TheBrim® Industrial Tool Shop

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.

Subtractive

Additive

Linny

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.

LEARN MORE ABOUT LINNY VFX

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.

ARRI Rec.709 LUT vs. TheBrim Linny LUT

Sample image by CML

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

Sample image by TheBrim®

Tests & Comparisons

Sample images by TheBrim®, ARRI & CML

Linny + Print in Various Conditions

Sample images by TheBrim®

Not Exposure Dependent

Samples show the Linny LUT first in the slideshow, then the standard ARRI Rec.709 LUT, in various exposures.

Sample image by CML

Linny Kit Includes

1
Linny Conversion LUT

5
Lenny + Print LUTs

.CUBE
Up to 64 x 64 x 64 Size Cube 3D LUTs

.AML
ARRI Look Versions Included

SUCOMO Supplementary Print Kit

A collection of 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-in to 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

Type T Print Emulation

Brings the spirit of classic Hollywood cinema prints of the 1970-1980 era in to 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 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 that comes supplied with the Linny stock kit, it adds more clarity and cleanliness.

Cinny

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

Sample image by CML

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.

Sample image by CML

OnSet

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.

Matte

Yield

Pseudo

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.