A new era of Cinema Color Science
SUCOMO™ by The Brim® are industry leading high accuracy Color Science LUTs for ARRI, RED and Blackmagic cameras.
Subtractive Color Modeling for the ALEV III Sensor
The SUCOMO™ (Subtractive Color Model) Linny & Cinny LUTs are a proprietary design for Alexa's ALEV III sensor. Custom coded, not generated through color grading software, developed to achieve an accurate film-like subtractive color model as well as other celluloid image attributes. They serve as both creative and technical log to linear and log to log converters; there are no color palette changes from the original recording (exc. the Linny + Print and Cinny variants)
Subtractive vs. Additive
Film uses a subtractive color model whereas digital goes by an additive color model. These are fundamentally different ways of creating the end color and density. Subtractive means you start with white light - and subtract out red, green or blue to get cyan, magenta or yellow. Additive means we start with black and add red, green and blue. In Subtractive mixing (as opposed to additive) the higher the saturation of the detected color the lower the overall brightness of the color. This type of color mixing does not affect tones uniformly, it changes the saturation within different luminous ranges of the captured image. These combined effects are a crucial component in the look of analog film. Resulting in a more natural image rendition. We mathematically modeled a subtractive model specifically for the ARRI ALEV III sensor including sensors from other manufacturers such as RED and Blackmagic Design to achieve a non-destructive but radical departure from established interpretations of information coming from the sensor.
Unlike Cinny the LogC flat alternate, Linny is a Log to Linear conversion LUT kit, designed as a subtractive color and film-like response alternative to the standard video conversion ARRI Rec.709 LUT and other Log to Linear conversion LUTs. At its lowest contrast value - without print emulation added, Linny does not affect the base color palette of the sensor and it can serve as a perfect middle ground or pseudo logarithmic grading base with all the SUCOMO™ subtractive color modeling and its inherent contrast level, color luma and saturation mapping.
Linny VFX & Pipeline Solutions
Along with support for logarithmic recording cameras from ARRI, RED and Blackmagic Linny LUTs are now available for linear material in all variants, perfectly matching VFX and compositing assets with live action material that is already utilising Linny LUTs, making Linny LUT pipeline products a perfectly cohesive end-to-end solution for complex production. Linny VFX also opens a world of possibilities for other SUCOMO™ color science use cases where logarithmic imaging is not an option such as in photographic or game development applications.
How was SUCOMO™ created?
The process starts with analog negative and print film stocks. The film is printed, scanned, sampled, and the average performance is then plotted using a neural network architecture to refine the potential artifacts that can show up during the optical process. The data is processed until the perfect performance is found for the specific log base. Resulting in a very fine non linear subtractive color response with all it's intricate transients and luminance rolloff characteristics.
Linny + Print
Linny Kit includes versions of the Linny LUT combined with a highly accurate print emulation, for an instantaneous cinematic color palette on digital deliveries, whilst providing ease of use from shot to shot with 4 intensities of printed Linny LUTs - B1 through B4 with the addition of B0 that has no print emulation curve but retains the print color palette.
ARRI LogC & Linny + Print B3
Cinny is a final color oriented, subtractive color science model, "Log to Log" LUT for use as an ARRI LogC alternate. Designed to approximate a technical film scan, Cinny is a base LUT for colorists and post-production facilities. Cinny features everything needed in a base LUT, subtractive color modeling and deep organic film like colors and densities.
ARRI LogC vs. TheBrim Cinny
Matching Alexa and Film using Cinny
Shown below is a possible use example. The same scene shot with both the Kodak Vision3 5213 200T stock (left) and the ARRI Alexa XT (right), the look is matched easily using Cinny over the original LogC sample with a simple curves adjustment, and then both samples are treated by another identical linear conversion curve.
Technical Monitoring LUT Bundle
Available only by purchasing the Linny OnSet Bundle
Designed for DITs and quick 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.
The Brim KeyLUT
These field tested, easy to use LUTs for Real-Time On-Set chroma key analysis are 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 TempMap
TempMap LUTs map color temperature ranges in an image with an easy to read pseudocolor. An excellent tool for DP 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.
Standard Color Palette vs. TempMaps Pseudocolor
The Brim Qualifier
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 overexposed 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.
Saturation Range from 100% to 0% vs. Qualifier LUT Over the Saturation Range