PLEASE NOTE: This technical transform is limited up to 20 SALES ONLY to support my ongoing thesis about the color science of Kodak motion picture negative film. If you manage to pick up a copy, you will receive updates until it is finished. If you have any more questions, please send me an email with your questions.
The film was exposed and processed at box speed (500ASA). It was was scanned in a professional motion picture film lab with ARRISCAN in 4K 16bit DPX Cineon. Because the film was shot in VistaVsion (8 perf), the ARRISCAN had to scan each frame 4 times in 4K (2 perf), and got stiched back together afterwards, giving us a stunning 7K file. The digital camera's were set to their native ASA (BMPCC4K at 400ASA, and ARRI Alexa at 800ASA). The conversion uses a 1D tontality curve, measured from 16 different exposed macbeth charts, creating around 96 data points per channel. Then the outer edges of the gamut were mapped to the the 5219 film scan. I use a Tetrahedral Interpolation (inspired by Steve Yedlin) to stretch and skew the entire color cube without artifacting, and not touching the 1D curve. A tetrahedral is superior over a 3x3 matrix, but because a tetrahedral is not able to curve along its vertices, I will do a second complicated color pass where I split the color channels to match the color density, hue, and saturation across the entire luminance range. I still need to do multiple passes of all these steps to get a more accurate avarage. Aside from the sharpness, grain, and halation, the color rendition is already pretty close to Kodak 5219.
Below I mention some of its features. However, your shots can be treated as if your footage was truly shot on film. Film Print Emulations (FPE) now works properly without adjusting anything (if exposed correctly). Even if you don't want to use a prebuild PFE, it is a breeze and joy to grade it, or develop your own film print emulation. The film print emulation luts inside resolve can be pretty aggresive.
If I was able to distribute the color conversion as a power grade I would, but I use techniques that are not doable in Davinci Resolve. It is not necessary though to use a power grade, since the transfrom is non destructive, and more efficient on your system.
What you will get:
- 64x LUT - Kodak 5219 negative emulation for ARRI LogC.
- Advanced Film Halation model. This halation has a nice bite on the edges, and doesn't touch the luma levels.
- Custom build Film Grain emulation model with Resolve OFX. This responds to color density on the induvidual color channels, and is generated in real time with resolves grain OFX. More info on the Color Science page.
PLEASE NOTE: This is a negatvie film emulation, there is nofilm print emulation LUT included.
[BETA] Kodak 5219 for ARRI LogC
This digital product may not be redistributed, copied, or sold in any way. When you buy the Kodak Vision3 5219 500T transform for ARRI LogC, this means you are buying a single license for only one seat. If you need more licences, please contact me. Refunds are not accepted.