The Industry Standard for Subtractive Color Science
v3.0
A new era of Cinema Color Science
The SUCOMO™ (Subtractive Color Model) Linny & Cinny LUTs are custom-built, not generated through color grading software, and are developed to achieve an accurate film-like subtractive color model. They serve as both creative and technical Log-to-Linear as well as Log-to-Log converters. When using just the clean Linny LUT, there are no color palette changes beyond the color separation corrections necessary for the sensor and log encoding system. This ensures that you have an open canvas for creative look decisions during the color grading process while giving you all the benefits of working within a subtractive color system like you would with a high-quality Cineon film scan. Cinny, on the other hand, does introduce some changes to the palette and hues, along with a higher density. However, both serve as an excellent starting point for any grade.
Additive vs. Subtractive
ADDITIVE COLOR FORMATION MODEL
Digital cinema cameras are based on an additive color formation model, which describes how light produces color using red, green, and blue (RGB) as primary colors. Starting with black, this model adds red, green, and blue light to create the visible spectrum of colors. As more color is added, the result becomes lighter. When all three colors are combined equally, the outcome is white light. |
SUBTRACTIVE COLOR FORMATION MODEL
In camera origination color negative film stocks, colors are formed based on a subtractive color formation model. This model uses pigments to produce color through reflected light. The primary subtractive colors are cyan, magenta, yellow, and black (CMYK). Subtractive color begins with white and progresses toward black; as more color is added, the result becomes darker. |
How was SUCOMO™ created?
Our Subtractive Color Model begins with camera origination negatives and positive show-print analog film stocks.
The film is printed with thousands of optical response data points, then meticulously developed and scanned. We quantify these response points through densitometry and colorimetry, and plot them using an artificial neural network to detect and mitigate potential artifacts and irregularities. On the digital camera side, we determine the gamut and gamma response for each camera system through spectrometry, effectively turning the camera body into the sensing element of a spectrophotometer. These two datasets are then combined and assembled, resulting in an exceptionally fine non-linear subtractive color response that captures intricate transients and luminance roll-off characteristics. Many of the scientific measurement devices and processing algorithms used were developed specifically for the SUCOMO™ project by our in-house team, in collaboration with partners from the cinema, defense, and aerospace industries.
The film is printed with thousands of optical response data points, then meticulously developed and scanned. We quantify these response points through densitometry and colorimetry, and plot them using an artificial neural network to detect and mitigate potential artifacts and irregularities. On the digital camera side, we determine the gamut and gamma response for each camera system through spectrometry, effectively turning the camera body into the sensing element of a spectrophotometer. These two datasets are then combined and assembled, resulting in an exceptionally fine non-linear subtractive color response that captures intricate transients and luminance roll-off characteristics. Many of the scientific measurement devices and processing algorithms used were developed specifically for the SUCOMO™ project by our in-house team, in collaboration with partners from the cinema, defense, and aerospace industries.
SUCOMO3 Linny Kit
Linny is a Log-to-Log and Log-to-Linear conversion LUT kit designed to offer a subtractive color and film-like response alternative to the standard log encoding systems of popular digital cinema cameras. Since its introduction in 2015, Linny has been employed in countless award-winning feature films, commercials, and music videos, establishing itself as the industry-leading solution for analog response emulation in LUT form.
Supported Cinema Cameras
|
ARRI
LogC3 & LogC4 |
RED
Log3G10 & REDLogFilm |
Blackmagic
GENERATION 5 Color Science |
Sony
VENICE SLog3 |
LinnyVFX & Pipeline Solutions
Expanding beyond support for log-recording cameras, Linny is available for linear material in all its variants through LinnyVFX. This ensures perfect matching of VFX and compositing assets with live-action footage already utilizing Linny, making LinnyPipeline products a cohesive end-to-end solution for complex productions.
In addition, LinnyVFX unlocks new possibilities for photographers, allowing them to prepare and process both linear-encoded and RAW stills using the SUCOMO3 color science. Since its introduction in 2019, LinnyVFX has become the de facto analog film alternative in the digital realm for many renowned professional photographers.
In addition, LinnyVFX unlocks new possibilities for photographers, allowing them to prepare and process both linear-encoded and RAW stills using the SUCOMO3 color science. Since its introduction in 2019, LinnyVFX has become the de facto analog film alternative in the digital realm for many renowned professional photographers.
Linny
Linny is the main Log-to-Log base LUT of the SUCOMO3 subtractive color science model. Created to provide an analog-like grading foundation while retaining most of the original hue data from the camera sensor, offering maximum flexibility and creative control. Grading with the Linny base LUT is incredibly straightforward and consistent, making it easy to achieve desired results.
Linny seamlessly pairs with third-party FPEs as well as our own SPK (Supplementary Print Kit) FPEs, enhancing its versatility in various production workflows.
Linny seamlessly pairs with third-party FPEs as well as our own SPK (Supplementary Print Kit) FPEs, enhancing its versatility in various production workflows.
