VisionColor ImpulZ - Natural Color Processing

Kickstart your creative color grading
with
ImpulZ35mm film emulations.



About ImpulZ™

This unique collection of meticulously generated film emulation LUTs brings the subtle beauty of the worlds best analog film stocks from Kodak®, Fuji® and more to the realm of digital cinematography and color grading. We hand selected some of the most sought after still and motion picture 35mm negative films to generate color accurate conversions for a large number of digital cameras and color spaces. ImpulZ is not just any other collection of one-click-make-awesome presets – it’s a complete toolkit to transform the way you’ll approach color grading!



Flexibility

ImpulZ breaks down the limitations of standard color correction tools with 30.000+ individual color transformations per film stock – in real time. Simply by integrating our 3D LUTs into your grading workflow you can turn every LUT compatible application into the most streamlined and flexibile film emulator ever – there’s no longer any third party software or plugin standing between you and giving your movie the exact look you always wanted. With ImpulZ‘s 3 distinct output gammas including industry standard Cineon LOG you’re always in complete control of the grade!


  Teaser has been graded with ImpulZ Ultimate & basic primaries!

FeatureZ


We’re offering ImpulZ in 3 versions, Basic, Pro & Ultimate to give you the choice to pick the exact version and features you need while keeping the price incredibly low. Below you’ll find the complete list of film stock emulations and features that are included with the different versions and how they compare.

Film Stocks
Basic
Pro
Ultimate
Fuji Pro 400
Fuji Superia 200
FujiColor 200
Kodak Ektar 100
Kodak Ultramax 400
Kodak Gold Gen. 6 200
Kodak Elite Color
Kodak Elite Chrome 200
LPP Tetrachrome 400
Color Implosion 400
Kodak Vision3 50D 5203 (NEG)
Kodak Vision3 50D 5203 (DP)
Kodak Vision3 250D 5207 (NEG)
Kodak Vision3 200T 5213 (NEG)
Kodak Vision3 500T 5219 (C41)
Kodak Vision3 500T 5219 (NEG)
  Bonus Film Grain 5219 @ 1080p 5219 @ 2.5k 5219 @ DCI 4k
  Number of LUTs
24
480
1926

(NEG) = Camera Negative Emulation

(DP) = Direct Print: Camera Negative printed to positive release print stock for different color response.

(C41) = BONUS: ECN-2 film with Rem-Jet Layer removed for C41 processing. (not Cinestill)


ImpulZ™ supports all current generation cameras through our generic LOG & Rec.709 input patches that are included in all versions of ImpulZ™. By popular demand we have additionally profiled a number of specific cameras with different color profiles for increased color accuracy and consistency. See the full list of cameras and profiles below:

Cameras
Basic
Pro
Ultimate
Generic Rec.709
Generic LOG
GoPro Hero 3 (Protune Flat)
Blackmagic Cinema Camera
Blackmagic Pocket Camera
Canon EOS DSLRs
  • Prolost Flat
  • VisionColor
  • VisionTech
  • VisionLOG RAW
Nikon DSLRs
  • Flaat 10
  • Flaat 11
  • Neutral
  • Standard
Sony FS700
  • CineGamma 4
  • Slog 2
Panasonic GH4
  • Cinelike D
Blackmagic Production Camera 4k
Canon C100/C300/C500
  • C-LOG (Cinema locked)
  • Wide-DR
RED (RedColor 3 – RedLogFilm)
RED (RedColor 3 – RedGamma 3)
Arri Alexa & Arri Amira (LOG-C)
NEW: Sony A7S (Slog 2)
Sony F55 (SGamut – Slog 1,2 &3)
Sony F5 (SGamut – Slog 1,2 &3)
Sony F3 (SGamut – Slog 1,2 &3)

If your camera or preferred profile is not included on the list above doesn’t mean your camera is not supported. The open 3D LUT format of ImpulZ allows for any kind of image manipulation before and after a specific LUT is applied. The generic LOG & Rec709 profiles are a mathmatically derived average of a large number of cameras and people have been using these same generic profiles exclusively with our highly popular OSIRIS LUTs – the results should speak for themselves!


ImpulZ is all about flexibility which is why we’ve included multiple output gamma and color response profiles for each individual film stock. These are not just your average constrast curves that re-map luminance values but the results of complex non-linear functions that distribute brightness and saturation across the tonal range similar to what you would see in a photographic lab-print. The richness of color that we associate with photochemical film is exactly what we’ve been missing from existing film emulations which is why we’ve developed an alternate approach. These are our babies!

Output Gamma / Color
Basic
Pro
Ultimate
Film Contrast
Film Print
VisionSpace
CINEON® LOG

Film Contrast: Non-linear distribution of image saturation with a film-like gamma curve.

