Request Kodak 5219 for ARRI LogC [BETA] by Matthias Stoopman

[BETA] Kodak 5219 for ARRI LogC by Matthias Stoopman
https://www.matthiasstoopman.com/product-page/beta-kodak-5219-for-arri-logc



PLEASE NOTE: This technical transform is limited up to 50 SALES ONLY to support my ongoing thesis about the color science of Kodak motion picture negative film. If you manage to pick up a copy, you will receive updates until it is finished. If you have any more questions, please send me an email with your questions.



The process:

The film was exposed and processed at box speed (500ASA). It was was scanned in a professional motion picture film lab with ARRISCAN in 7K 16bit DPX Cineon. Because the film was shot in VistaVsion (8 perf), the ARRISCAN had to scan each frame 4 times in 4K (2 perf), and got stiched back together afterwards, giving us a stunning 7K file. The digital camera's were set to their native ASA (BMPCC4K at 400ASA, and ARRI Alexa at 800ASA). The conversion uses a 1D tontality curve, measured from 16 different exposed macbeth charts, creating around 96 data points per color channel. Then the outer edges of the gamut were mapped to the the 5219 film scan. I use a Tetrahedral Interpolation (inspired by Steve Yedlin) to stretch and skew the entire color cube without artifacting, and not touching the 1D curve. A tetrahedral is superior over a 3x3 matrix, but because a tetrahedral is not able to curve along its vertices, I will do a second complicated color pass where I split the color channels to match the color density, hue, and saturation across the entire luminance range. I still need to do multiple passes of all these steps to get a more accurate avarage. Aside from the sharpness, grain, and halation, the color rendition is already pretty close to Kodak 5219.

Below I mention some of its features. However, it can be treated as if your footage was truly shot on film. Film Print Emulations (FPE) now works properly without adjusting anything (if exposed correctly). Even if you don't want to use a prebuild PFE, it is a breeze and joy to grade it, or develop your own film print emulation.

If I was able to distribute it as a power grade I would, but I use techniques that are currently not doable in Davinci Resolve, perhaps in a future update I can port it over. It is not necessary though to use a power grade, since the transfrom is non destructive, and more efficient on your system.



What you will get:

- 33x LUT (future update will make it a 65x LUT) - Kodak 5219 for ARRI LogC.

- 33x LUT for monitoring - This is the 5219 conversion LUT combined with Kodak 2393 .

- Power grade to show the post processing pipeline. (There is currently a node with curves, this is temporary to compensate, and will be removed in the near future.

- In the next update you will receive an advanced Film Halation model. This halation has a nice bite on the edges, and doesn't touch the luma levels. It will also include a custom build Film Grain emulation model that responds to color density on the induvidual color channels, and is generated in real time with resolves grain OFX. More info on the Color Science page.

- Manual (If the zip file is empty, try another program to unzip it.)



Features:

- A true ARRISCAN Cineon Film Emulation of Kodak 5219 for ARRI LogC.

- Non destructive (and soon fully artifact free) technical transform LUT (65x) that retains all the shadow and highlight information.

- Accurately measured from side by side samples with real Kodak 5219.

- Rich and dense colors across the entire luminance range. Even the deepest shadows feel think and rich.

- Subjectively the best (filmic) skintones you can get on digital captured format.

- Manual PDF is included.