Film scanning software for colour negatives, on Mac and Windows.

What goes in

Camera raws

NEF, NRW, CR2, CR3, ARW, DNG, RAF, ORF, RW2 and PEF, plus TIFF. Under a narrowband RGB lamp, three exposures per negative — or one under all three diodes at once — and under a white lamp, one. How to scan colour negatives with a camera covers the bench.

A monochrome camera

Grey 16-bit TIFFs from a sensor without a colour filter, one file per band.

A film scanner's files

Each frame as the scanner read it: a 16-bit linear TIFF, or the scanning program's raw DNG — from VueScan, SilverFast or Epson Scan — and a Pakon F‑135's planar RAW from PakonScan. A whole film strip scanned into one file splits into its frames on import.

What it does

It works out which exposures belong to one frame, lays the three separations over each other to a quarter of a pixel, and under three narrow bands measures the film base off the clear rebate around each frame, per roll, in density; under white light it starts from the film you name and tunes it with your roll's own reading. Then it grades the roll on the lab's own D/C/M/Y axes, under a look: FRONTIER; or PAKON, or TRICHROMA — its own print look — on a roll the Pakon front end can read. Under three narrow bands with a flat it never asks what film you shot.

On Pro, DUST REMOVAL takes dust and scratches out of scanner rolls that carry an infrared channel. The plans say what else each one holds.

What comes out

A TIFF, a PNG or a JPEG of every frame — or the negative itself, as a linear 16-bit TIFF for another converter — and a contact sheet of the roll. A roll is one .trichroma file that keeps its own copy of the sensor data it needs, and the raws you import are never moved or changed.

Before you choose

Coming from Negative Lab Pro sets the two side by side; six negatives beside a Frontier SP‑3000's own scans show the look; the films show frames and each film's measured base. Every plan starts with a free trial of 14 days and 15 rolls, with no account.