Filter reference — which physical filter, which preset?
Camera sensor baseline
Different colour filter arrays respond differently in the near-IR, so the same filter stack casts differently on different bodies — that part is real, and now sourced: Kolari Vision compiled real transmission curves for 82 camera bodies and found Fujifilm runs hottest for red/near-IR sensitivity, Canon sits in the middle, and Sony/Nikon skew lowest. These profiles apply that real ranking as a directional correction, not a lab-measured coefficient — Kolari published an ordering and a chart, not per-brand gain numbers, so the strength of each nudge is estimated to match the ranking rather than measured. The white balance picker measures your actual camera directly and will always beat this — treat it as a head start, not a substitute. Leave on Neutral if in doubt.
Foliage anchor — auto match
Not set — tap grass or leaves in the preview
Samples a 5×5 patch, then scales the mixer rows so that exact foliage colour lands on the target. It edits the channel mixer, so it will move you off an exact preset.
Choose the look
UV Presets
IR Presets
Pre-swap white balance (optional)
Not set — tap a grey card / road / white wall
Post-swap white balance — the key step
Not set — after swapping, tap something neutral grey
Tap the road, concrete, or a white wall. This neutralises the swap's cast and reveals the clean palette.
BEFORE
AFTER
Hue fine-tune
Brightness
Sky black point — optional
Foliage variation — optional
Aerochrome finishing — optional
Channel mixer matrix (%) — advanced
from R
from G
from B
R out
G out
B out
Histogram — processed output
Source channel viewer
LUT (.cube) — optional colour grade
No LUT loaded — applies after the channel swap, for film-style grades exported from Lightroom or elsewhere.