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 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 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.

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.”