Linny Base LUT Workflow Example
In the step-by-step examples below, you'll see how easy it is to grade footage using only the base Linny LUT and a simple curves adjustment. This straightforward approach demonstrates the efficiency and effectiveness of Linny in achieving professional results with minimal effort.
STEP 1
Base Linny LUT is applied over ARRI LogC3
ARRI LogC3 vs. SUCOMO3 Linny LUT
Base Linny LUT is applied over ARRI LogC3
ARRI LogC3 vs. SUCOMO3 Linny LUT
STEP 2
Creative RGB curve adjustments are added.
SUCOMO3 Linny LUT vs. LUT + RGB Curves Adjustment
Creative RGB curve adjustments are added.
SUCOMO3 Linny LUT vs. LUT + RGB Curves Adjustment
STEP 3
A simple master S-Curve is used after/above Linny.
SUCOMO3 Linny LUT + RGB Curves Adjustment vs. LUT & RGB Curves + Master Curve Adjustment
A simple master S-Curve is used after/above Linny.
SUCOMO3 Linny LUT + RGB Curves Adjustment vs. LUT & RGB Curves + Master Curve Adjustment
LinnyC16
LinnyC16 is the basic Log-to-Linear version of the Linny LUT, included in all Linny kits. It comes in two intensities--High and Low—indicating different contrast ratios. While primarily intended for on-set monitoring, dailies, and editing, LinnyC16 can also be used in the grading suite for final deliveries. By adding creative corrections before applying it, you can maintain all the benefits and characteristics of a subtractive color model.
ARRI LogC to Rec709 LUT vs. SUCOMO3 Linny C16 Low LUT
Linny + Print
All Linny kits include versions of the Linny LUT combined with a highly accurate Film Print Emulation (FPE), delivering an instantaneous cinematic look for digital deliveries while ensuring ease of use from shot to shot. This FPE comes in five intensities of Type-B, labeled B0 through B4. B0 provides the print color palette without any added contrast. B1 to B4 offer an exponential increase in contrast, which is useful for maintaining a consistent look across different scenes and lighting conditions. You can also use Linny + Print intensities B2 through B4 to easily trim for different output gammas, B4 for gamma 2.2, B3 for gamma 2.4, B2 for gamma 2.6.
ARRI Alexa LogC vs. SUCOMO3 Linny + Print B4 LUT
Blackmagic GEN5 Log vs. SUCOMO3 Linny + Print B4 LUT
Linny + Print in Various Conditions
* SUCOMO3 Linny+Print B4 LUT applied over the source log image with no creative corrections added.
Linny Kits Include
Each camera specific SUCOMO3 Linny kit includes the main Linny LUT, 5 intensities of Linny LUT pre-mixed with our Type - B FPE (Film Print Emulation), the contrast strength of which is indicated with numbers 0 through 4 after the letter "B" in "Linny + Print B". All of the kits also include linear variants of Linny indicated with "C16" this Linny version is provided in two strengths, "High" and "Low," indicating contrast ratio levels. All mentioned LUTs also come in "HRM", "SST", and "HRM + SST" special variants."HRM" is a highlight retention mode that softly rolls off the highlights. "SST" versions should only be used if necessary in cases of out-of-gamut color, artifacts, unnatural saturation, or hue transients. "HRM + SST" is a combination of the two.
The size of the 3D LUT is 32 x 32 x 32 for the main LUTs, and 33 x 33 x 33 for hardware loadable variants, all are supplied in .CUBE 3D LUT file format. If special camera loadable file formats are available they are also provided, like with .AML files for ARRI cameras.
*If you require other file formats or sizes, you can contact our support team
LinnyVFX and Cinny are standalone products and can only be bought separately or in bundles with camera-specific Linny Kits.
The size of the 3D LUT is 32 x 32 x 32 for the main LUTs, and 33 x 33 x 33 for hardware loadable variants, all are supplied in .CUBE 3D LUT file format. If special camera loadable file formats are available they are also provided, like with .AML files for ARRI cameras.
*If you require other file formats or sizes, you can contact our support team
LinnyVFX and Cinny are standalone products and can only be bought separately or in bundles with camera-specific Linny Kits.
Standard Mode LUTs included in Linny Kits
|
1
Linny Log-to-Log Conversion LUT |
2
Intensities of C16 Log-to-Linear LUTs |
5
Intensities of pre-mixed Type-B FPE LUTs |
Special Mode LUTs included in Linny Kits
|
SST
Smooth Saturation Transient For use with problematic saturation and hue transients. |
HRM
Highlight Retention Mode Introduces analog highlight limiting and rolloff. |
HRM+SST
Highlight Retention + Smooth Saturation Transients Combined variant of HRM and SST modes. |
Cinny
Cinny is our final color-oriented, subtractive color science model offering a Log-to-Log LUT that serves as a Log alternative for your camera system of choice. Designed to approximate a Cineon technical film scan, Cinny acts as a foundational LUT for colorists and post-production facilities. It features everything required in a base LUT—subtractive color modeling and deep, organic, film-like colors and densities. One of the main differences between Linny and Cinny is that Cinny introduces significant changes to the source color palette and color densities. This allows for a unique aesthetic transformation, providing your projects with a distinct, film-like quality.
