Give a clip the red, orange, and yellow palette of redscale film. The color comes from tone rather than from the original hue, so a green field and a blue shirt of the same brightness land on the same shade.
Three curves from one tone
Each pixel’s brightness drives a separate curve for each channel. Red rises early, green joins later, and blue stays near zero until the brightest values. That is why shadows turn deep red and only the highlights reach yellow.
Redscale Amount blends the mapped result with the original. At 100% the source color is gone, as with real redscale film. Around 70% a trace of the original hue remains and the clip reads as a warm cross-process instead.
Yellow highlights and blue retention
Yellow Highlights sets where the green channel enters. Low values keep the frame red and orange; high values bring yellow and amber into the midtones, the look of an overexposed roll. Blue Retention keeps some blue in the brightest areas so skies and whites do not clip to pure yellow.
Shots that work
Redscale depends on a spread of tones. Backlit scenes, sunsets, and shots with a bright sky over a darker foreground spread across all three bands. Evenly lit interiors bunch into orange. Since the color is rebuilt from brightness, cuts between shots with different exposure change color noticeably; adjust Exposure to match the clip you care about most.