-Point Visualization | Includes Show Curve and Show Mask modes to visualize exactly where your pivots are landing and how the tone curve is reshaping your luminance, ensuring your technical signal remains intact. |
Controls Overview
| Control | Function |
| Global Hue / Sat / Exp | Pre-process your image globally before it enters the dye simulation. |
| Shape Curve (White Lvl) | Defines the roll-off characteristics of the simulated film shoulder. |
| Pivot Softness | smooths the transition point between Shadow, Mid, and Highlight zones for seamless grading. |
| Shadow / Mid / High Controls | Push color density into specific tonal ranges. Because this is subtractive, pushing "Warmth" into shadows will feel dense and rich rather than "lifted" and washed out. |
| 6-Vector (R, Y, G, C, B, M) | Individual qualifiers to shift Hue, Saturation, and Density for specific colors. |
| Film Density | Controls the overall "thickness" or opacity of the simulated dye layers. |
| Global Blend | Mixes the processed result with the original image (0% = Source, 100% = Full Film Sim). |
Installation
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Copy
RH_MidControl_PRO_v27.dctlto your Resolve DCTL folder:-
macOS:
~/Library/Application Support/Blackmagic Design/DaVinci Resolve/Fusion/DCTL/ -
Windows:
%AppData%\Blackmagic Design\DaVinci Resolve\Support\Fusion\DCTL\
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Restart DaVinci Resolve.
In the Color page, find it under Effects Library > Color > DCTL.
Recommended Workflow
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Place at the End: For the best results, place this DCTL at the end of your node tree (or before your final ODT) to "print" your grade through the film simulation.
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Dial the Look: Start with Film Density and Global Blend to set the strength of the effect.
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Shape the Tone: Use Shadow/High Pivots and Softness to define your tonal ranges, then push the Zone Controls to split-tone the image subtractively.
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Refine Color: Use the 6-Vector Engine to fix specific hues (e.g., correcting skin tones that got too red from the film process).
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Check Signal: Toggle Show Curve or Show Mask to ensure your pivots are hitting the right exposure zones.
RH Filmic Colors brings the physics of the darkroom into the precision of DaVinci Resolve.