The SUCOMO3 Cinny Kit includes the main Cinny Log-to-Log LUT in the .CUBE 3D LUT file format, provided in a 64 x 64 x 64 size.
The SUCOMO3 Cinny Kit includes the main Cinny Log-to-Log LUT in the .CUBE 3D LUT file format, provided in a 64 x 64 x 64 size.
Supported Cinema Cameras
|
ARRI
LogC3 |
RED
REDLogFilm |
BMD
GENERATION 5 Color Science |
ARRI Alexa LogC vs. SUCOMO™ Cinny LUT
Blackmagic Design GEN5 Log vs. SUCOMO™ Cinny LUT
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. Then both samples are treated by another identical linear conversion curve.
Linny / Cinny Workflow & Node or Layer Staging
For optimal results, Linny or Cinny LUTs should be applied to scenes with neutral or near-neutral white balance, providing a solid foundation for your creative adjustments. To preserve the integrity of the SUCOMO3 subtractive color model, the base saturation level is set to its maximum operational limit when the LUT is applied. If you desire a lower saturation look, it is recommended to reduce the saturation on input.
Common Workflows
Linny / Cinny & Custom Linearization
Input Log Material > Basic Color Correction > Base Log-to-Log Linny or Cinny LUT > Creative Color Grading > Custom Linearization Curve > Output
* Emulates a negative to film scan / Cineon DI workflow.
Input Log Material > Basic Color Correction > Base Log-to-Log Linny or Cinny LUT > Creative Color Grading > Custom Linearization Curve > Output
* Emulates a negative to film scan / Cineon DI workflow.
Linny + Print B0-B4
Input Log Material > Basic Color Correction > Creative Color Grading > Linny + Print B0 to B4 LUT > Output
* Emulates a direct from negative optical strike print workflow.
Input Log Material > Basic Color Correction > Creative Color Grading > Linny + Print B0 to B4 LUT > Output
* Emulates a direct from negative optical strike print workflow.
Linny / Cinny & SPK / FPEs
Input Log Material > Basic Color Correction > Base Log-to-Log Linny or Cinny LUT > Creative Color Grading > FPE SPK LUT > Output
* Emulates a negative to interpositive / Cineon DI to film print workflow.
Input Log Material > Basic Color Correction > Base Log-to-Log Linny or Cinny LUT > Creative Color Grading > FPE SPK LUT > Output
* Emulates a negative to interpositive / Cineon DI to film print workflow.
I / O
EXPECTED INPUT
On input SUCOMO3 LUTs expect log specs indicated in the LUT file name for each supported camera system.
On input SUCOMO3 LUTs expect log specs indicated in the LUT file name for each supported camera system.
TARGET OUTPUT
For maximum compatibility and flexibility all SUCOMO3 LUTs are intended for Rec.709 / sRGB Gamut & Gamma 2.2 deliverables and should be trimmed appropriately if other gamma spec deliveries are required. With Linny + Print B2 through B4 LUTs you could easily trim for different gammas with the different contrast intensities: B4 for gamma 2.2, B3 for gamma 2.4, B2 for gamma 2.6 along with minor adjustments if and when they might be necessary. This method of course is not a rule, you can trim manually or miss-match these combinations but it is a feature.
For maximum compatibility and flexibility all SUCOMO3 LUTs are intended for Rec.709 / sRGB Gamut & Gamma 2.2 deliverables and should be trimmed appropriately if other gamma spec deliveries are required. With Linny + Print B2 through B4 LUTs you could easily trim for different gammas with the different contrast intensities: B4 for gamma 2.2, B3 for gamma 2.4, B2 for gamma 2.6 along with minor adjustments if and when they might be necessary. This method of course is not a rule, you can trim manually or miss-match these combinations but it is a feature.
SUCOMO3 LUTs ARE DESIGNED FOR
DITs
An ideal base for quick on-set look creation, or as a standard dailies look. |
DoPs
For cinematographers, owners and operators of supported cameras, for monitoring or grading. |
Colorists
Ideal for speeding up deliveries or as a starting point for achieving your desired look. |
35% OFF ORDERS OVER $800
At checkout use code : 800PLUS
LUTs developed under production conditions, not theory. Stress-tested across full production cycles.
Recommended SUCOMO™ Kits
You can save 40% when buying any of our LUTs as bundles compared to buying them separately. SUCOMO™ LinnyPiepline bundles include a camera-specific Linny kit along with the standard universal LinnyVFX kit. Linny + Cinny bundles Include both camera-specific Linny and Cinny kits for the chosen camera system. If you are buying additional kits like our SPK Kit or any other LUT kit in our store and your cart total is over $800, you can add code 800PLUS on checkout, which will add a further 35% off all items in your cart, on top of any bundle discount you might have already.
Recommended SUCOMO™ Additions
All SUCOMO™ Options
