The Classic Presets - Classic K14 (2020) Kodachrome Lightroom Presets
XMP
https://theclassicpresets.com/products/classic-k14-2020-kodachrome-lightroom-presets

THE CLASSIC PRESETS - Classic Film Presets Collection for Lightroom & ACR
XMP | Win + Mac
https://theclassicpresets.com/products/classic-film-presets-collection-for-lightroom

https://theclassicpresets.com/products/classic-k14-2024-kodachrome

The Classic K14 (2024) presets are the result of passionate dedication to quality and authenticity. This third generation sets new standards in replicating the iconic Kodachrome 64, Kodachrome 25, and Kodachrome 200 films. Those who fell in love with the Classic K14 in 2017 will be even more enthralled now. Inspired by photography masters, the new Classic K14 Kodachrome presets create a visual experience capturing the essence of the classic Kodachrome era while offering variations that depict the last moments of the last Kodachrome emulsions in the 90s and 00s. The Golden Era and the Last Roll of Kodachrome go hand in hand, providing you with the typical iconic visual concepts associated with the name Kodachrome.

The Classic Presets - Classic CineStock Profiles for Lightroom

https://theclassicpresets.com/products/classic-cinestock-profiles-for-lightroom

 

This profiles will work with Lightroom CC, Lightroom Classic CC 7.3, Adobe CameraRAW 10.3 or higher. Lightroom 6.14 isn't supported! To use them with Lightroom Mobile, you'll need a Lightroom CC or Classic CC running on Windows, or OS X.  Ever since 'O Brother, Where Art Thou‘ digital color grading became a serious topic within motion picture. Our favorite movies, all of the series we devour on Netflix and make us tumble tiredly into the office every other morning - all of them have their distinct looks which support their visual impression, their stories, their magic.  The Classic CineStock Profiles do not simply illustrate movies. They make use of color theories and color patterns which we associate with our fabulous visits to the movies. These cautiously designed profiles bring off perfectly accomplished looks, which moreover give room for an enormous range of correction possibilities, which makes these profiles not only a finely tuned tool but a potential base for your own unique looks.

 

The Classic Presets - Classic Vision 3
XMP
https://theclassicpresets.com/products/classic-vision-3-kodak-vision-3-lightroom-presets
Kodak Vision 3 has been the standard film stock for motion picture since 2007. This emulsion comes in 4 variants. 2 Tungsten based films (Kodak Vision 3 200T and 500T) and two daylight films (Kodak Vision 3 50D and 250D) are available in 8, 16 and 35mm formats. Many music videos, short films and feature films have been shot on this stock, as some masterminds of today's cinema like to go the extra mile for the look of real 35mm film. Quentin Tarantino, or Christopher Nolan just love that look and even though digital will never be as good as real analog film, this is the best attempt to get as close to that as possible. After almost 3 years of development, we finally have Classic Vision 3 presets. They are based on 5 profiles that do what can't be done in Adobe CameraRAW and Adobe Lightroom. 5 presets call these profiles independently and give the look the final touch. All cameras are supported whose data Lightroom and ACR can process and of course a Lightroom Mobile workflow is also possible without problems.

https://theclassicpresets.com/products/being-tragi     

This product will work with Adobe Lightroom CC (cloud based Version), CameraRAW (10.3 and above) and Classic CC (7.3 and above), but is also usable with older LR Versions like Lightroom 6. To use them with Lightroom Mobile, you'll need a Lightroom CC or Classic CC running on Windows, or OS X.

The Classic Presets - Flextight Edition
https://theclassicpresets.com/products/classic-lab-flextight-edition
There are many approaches to translating an analog film with a preset into the digital world. VSCO, ReallyNiceImages, Mastin Labs, they all have their own idea of what a Kodak Portra 400 should look like. But we analog enthusiasts know it's all a matter of interpretation. There is no 'film looks like this'. If a negative film is scanned, it still has to be converted into a positive and here you quickly notice that there are many possible interpretations. Silverfast isn't as neutral as Vuescan and a Lab scanner sometimes seems to be able to do magic. If you nod in agreement now, then you are probably either Team Frontier SP-3000 or Team Noritsu HS-1800. But maybe you don't feel like a 3F-Scan from a Flextight X5? The Classic Lab does not only emulate the film, but also the scanner.

 

 

You can not imagine how much work a movie will mean. Some projects needed decades for their implementation. Often it is the perfectionism, or even the creative madness of the creators of these films, that makes everything escalate. But just as often it is coincidences and adversities that drive productions to the brink of disaster. Apocalypse Now is a good example. A storm destroys almost the entire set and lead actor Martin Sheen suffered a heart attack. The production costs went through the roof when 16 instead of 8 months was turned. Such huge and sprawling projects create a lot of material, which does not make it into the final version. In the case of Apocalypse Now, another 50 minutes of additional scenes were in order to release a digitized and re-edited version in 2001 called Apocalypse Now Redux.