The everyday knobs. These change your whole photo at once, the same way most camera apps work. Start here to get the overall look close, then fine-tune individual colors further down. Every slider has a normal middle position where it does nothing.
Makes the whole photo lighter or darker. Left = darker, right = brighter, middle (0) = unchanged.
The gap between lights and darks. Higher = punchier and bolder, lower = flatter and softer. 1.00 = unchanged.
How strong the colors are. 0 = black & white, higher = more vivid. 1.00 = unchanged.
Spins every color around the rainbow. Reds can become greens, blues can become purples, and so on. 0° = unchanged.
Fine control over each color layer. Your photo is built from three layers of light: red, green, and blue. Pick a layer with the tabs below, then reshape how bright or dark that one color prints, without touching the others. Do the same for all three and you've built a custom look.
Drag right on the line to reshape it directly, or use the sliders below. Read it left to right: the bottom edge is a color's original brightness, the line's height is what it becomes. The dashed diagonal is "leave everything alone." Bend the line above it to brighten those tones, below it to darken them.
Slide to the tone you want to target, from black (0) to full (255). The amber dot on the curve follows you.
Drag the dot up to brighten that tone, down to darken it.
Instead of one tone, sweep a whole band, like "all the dark reds" or "the bright greens." Set the start (A) and end (B) of the band, choose how the change spreads, then apply.
Flatten: every tone in the band becomes the exact value you set in step 2, collapsing them into one flat shade. Nudge: shifts the whole band up or down by the same amount you moved step 2, keeping their spacing, and stops at pure black or white so nothing wraps around.
A gentle version of the curve above, for just this color. Lower lifts the mid-shadows so this color glows softly; higher deepens them. It bends the whole line at once, so it's the easy way to shift a channel without touching the sliders. 1.00 = unchanged.
Advanced, and safe to skip. Pick a color and this red layer will lean toward it, letting other colors bleed in for a film-like tint. Leave it on the pure primary for a clean, normal result.
The two codes above are what actually get written into your filter file: the picked color, and its CampSnap 1024-weighted form.
The red, green, and blue tints mixed together. White means the three balance out to neutral (no overall cast). As you tint the channels, this shifts to preview the whole filter's color bias.
When the preview looks right, grab your filter here. Download gives you a .flt
file: drop it onto your camera over USB, and it loads as a custom look.
The text below is that same file if you'd rather copy it by hand.
Windows users: use Download rather than copying this text. Pasting into Notepad and saving will result in an error when the camera is started and your filter file will be deleted. If you do copy/paste, use an application like Notepad++ that supports Unix LF line endings.
The CS Pro builds filters from these seven simple values, so that's all you get here. Every one sits at 0 when it does nothing. Slide, watch the preview, and save. No curves or channel math to worry about.
Lightens or darkens the whole photo. Range -150 to 150, 0 = unchanged.
Gap between lights and darks. Higher = punchier, lower = flatter. Range -50 to 100, 0 = unchanged.
Adds or removes red across the photo. Range -100 to 100, 0 = unchanged.
Adds or removes green across the photo. Range -100 to 100, 0 = unchanged.
Adds or removes blue across the photo. Range -100 to 100, 0 = unchanged.
Nudges every color around the wheel. A narrow range on the Pro, -60 to 60, 0 = unchanged.
Color strength. -100 is black & white, positive is more vivid. Range -100 to 50, 0 = unchanged.
This writes the CS Pro's own seven-line format. Download the .flt, copy it onto the camera over USB, and it loads as a custom look.
Windows users: use Download rather than copying this text. Pasting into Notepad and saving normally adds Windows-style line endings (and sometimes an invisible encoding marker) that this file format doesn't expect, and the camera may reject it. If you do copy/paste, switch Notepad to Unix (LF) line endings and UTF-8 (not "UTF-8 with BOM") before saving.
A stand-in photo with hundreds of colors so you can see your filter working. It repaints the instant you move any control.
Familiar colors, split down the middle: the left half is the true color, the right half is how your filter renders it. Watch for colors drifting in ways you didn't intend.
The CS Pro filter format only carries the seven basic values: brightness, contrast, the three color gains, hue, and saturation. Your curves, per-channel remaps, and output tint can't come along and will be dropped. Brightness, contrast, saturation, hue, and the three gamma settings will be carried over, scaled to the Pro's range.
turn a color grading LUT into CS1 / CS2 channel curves
A LUT (look-up table) is a color recipe made in grading apps like DaVinci Resolve or Photoshop. Drop one here and it gets translated into this tool's per-channel curves so you can carry a film look onto your CampSnap.
CampSnap filters are built from three independent per-channel curves plus a color tint. A 3D LUT can do more than that: it can shift a color differently depending on the other colors around it, like warming skin tones while leaving skies alone. That interdependent behavior can't be stored as separate channel curves, so a 3D LUT is approximated: the tone shaping transfers faithfully, while cross-color effects are fitted as closely as three curves and a tint allow. 1D LUTs (.ilut / .olut) are already per-channel, so they map over cleanly.