Fallout 4

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Fallout 4 as seen through classic film-stock. Give Fallout the authentic, vintage look of film from the early 20th century.

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CFL ENB - Cinematic Film Looks

Also available: Cinematic Film Looks and Modern Film Looks

What began as a single ReShade preset emulating Kodak Kodachrome, Vintage Film Looks has grown into a large collection of film emulation preset configurations. As part of the Fallout Film Looks series, the Vintage collection is focused on accurately capturing the look and feel of the film-stocks of yesteryear.

As of version 4.2, these presets now support Nexus Mod Manager, Mod Organizer 2, as well as the older manual installation method all in a single zip file. The presets are designed with user configuration in mind. Many possible variations of quality, eye candy, and performance are selectable by the user. Don't like film grain or chromatic aberration? Simply select the options without it. Things are simple to set up.

While post process injectors like ReShade only have access to the game image at the end of the effects chain, Boris Vorontsov's ENB works differently, allowing for modification of game shaders and tone-mapping as well as post processing abilities. The Fallout Film Looks series uses ENB to more realistically light the game world of Fallout 4 with features that are not available in the base game, such as indirect lighting which simulates light bouncing from reflective surfaces, such as the light reflected from bright concrete on the underside of a car. Real-time auto-focusing depth of field is also optionally applied, as well as optional, Cinemascope 2.39 aspect ratio letter-boxing that doesn't hide the HUD.

Older films were shot almost exclusively on anamorphic lenses which compress the image horizontally during filming. The image is stretched back to the proper aspect ratio when it is projected in the theater. This compression causes a bit of barrel distortion and fringing (chromatic aberration) on the edges of the image. Anamorphic lenses also tend to create very characteristic horizontal lens flares and have a nice, soft, and hazy glow to them when hit with bright light. Once we understand basic anamorphic lens characteristics, we can emulate these effects with ReShade's Gaussian Bloom (anamorphic lens haze,) YACA (anamorphic lens fringing,) and Fisheye_CA (anamorphic lens barrel distortion.)

After emulating the camera, the look of the film-stock comes next. To accomplish this, custom LUTs (look up tables) were created using some of the same color grading tools used by professional Hollywood colorists. Namely, Davinci Resolve and Adobe After Effects. Various screenshots are taken in-game of various locations and times of day. The screenshots are then imported into Davinci Resolve to be color graded to match the look of the desired film-stock. Once, the color grade is complete, the same exact color grade is applied to a custom 4K resolution LUT for ReShade to apply to the game in real-time.

Expired Fujifilm Roll
The faded look of an old photo from the 1970s.

1974 - 1983
When Kodak introduced their 100T 5247 stock in 1974, the world had not yet seen film classics like Star Wars, Close Encounters, Indiana Jones and the Temple of Doom, the Shining, Mad Max, or Alien. All of the previously listed films and many, many more were shot on 5247 during that time period.

1982 - 1986
During 1980s, 5294 was another popular stock used in many classic films including Dune, Back to the Future, The Untouchables, and Aliens.

1935 - 2009
Kodachrome was manufactured by Eastman Kodak from 1935 to 2009. It was the first successfully mass-marketed color still film using a subtractive method, in contrast to earlier additive “screenplate” methods such as Autochrome and Dufaycolor, and remained the oldest brand of color film.

Over its 74-year production, Kodachrome was produced in formats to suit various still and motion picture cameras, including 8mm, Super 8, 16mm, and 35mm for movies and 35mm, 120, 110, 126, 828, and large format for still photography. It was for many years used for professional color photography, especially for images intended for publication in print media.

1954 - Present
Tri-X panchromatic film was once one of the most popular films used by photojournalists and many amateurs. It was manufactured by Eastman Kodak in the US, Kodak Canada, and Kodak Ltd in the UK. Its sales declined in the 1970s and 1980s due to the falling price and increasing popularity of color film. Since the advent of digital photography, Tri-X has all but fallen out of use in newspaper journalism, though it remains popular in documentary journalism.

Sepia-Tinted Monochromatic Film
This look was inspired by some stills of a sepia-toned version of Butch Cassidy and the Sundance Kid.

1922 - 1929
Technicolor originally existed in a two-color (red and green) system. In Process 1 (1916), a prismbeam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter. The results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917, but the near-constant need for a technician to adjust the projection alignment doomed this additive color process.

Convinced that there was no future in additive color processes, Technicolor focused their attention on subtractive color processes. This culminated in what would eventually be known as Process 2 (1922) (in the later 1900s commonly called by the misnomer, "two-strip Technicolor.") The Toll of the Sea, which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. The second all-color feature in Process 2 Technicolor, Wanderer of the Wasteland, was released in 1924. Process 2 was also used for color sequences in such major motion pictures as The Ten Commandments (1923), The Phantom of the Opera (1925), and Ben-Hur (1925). Douglas Fairbanks' The Black Pirate (1926) was the third all-color Process 2 feature.

1929 - 1974
Technicolor envisioned a full-color process as early as 1924 and was actively developing such a process by 1929. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed the feature film industry would soon be turning out color films exclusively. By 1931, however, the Great Depression took its toll on the movie industry, which began to cut back on expenses.

The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to the limited red-green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum. The new process would last until the last Technicolor feature film was produced in 1955.

This mod requires the older ReShade Framework Version 1.1 which is no longer available on the main ReShade page,
but the original link can be found here: 
Direct Link

This preset collection was created with the following software:

Adobe Creative Suite
Davinci Resolve
Magic Bullet Looks