The plugin is designed to streamline your editing process, not complicate it. Here is the typical workflow within the Adobe ecosystem:
Step 1: Apply the Effect In Premiere Pro, navigate to the Effects panel and search for "FilmConvert Pro 2." Drag it onto your clip. In After Effects, apply it as you would any other effect.
Step 2: Select Your Camera In the Effect Controls panel, open the "Camera" dropdown. Select your camera model and the picture profile you used during the shoot.
Step 3: Choose Your Film Stock Browse the "Film Stock" dropdown. You can instantly toggle between stocks like Kodak 2393 (LUT) or Fuji 8563 (LUT) to see which vibe fits your narrative. filmconvert pro 212 plugin after effectsprem best
Step 4: Adjust Grain and Exposure Use the "Film Grain" slider to dial in the intensity. You can also adjust the size of the grain to simulate 16mm, 35mm, or even 8mm film. Finally, tweak the exposure, color temperature, and film color curves to perfect the image.
Step 5: (Optional) Export your LUT One of the best features of the standalone version (and accessible via the plugin interface) is the ability to export your grade as a 3D LUT. This is perfect if you want to match footage in DaVinci Resolve or apply the look to footage in a timeline where you can't use the plugin.
| Aspect | Rating | Notes | |--------|--------|-------| | Color Density | ★★★★★ | Kodak 500T highlights roll off naturally, no digital clipping. | | Grain Structure | ★★★★☆ | Looks like real 16mm/35mm, but 2.12 lacks "grain blur" (added in v3). | | Skin Tones | ★★★★★ | Best in class. Canon C-log + Fuji Eterna = perfect interview look. | | Dynamic Range Handling | ★★★★☆ | Slightly crushes blacks compared to Resolve's FilmConvert. | The plugin is designed to streamline your editing
Sample use case:
Sony S-Log3 → FilmConvert Pro 2.12 → Kodak Vision 250D (daylight) + Grain at 35% → Result: indistinguishable from Super 35mm scanned film.
Score: 4.5/5 – Exceptional for short-form content (commercials, music videos). Less ideal for 2-hour timelines.
The plugin isn't a preset slider. For cinematic narrative work: | Aspect | Rating | Notes | |--------|--------|-------|
The biggest flaw of standard LUTs is that they don't know what camera you shot on. Log footage from a Blackmagic Pocket 6K looks completely different than S-Log3 from a Sony FX6. FilmConvert Pro 2.12 solves this by using "Camera Packs." You tell the plugin which camera and color profile you used (e.g., Sony S-Log3 or Canon Clog3). The plugin mathematically deconstructs your digital image to match the color response of film stock.
| Camera Brand | Log Profiles Supported | Native ISO Mapping | | --- | --- | --- | | ARRI | Log C (EI 200-3200) | Accurate to ±1/3 stop | | RED | IPP2, REDlogFilm | Requires manual ISO match | | Sony | S-Log3, S-Log2 | Excellent (FS7, Venice) | | Blackmagic | Film Gen 4, 5 | Full support (Ursa 12K limited) | | Canon | C-Log 2, 3 | Good (R5C has minor magenta shift) |
Score: 4/5 – Stable, but avoid stacking multiple instances.
Shoot in Log (S-Log, C-Log, V-Log). In Premiere Pro, drop FilmConvert on an Adjustment Layer. Do not convert to Rec.709 first. The "212" engine is designed to interpret Log gamma curves directly.