Negative Conversion Updates: Capture One & FilmLab 3.5

If you’ve been camera scanning for a while, you know all about the "conversion confusion." The film conversion universe is vast and constantly expanding, there is the OG Negative Lab Pro plugin for Adobe Lightroom Classic, Filmomats SmartConvert, FilmLab (previously only for the smartphone), CineStills CS Negative+ Convert for Adobe Lightroom Classic .. the list goes on and everyone has their own personal preference on how to convert their film. But 2026 has brought us a massive shift in the landscape.
Today, we’re looking at two heavy hitters that have just changed the game for VALOI users and anyone else camera scanning: the native Negative Conversion tools in Capture One (v16.7) and the highly anticipated FilmLab 3.5 Beta.

Capture One: The Professional Powerhouse

For the first time, Capture One has integrated a dedicated Convert Negative mode directly into its RAW engine. No more jumping through hoops or using invert shortcuts that mess up your exposure sliders.

How it Works

In Workspaces, you can now toggle "Film Negative." The magic happens instantly and turns your workspace into a camera scanning home-base.

It features:

• Logical Controls: Unlike a manual inversion where sliders work backward, Capture One re-maps the engine so that moving the "Exposure" slider to the right actually makes your positive image brighter.
• The Neutralize Tool: There is a new eyedropper tool specifically for film. Click on a neutral shadow or a grey card in your frame, and it instantly balances the RGB channels to kill that stubborn orange mask.
• Tethered Magic: For VALOI users who scan "tethered" (camera to computer), you can now see the positive image on your monitor the second you fire the shutter. More about to how scan tethered with Capture One here. 

The Verdict: If you are a professional photographer who already lives in Capture One, this update makes your workflow incredibly fast and universal. It feels "digital-forward"—clean, sharp, and precise. You can now edit your photography and scans all in one place. 

If you are new to camera scanning though or maybe digital photo editing in general, the learning curve can be quite steep with a program like Capture One or Adobe Lightroom Classic (with the Negative Lab Pro plug-in). Capture One is a full on professional program, that means the entire ecosystem relies on some more in-depth knowledge and is therefore might not be suited for beginners. 

FilmLab 3.5 (Beta): The Analog Soul

While Capture One approaches film as a data problem to be solved, FilmLab 3 approaches it as an art form. This new 3.5 beta is a ground-up rebuild of their color science, and honestly, it couldn't be more intuitive.

Why FilmLab is Great

FilmLab 3 doesn’t just "invert" pixels; it uses a density-based engine developed with input from former Kodak scientists. It tries to mimic how light actually passes through a negative and hits RA4 photographic paper. 

• The New Color Science: The colors feel honest and more authentic to the darkroom. The reds and skin tones, in particular, have a warmth that is hard to replicate in a general-purpose editor.
• Intelligent Auto-Crop: The beta features a much-improved auto-detection tool. If you’re scanning a long roll, FilmLab can often find the frames and rotate them automatically, saving you hours of clicking.
• Light Source Profiles: This is a huge win. You can select specific profiles for high-CRI LED panels, ensuring the software knows exactly how to subtract the specific light spectrum you're using. That means any vignetting or uneven light distribution is taken care of thanks to smart software. Using a light source that's unique to you? You can photograph a blank frame just of the light source and save it as a new profile.
• Film Presets: I mean, what more do you want? "This film is Kodak Portra 800" and bang, the software gives you colors that get as close as can be to how the films native look is. 

The Verdict: FilmLab 3 is for the analog purist, but also for the beginner. If you want your digital scans to look like they were printed in a 1970s darkroom with zero fuss, this is the tool. The interface is extremely accessible and demands very little prior photo-editing experience to get good scans. 

Fuji Pro 400H in 35mm scanned easy35 v2, converted with FilmLab & Capture One

From this comparison you can see that FilmLab offers are more "analog" rendition of colours. The conversion is without further adjustments, everything was set to auto and the preset of Fuji Pro 400H was selected. Capture One on the other hand shows a green tint, even after using the eye dropper tool to find a good grey tone. The floor was used, then the stone wall, then some other grey areas, but none could find a pleasing outcome in colors. Further tweaking and color grading would be required to enhance the Capture One file. 

Conclusion

Software is powerful, but it isn’t everything. Whether you choose the precision of Capture One or the soul of FilmLab, your results ultimately depend on the quality of your source file. To get the most out of these tools, ensure you are using a perfectly flat film strip and an even high-CRI light source (like in our new easy35 v2).

Capture One is designed for the professional who demands a rigorous workflow. It offers full creative control, allowing users to fine-tune the smallest details to achieve a specific vision. The monthly fee of $30 or more might also scare away the casual film scanners. 

FilmLab appeals to both professionals and beginners alike. It provides a no-nonsense setup that makes converting film an efficient and—dare we say—enjoyable task. FilmLab can be paid for monthly ($7.99) or purchased as a life-time membership ($199).

Ultimately, while the "look" of a film is predetermined to a degree by the chemists who created the emulsion, every scan is an interpretation. If a specific tint, contrast, or white balance fits your aesthetic needs, then it is the right choice for you. In the end, photography remains beautifully subjective.