DxO FilmPack 8 8.8.0 — Mac version

Runs natively on Intel and Apple Silicon from Catalina upward

DxO FilmPack 8 runs on any Mac with macOS Catalina (10.15) or newer. It works natively on both Intel and Apple Silicon machines, so your old iMac and your mate's M1 MacBook Air are both fine.

Putting it to work

1. Open your raw or JPEG file in the standalone app, or call it up from Lightroom Classic or Photoshop. Version 8 adds full Photoshop integration, so it sits right in your normal editing flow.
2. Browse the film library. You get more than 80 renderings, from Tri-X grain to slide-film saturation. The Time Machine panel groups them by era if you fancy a specific look from the 1960s or 1990s.
3. Pick a film stock. The software uses calibrated camera data to match colour and contrast, not a one-size-fits-all filter. If a colour shift looks off, the automatic colour protection keeps skin tones believable.
4. Dial in the grain. Each film stock has its own grain structure, and you can push it harder or pull it back. It helps mask digital noise naturally, without the plastic-smooth look you get from a noise slider.
5. If the source is an actual film scan, the new Scanned Film Optimization tool cleans up the orange mask and contrast so you start from a true digital negative.

It plays nicely with DxO PhotoLab 9 too, so if you already do your raw developing there, FilmPack slots in as a finishing step rather than a separate chore.

Hybrid film and digital shooters matching scanned negatives to raw files

Hybrid shooters who use both film and digital cameras, or scan old negatives and want them to sit comfortably next to raw files in a project. Wedding and portrait photographers lean on FilmPack because the colour protection keeps skin tones honest while everything else gets the film treatment. Documentary and street photographers get a lot from the grain engine too — it adds texture that a raw file straight out of camera simply doesn't have, without looking like a preset slapped on top.

Print-ready renderings from sensor data, not a social-media overlay

Alongside VSCO presets, FilmPack is less about a quick social-media look and more about building a print-ready rendering from your camera's actual sensor data. The grain behaves differently for each film stock, not one generic noise overlay. Next to Nik Silver Efex, the scope is wider — FilmPack handles colour and black and white across over 150 renderings, though for pure black-and-white control some shooters still keep both. Compared with RNI Films, FilmPack pulls ahead if you process scanned film regularly, because the Scanned Film Optimization tool does a cleaner conversion than working from a raw scan alone.

• 15 extra film emulations, bringing the library past 80 stocks
• Time Warp mode for comparing renderings across different decades on one screen
• Full plug-in integration with Adobe Photoshop
• Scanned Film Optimization tool to clean up colour casts and contrast from lab scans

• macOS 10.15 (Catalina) or later
• Intel or Apple Silicon processor