The "F new" iteration seems specifically optimized for hybrid shooters and solo operators. Here is why:
Digital footage is often too clean. It lacks texture. The Bounce Color bundle usually includes high-quality film grain overlays.
If you search for "The Complete Filmmaking Bundle" on Bounce Color’s official site (or authorized resellers like FilterGrade), you will find a staggering amount of content. Here is the breakdown of the package often rumored to be the "F New" version: bounce color the complete filmmaking bundle f new
The most revolutionary aspect of this "New" bundle would be the integration of hardware and software. Current filmmaking kits are fragmented: you buy a stand from one brand, a bounce card from another, and a color meter from a third. A complete bundle would include:
This is the "new" advantage. Previous bundles gave you gear; this bundle gives you a system. For a student filmmaker shooting their thesis film, the difference between guessing the color temperature and knowing it via a bundled meter is the difference between a festival selection and a film school fail. The "F new" iteration seems specifically optimized for
The visual identity of a film is often established within the first few seconds of viewing. The Bundle’s core offering lies in its library of Look-Up Tables (LUTs) and Color Presets.
Bounce color refers to the hue of the surface you are reflecting light onto your subject. Instead of pointing a light directly at an actor, you point it at a bounce board (or wall/ceiling), and that surface’s color tints the light hitting your subject. This is the "new" advantage
❌ Using gold bounce under cool white office lights
→ Looks unnatural unless you’re going for a mixed-lighting effect.
❌ Bounce too close to the subject
→ Over-saturates skin tone (e.g., orange or green cast on face).
❌ Forgetting spill
→ Colored bounce will tint the background too. Flag off unwanted spill with black wrap or duvetyne.