For those who don’t know the tool: Dehancer is a film-emulation plug-in family for finishing, editing and grading in DaVinci Resolve, Final Cut Pro, Adobe Premiere Pro, After Effects, Baselight and now ASSIMILATE SCRATCH. In SCRATCH it sits inside the OFX finishing pipeline.
The release
Dehancer for Assimilate SCRATCH is now available after a public beta in March 2026. The SCRATCH edition runs as an OpenFX plug-in, so it lands where colourists already stack finishing effects, rather than asking anyone to round-trip through another application for the privilege of making clean footage look like it had a difficult childhood. The release targets SCRATCH users working in grading, dailies, finishing and post workflows. If the art director is an incurable hipster and the brief says “analog, but yesterday”, this is the kind of tool that appears before lunch.
What it adds
The plug-in brings the familiar film-emulation toolset into colour grading sessions in SCRATCH: more than 60 film profiles, more than 130 camera log profiles, Push/Pull control, print films, grain, halation, bloom, film breath, gate weave, film damage, overscan, Film Developer, Film Compression, CMY Color Head, Print Toning, vignette, Monitor tools with false colour and clipping, and Defringe. The product claim is that film profiles are sampled across three exposure states and then adjusted with Push/Pull. In practical grading terms, that gives the colourist a stock choice, an exposure-behaviour control and a print stage, rather than a single “make it vintage” slider, thankfully.
Film stocks named in the open catalogue
The profile count is listed as 60-plus: Kodak Vision 3, Kodak Vision3 50D, Kodak Vision3 200T, Kodak Vision3 250D, Kodak Vision3 500T, Kodak Portra 160, Kodak Portra 400, Kodak Portra 800, Kodak Portra 160VC, Kodak Color Plus 200, Kodak Eastman Double-X 5222, Kodak Ektachrome E100, Kodak Ektar 100, Kodak Gold 200, Kodak Kodachrome 64 Experimental, Kodak Supra 100, Cinestill 800T, Ilford HP5 Plus, Ilford XP2 Super 400, Fujifilm Instax, Fujichrome Provia 100F, Fujichrome Velvia 50, Fujicolor Natura 1600, Fujicolor Pro 400H, Fujicolor Superia 1600, Agfa Agfacolor 100, Agfa Agfacolor Portrait XPS 160, Agfa Scala 200x, Ambrotype by Anatolee Green, Polaroid, Prokudin-Gorskiy 1906, ORWO and ORWO Chrom UT21 Daylight Exp. 1992. And if that is 60, I don’t know. You count the list.
The print side includes Kodak Vision Color Print Film 2383 and Fujicolor Positive Film Eterna-CP 3513DI. Photo-paper simulation includes Kodak Endura Glossy for colour negatives and Slavich Bromportrait for black-and-white negatives. In other words, the pipeline can get from camera transform to stock behaviour to print interpretation before anyone starts adding fake gate dirt.
Grain, halation and bloom
The grain system is procedural rather than a scanned overlay. It generates grain from local colour and brightness characteristics, with controls for Size, Amount, Film Resolution, Shadows, Midtones, Highlights and Chroma. It also offers Negative and Positive grain types, plus an experimental Digital mode for faster, less expensive grain. That last one is useful when the final delivery will be squeezed through online compression and the pixel-peeping committee has gone home.
The tool profiles cover 8 mm, 16 mm, 35 mm and 65 mm formats. Grain profiles are available for those formats at ISO 50, ISO 250 and ISO 500. Halation profiles cover the same format logic and include standard emulsion and No Remjet versions. Bloom profiles cover 8 mm, 16 mm, 35 mm and 65 mm. Small formats can therefore be made visibly nervous. Large formats can remain smug.
Highlight behaviour and print controls
Film Compression controls highlight roll-off with Impact, White Point, Tonal Range and Color Density. It does not restore clipped data. What is gone is gone. The way of the Dodo. Joining its Vinyl Cousins next to the cassette tapes. But: It pushes the bright range toward a film-style compression model, which gives the image more room for later exposure, contrast and print-profile moves if the source still has information to work with.
CMY Color Head models subtractive correction through Yellow, Magenta and Cyan style controls, with complementary BGR behaviour for print-light thinking. Print Toning can tint shadows, midtones and highlights separately. Preserve Exposure can compensate density changes caused by filter moves, or leave those density shifts in place for a more optical-print style response.
Systems and pricing
The system requirements are macOS and Windows support for the SCRATCH plug-in. On macOS it requires an Apple Mac from 2012 or newer, a Metal-compatible GPU, macOS 13 Ventura or newer, and Assimilate 9.9 build 1210 or newer. Intel Iris and Intel HD Graphics GPUs may produce plug-in crashes, visual glitches and artefacts. On Windows it requires an OpenCL-compatible GPU, Windows 10 or Windows 11 64-bit, and Assimilate 9.9 build 1210 or newer.
The SCRATCH edition sits inside Dehancer’s Studio and Production business subscription plans. Studio pricing is listed at $49 per month for one workstation seat, billed at $588 per year. Production is listed at $184 per month for one workstation seat, billed at $2,208 per year, with custom seats and offline activation.
SCRATCH pricing starts at just $99 per month. The one-year licence is listed at $795. A permanent licence is listed at $995 and includes one year of support and updates. Support renewal for a permanent licence is listed at $650.
Before the grade
Test the plug-in on a duplicate SCRATCH project before production use, especially with GPU-heavy grades, cached OFX stacks, HDR deliverables, camera-profile transforms and any look where the client says “subtle” while pointing at a 1974 expired-stock reference. Or is wearing either Sunglasses in the Grading Suite, a scarf (at all) and/or a funny “ironic” hat. If they mention the “Warmth” of vinyl, or “analogue feel”, run!
https://blog.dehancer.com/2026/07/20/dehancer-x-assimilate-scratch/
https://www.dehancer.com/features
https://store2.assimilateinc.com/product/scratch/
