Film Grain Node

Film Grain overlays procedural noise structured like film grain on the image. Unlike plain noise, the pattern follows the real characteristics of film: stronger grain in the blue channel, finer in the red, more visible in the midtones, reduced in pure blacks and whites.

It is used to give digital footage an organic look, to age an image, to match grain between mismatched shots (digital vs film archives), or to add texture to CGI that looks too clean.

• Effects Library: Tools > Film > Film Grain
• Quick add: right-click in the Node Editor → Add Tool > Film > Film Grain

Grain (legacy)

The older, simpler node, with monochrome or pseudo-colored grain. Kept for compatibility with older projects.

Film Grain

A more precise model, separate control per R/G/B channel (size, intensity, lift, gamma, gain), realistic luminance response. The one to use for modern projects.

• Input (orange) - the 2D image to add grain to.
• Effect Mask (blue) - optional. Limits the grain to an area (e.g. only the midtones of a character).

Classic 35mm look:
MediaIn → Color Corrector (film density)
       → Film Grain (35mm preset, moderate Strength)
       → MediaOut

Vintage Super 8:
MediaIn → Color Corrector (less saturation, warm tint)
       → Film Grain (large Size, strong Strength, Mono off)
       → Film Damage (scratches, dust)
       → MediaOut

Matching grain between shots:
Digital shot → Film Grain (calibrated on the film shot's grain)
              → Merge with the film shot
              → MediaOut

Softening CGI that is too clean:
3D Render → Film Grain (subtle, Strength 0.3)
         → Merge with live action
         → MediaOut

Mono (default: Off)

When enabled, applies the same grain pattern to all channels = monochrome grain (video / old film look). Disabled = separate colored R/G/B grain (realistic color film).

Size (Red / Green / Blue) (default: 1.0 per channel)

Grain size per channel. On real film, blue has bigger grain (larger sensitive crystals). Typical setup: R 0.8, G 1.0, B 1.3.

Strength (Red / Green / Blue) (default: 1.0 per channel)

Grain intensity per channel. Higher = more visible grain. Blue can be up to 1.5-2× the red on classic color film.

Lift / Gamma / Gain (per channel) (default: 0 / 1 / 1)

Shapes the grain response by luminance. Lift changes the shadows, Gamma the midtones, Gain the highlights. Lets you have more grain in the midtones (film realism) or evenly everywhere.

Black / White Min / Max (defaults: 0 / 1)

Luminance bounds between which the grain is visible. The full range by default. Narrowing it lets you cancel the grain in the blacks or highlights.

Method (default: Color)

How the grain is applied: Color (realistic per-channel), or a simplified alternative depending on the version.

35mm Kodak Vision3

Size R/G/B: 0.8 / 1.0 / 1.3 - Strength: 0.6 / 0.7 / 0.9. Fine, clean grain, standard cinema look.

16mm documentary

Size R/G/B: 1.2 / 1.4 / 1.7 - Strength: 0.9 / 1.0 / 1.3. Stronger grain, documentary look.

Super 8

Size R/G/B: 1.8 / 2.0 / 2.5 - Strength: 1.3 / 1.5 / 1.8. Heavy grain, home movie / vintage look.

VHS / U-matic video

Mono on, Size 1.5, moderate Strength + extra horizontal tracking noise through an external Fast Noise.

• Cinema film look on a digital shoot - add Film Grain at the end of the color chain = an organic render for ARRI Alexa, RED, etc.
• Vintage / retro - strong Film Grain + warm-tinted Color Corrector + Film Damage = an authentic 70s/80s look.
• Matching grain across mismatched shots - calibrate Film Grain on an archive shot to match it with a recent digital shot = visual consistency in a mixed edit.
• Softening CGI that is too clean - 3D lookbook render → subtle Film Grain = more natural integration into live action.
• Hiding banding - the grain breaks up transitions between very close tones in the blacks / highlights = banding hidden.
• Experimental film effect - very high Strength + large Size = a pushed film / sensitivity boost look.

• Always at the end of the chain - grain goes right before MediaOut, not at the start. Otherwise the following operations (blur, color) filter and distort it.
• Mono off for realistic color film, Mono on for B&W video or a vintage TV look.
• Blue stronger than red - on real color film, blue grain is always more pronounced. Respect this imbalance for realism.
• Strength 0.3-0.6 = subtle, 0.7-1.0 = visible but realistic, 1.5+ = stylized / strong vintage.
• Limit the highlights - on real film, grain disappears in pure whites (saturated crystals). Lower White Max to 0.85-0.9 for realism.
• Animate the seed on every frame - by default, the grain changes automatically on every frame (natural boil). If it looks static, check the Random Seed parameter.
• Combine with Film Damage - for authentic vintage, add scratches, hair and gate weave on top of the grain.
• To match an existing grainy shot, extract a smooth patch from the source shot, measure the grain size (zoom in on pixels), adjust Size to match, then refine Strength visually with a split screen.