Since they leave the sliders alone, all your other adjustments will be left in place, and the new profile applied underneath.Īs 'film simulation' presets tend to push colors quite hard to get where they want to go, this can sometimes result in unpleasant renderings with certain colors or color combinations. Not only that, but if you decide you'd like to change the underlying profile, later on, all you need do is click another of All Films' presets. However, for me, the greatest benefit is that the sliders are left alone. Thus, it is possible to build your own presets on top of the base that All Films 5 provides. That means if you're a wedding photographer who works with Canon and has a second shooter working with Sony, it's much easier to get a consistent look across cameras with a single click. They can thus achieve a higher level of similarity across camera models. What this means is that rather than messing with your sliders in Lightroom, All Films 5 is actually getting access to Adobe's raw pipeline and interpreting the data from there.īasically, what this means is that RNI is not trying to manipulate the Adobe Standard or any other profile into looking the way they want. Hands down the best feature of All Films 5, in my opinion, is that all of the changes are done within the 'Creative Profiles' Lightroom supports. For those who like to use a preset as a base for their post-production, this might just be a pack of presets you can get behind. For those of our readers in the 'all presets are bad, do your own post-production' camp, this isn't a review for you. As with all preset packs, it's not for everyone.

Vsco presets on capture one