One click, and the film is already in the file. That is how an edit with the RAW Series G200 begins: the Gold 200-inspired rendering comes from a DCP camera profile built for the exact camera that took the photo, so the look lands before a single slider moves. What follows is about two minutes of finishing.
The before-and-after above is the whole edit in one frame. Press play to watch it happen, then scroll for what each move did.
Three moves, start to finish
Everything in the video is three moves. Here they are, one at a time.
1. Click the RAW look
It starts with one click on G200 raw. Watch the Basic panel while you do it: nothing moves. That is not a preset pushing sliders around; it is a camera profile built for this exact body, changing how Lightroom reads the RAW file in the first place. On a frame like this one, the water is the tell. Digital renders open sea as an electric cyan, and Gold pulls that aqua back and warms the whole frame, so the sea settles into a softer teal and the shallows running over sand turn warm and golden instead of grey. The bright sky eases off at the top rather than climbing to a hard white, which is the highlight rolloff Kodak’s own Gold 200 datasheet shows and the Portra sheets do not. Every slider is still at zero and still yours.
2. Choose a strength
Every look ships in six strengths: four steps from G200 raw up to +++, and two lifted-black variations. In the video, I move between a few of them on the same frame in the Profile Browser, and the stronger rungs deepen the Gold palette without disturbing an adjustment you have already made. On files where the raw looks do not appear, a JPEG, for instance, the eighteen universal looks cover the same range with an Amount slider from 0 to 200.
3. Finish in the LAB
Then the 64-tool PRESETPRO LAB that ships with the collection: depth, a fade, grain, a soft vignette. Here it is: ADD – Depth at 40, sitting on top of the look and doing the job a print would do, pulling a little weight back into the midtones. Anything in the LAB stacks on any look, raw or universal. One rule worth remembering: preset first, then profile, because a preset always resets the profile to the one bundled with it.
While you are in there, open the Masks panel. Every look also ships as a matching preset, and each preset arrives with its masking layer already built: sky, background, base, diffusion, grain, highlights, smoothing. They are live masks, not baked effects, so the grain, cut at ISO 200 for this stock, is a slider you push to taste exactly like a mask you drew yourself.
Film color, not a filter
What makes it hold up is where the color comes from. It is computed from the RAW data in your file rather than painted over a finished image, so the color survives the edits you make afterward instead of falling apart under them. How a DCP camera profile does that, and why it beats a slider recipe, is covered in the DCP camera profiles guide.
In one sentence: presets sit on the photo; this sits under it. Every supported camera gets a profile of its own, 753 models across ten brands, all held to the same master rendering, so G200 looks like G200 whether the file came from a Canon, a Sony, or a Fujifilm.
Quick answers
Which version of Lightroom do I need?
The six raw looks need Lightroom Classic (Mac or PC), because the cloud version of Lightroom cannot load third-party camera profiles. Your download also includes a Cloud Edition carrying the eighteen universal looks and the complete LAB for the cloud app. Install takes about two minutes, and the install guide with video walks through it.
Is my camera supported?
G200 ships with a profile of its own for each of 753 camera models across ten brands, Canon, Nikon, Sony, and Fujifilm among them. If your camera is newer than the current release, the eighteen universal looks work on every photo in the meantime, and profile updates are free for any stock you own.
Is Gold 200 only for daylight?
No. Kodak built the film for daylight and flash, and the rendering leans that way, warm and saturated with the greens and aquas pulled back. But these are Lightroom profiles, not film, so they render any RAW file you point them at. In flatter or cooler light the nc row and the LAB let you take the warmth back down. It installs alongside P400, P160 and P800 in the same panel.
Can I adjust the look?
Yes, on two levels. The six raw looks are fixed renderings, so you pick a strength and then edit on top of it with every slider starting at zero. The eighteen universal looks carry an Amount slider from 0 to 200. Fades, grain, and finishing come from the LAB and stack on either kind.
Want to try it on your own files? Get the RAW Series G200, inspired by Kodak Gold 200. Already own P400, P160 or P800? G200 installs into the same panel and shares the same LAB. See the full RAW Series collection, or, if film stocks are new to you, start with the complete film emulation guide.
Kodak and Kodak Gold are trademarks of their respective holders. Presetpro is not affiliated with or endorsed by Kodak. Adobe and Adobe Lightroom are trademarks of Adobe Inc.