TheBrim® SUCOMO™ SPK (Supplementary Print Kit)
SUCOMO Supplementary Print Kit
A collection of 25 precision print emulations, designed to work with Cineon film scans and our Linny and Cinny subtractive color science model LUTs, including camera-specific Linny and Linny VFX. They come as standalone LUTs and are designed to be blended into taste or used at 100% in a node after or layer above the base Linny LUT or film scan. We suggest using these LUTs as the last correction in your grade structure.
Like with all of our other color science products, future updates to the Supplementary Print Kit, be they in the form of additional print variants or technical tweaks, will come free of charge to all customers of SUCOMO SPK.
The SPK Kit includes the following LUTs in 16x16x16, 32x32x32, and 64x64x64 sizes.CUBE format:
Type A Print Emulation
A contemporary look with a high contrast ratio and a distinctly cinematic color palette.
Type O Print Emulation
A very contemporary cinematic look with an intense pastel color palette and a high contrast.
Type L Print Emulation
A high density version of Type O.
Type R Print Emulation
This “dirty” print brings a very contemporary look generated from lower-quality print transfers and negative stocks.
Type H Print Emulation
A dense but colorful cinematic print with increased color separation.
Type J Print Emulation
A high density low contrast intermediate or technical scan look.
Type G Print Emulation
A colorful cinematic print with a soft contrast curve and increased color separation.
Type F Print Emulation
A classic cinematic print with a pastel palette and a color depth retaining a lower contrast level.
Type E Print Emulation
A high density version of Type F.
Type Y Print Emulation
An easy to use print emulation, with a balanced contrast ratio, mild warm balance and green bias.
Type Q Print Emulation
A 90s style low contrast look generated from analog telecine scans intended for TV broadcast.
Type P Print Emulation
A high density version of Type Q.
Type M Print Emulation
A vintage cinematic look with a subdued colder color palette.
Type T Print Emulation
Brings the spirit of classic Hollywood cinema prints of the 1970-1980 era into the 21st century with an accuracy never before seen in the digital realm. It features extremely organic earthy tones and a beautifully soft contrast curve.
Type C Print Emulation
Retains a natural response palette while adding depth and a classic print contrast curve.
Type S Print Emulation
An easy to use print emulation, with a balanced contrast ratio and neutral bias.
Type D Print Emulation
This “dirty” print brings a very contemporary look generated from lower-quality print transfers and negative stocks.
Type K Print Emulation
A classic cinematic print with a beautifully muted organic palette.
Type N Print Emulation
While somewhat similar to the original Type B print supplied with the Linny stock kit, it adds more clarity and cleanliness.
Type W Print Emulation
A low density version of Type V.
Type V Print Emulation
A clean, high-quality cinematic show print emulation.
Type U Print Emulation
A high density version of Type V.
Type I Print Emulation
A cinematic black and white emulation with a classic contrast curve.
Type X Print Emulation
An extremely high contrast monochrome look emulating black and white photography with a red optical filter. The blue tones, usually the sky, almost black and warm tones, like skin, bright white. Due to this aggressive effect, some footage may require a chromatic noise reduction stage before the LUT.
Type Z Print Emulation
A nostalgic, 1990s style monochromatic print emulation with a high contrast ratio.
I/O spec:
- SPK LUTs are intended for Rec.709/Gamma 2.2 deliverables and should be appropriately converted from there if different spec deliveries are required.
- SPK LUTs expect Linny, Cinny, or Cineon on input.
Examples of SPK LUTs in use can be found here.
USEFUL TIPS:
- 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 the 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 the case of "banding" or other artifacts 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.”
