The Brim® Linny OnSet for ARRI
Designed for DITs and fast on-set technical assessment monitoring in mind, the kit includes the Linny LUT Kit, including the Linny + Print variants, for ARRI Alexa and other LogC recording cameras, and 25 technical monitoring and analytic LUTs in 3 categories. All LUTs are in .CUBE and .AML formats. Most of the included technical LUTs have versions that combine the image treatment with the Linny LUT, making this the perfect companion to our Linny converter for assessment and post production planning.
Linny by The Brim®
Advanced subtractive color modeling LUT Kit for ARRI's Alexa family of cameras. Includes the following LUTs:
- TheBrim® Alexa Linny
- TheBrim® Alexa Linny + Print B0
- TheBrim® Alexa Linny + Print B1
- TheBrim® Alexa Linny + Print B2
- TheBrim® Alexa Linny + Print B3
- TheBrim® Alexa Linny + Print B4
TheBrim® Alexa Linny + Print B1 TheBrim® Alexa Linny + Print B2TheBrim® Alexa Linny + Print B3TheBrim® Alexa Linny + Print B4
The Brim® TempMaps
Maps color temperature ranges in an image with an easy to read pseudocolor. It is a great tool for DPs and DITs when coordinating lighting for in camera warm / cold contrasting, separation and balancing. Since it is a pseudocolor map it is not color tone dependent and can serve as a creative/motivational tool for on set in camera look creation. Includes the following LUTs:
- The Brim® TempMap | LogC + Rec.709
- The Brim® TempMap | LogC + Linny
- The Brim® TempMap | Linear
The Brim® Qualifiers
There are two types of qualifiers; The "Neutral Qualifier" brightly highlights zones of an image that have between 0% and 10% saturation without affecting other parts of an image. It can be an excellent tool for quickly assessing the loss of color data in under or over exposed areas. Also it is an essential tool for evaluating different sensor types and data compression ratios. The "Color Qualifier" shows only the color tones in the image regardless of luminosity. Since there are no luminous values and the converted image is highly visible it is perfect for assessing white balance, color tones / tints, and even hard to see lens color fringing.
- The Brim® Neutral Qualifier | LogC + Rec.709
- The Brim® Neutral Qualifier | LogC + Linny
- The Brim® Neutral Qualifier | Linear
- The Brim® Color Qualifier
The Brim® KeyLUTs
These are field tested easy to use LUTs for Real-Time On-Set chroma key analysis. Designed to assist with green / blue screen lighting, they also allow for real time detection of illegal colors. "Yield" removes either blue or green from an image leaving only the luminous values and other colors. "Pseudo" is an easy to read pseudocolor map, ideal for lighting. "Matte" shows a standard keying matte.
- The Brim® KeyLUT Linear | B | Matte
- The Brim® KeyLUT Linear | B | Pseudo
- The Brim® KeyLUT Linear | B | Yield
- The Brim® KeyLUT Linear | G | Matte
- The Brim® KeyLUT Linear | G | Pseudo
- The Brim® KeyLUT Linear | G | Yield
- The Brim® KeyLUT LogC + Linny | B | Matte
- The Brim® KeyLUT LogC + Linny | B | Pseudo
- The Brim® KeyLUT LogC + Linny | B | Yield
- The Brim® KeyLUT LogC + Linny | G | Matte
- The Brim® KeyLUT LogC + Linny | G | Pseudo
- The Brim® KeyLUT LogC + Linny | G | Yield
- The Brim® KeyLUT LogC + Rec.709 | B | Matte
- The Brim® KeyLUT LogC + Rec.709 | B | Pseudo
- The Brim® KeyLUT LogC + Rec.709 | B | Yield
- The Brim® KeyLUT LogC + Rec.709 | G | Matte
- The Brim® KeyLUT LogC + Rec.709 | G | Pseudo
- The Brim® KeyLUT LogC + Rec.709 | G | Yield
The ARRI Linny Kit also contains a special version of Linny LUT indicated with "SST" (Smooth Saturation Transients) in the file and folder name, this version of Linny LUT should only be used in cases of extreme Out-of-Gamut / Edge-of-Gamut colors, which are usually generated by highly saturated colored LED light sources which cause the camera sensor to incorrectly render the luminosity levels of affected areas and in more extreme cases to develop color artifacting. Linny SST LUTs are not an accurate representation of the SUCOMO™ Subtractive Color Science and should only be used when necessary.
- Apply exposure changes before / underneath the LUT. We advise affecting only the luminance with these exposure changes, without changing the saturation levels or chrominance levels.
- In case of Out-of-Gamut / Edge-of-Gamut colors correct either the color saturation level or luminance level of that specific color before / underneath the LUT.
- For general best performance and in case of "banding" or other artefacting within DaVinci Resolve be sure to switch to an appropriate LUT interpolation algorithm. You can do this in DaVinci Resolve by going to "Settings" then to the “Color Management“ tab, under “3D Lookup Table Interpolation” switch to “Tetrahedral”.
Current Version: 2.4