Film Print: Industry standard Vision 2383 film print. Medium contrast/saturation print stock.

VisionSpace™: Our custom gamma response which is ideal for starting your grade. Just enough contrast to get you started in the right direction without blowing out highlights or shadows and the same non-linear saturation as our film contrast profiles.

Cineon® LOG: Industry standard Cineon LOG compound gamma (95-685). This output emulates the gamma response of the DPX scans from the film scanners (Hasselblad Flextight X5 & ArriScan 4k btw). Resulting negative emulations are compatible with all film print emulations that expect a true cineon curve as input and provide a perfect starting point for fully fledged color grading. Obviously the quality of the Cineon LOG representation of your image data depends on your source footage. Our conversions will apply interpolation to make up values where your camera’s sensor hasn’t picked up any information and Cineon may not be the ideal workflow for highly compressed footage from lower end devices.

  Additional Conversion LUTs (Ultimate only):

  • Cineon to Vision 2383 (D50) FPE (Rec709) [medium contrast/saturation]
  • Cineon to Vision Premier 2393 (D55) FPE (Rec709) [more silver in emulsion - rich blacks/high sat]
  • Cineon to custom 35mm Fuji  FPE (Rec709) [color positive still film with custom print gamma]
  • Cineon to Film Contrast 01 [Non-linear saturation / print gamma - preserves negative colors]
  • Cineon to Film Contrast 02 [Bleach characteristics similar to profiles from another developer]
  • Cineon to VisionSpace

All conversions are optimized for Rec.709 2.2 viewing gamma while simulating DCI P3 white point (projected).



Basic

€39

~ 53 USD
VAT may apply for EU customers

Add to Cart

Pro

€55

Best Deal

~ 75 USD
VAT may apply for EU customers
Add to Cart


Client References - VisionColor ImpulZ


“The best emulation of a photochemical workflow anyone has seen in the world of digital cinema.”

Radarcreative ImpulZ


Software Requirements

You’ll need one of the following color grading/editing applications to work with the ImpulZ LUTs:


  • DaVinci Resolve (Full & Lite)
  • Adobe Speedgrade
  • Adobe Premiere CC
  • Adobe After Effects CS6/CC
  • Adobe Photoshop CS6/CC
  • Final Cut Pro X
  • Avid MC 7
  • Shake
  • Pandora Revolution/Pixi
  • CineForm Studio Premium
  • Nuke
  • SCRATCH
  • Film Master
  • Quantel Pablo
  • BaseLight
  • Motion 5 

The LUTs come in IRIDAS .cube format with 17³ and 64³ (Update 1.1) patch density.




Endless possibilitieZ

  Click to apply different combinations of ImpulZ LUTs. More examples coming!

ImpulZ

[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_alexa_original01.jpg]20.6k0Digital
Underwater shot from an Arri Alexa in LOG-C.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_alexa_kodak_5203_238301.jpg]26920Film Emulation
Kodak Vision3 50D 5203 camera negative LUT with 2383 Print Film Emulation.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_07_kodak-5219_log_source.jpg]36.5k0Digital
Shot on a Blackmagic Pocket Cinema Camera this image may lack contrast and saturation but is an ideal starting point for color grading and film emulation.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_08_kodak-5219_dp.jpg]87940Film Emulation
Fuji Superior 200 negative emulation processed through a Vision Premier 2393 print LUT for an instant motion picture look.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_09_skintones-preview-logoriginal.jpg]24460Digital
Shot on a Canon 5D Mark III with Magic Lantern RAW. DNGs interpreted as BMDFilm in Davinci Resolve.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_10_skintones-preview_elitecolor.jpg]24500Film Emulation
Kodak Professional Elite Color 200 emulation in FC gamma applied to a single node in Resolve.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_gh4-original.jpg]91820Digital
Shot on a consumer DSLR camera this image already has great contrast but unevenly distributed saturation and a color response that is a dead giveaway for 8-bit digital video.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_kodak-5219_fuji-print.jpg]84230Film Emulation
Kodak Vision3 500T 5219 negative emulation processed through a custom Fuji Print LUT with a 4k film grain overlay. Notice how the entire color palette is subtlely remapped and the final image looks nothing short of a 35mm scan with rich colors, beautifully smooth contrast and the image texture we associate with high-end productions.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_01_nasa-p3_redlogfilm_before_1.jpg]82290Digital
Shot on a Red Epic in RedLogFilm gamma.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_02_nasa-p3_vision3_2383fpe_1.jpg]70830Film Emulation
RedLogFilm with a Kodak 5219 negative emulation in Cineon LOG, a contemporary color grade and the whole thing virtually printed to Vision 2383 release stock. An end-to-end Hollywood color workflow easily re-created with ImpulZ!
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_05_sonyslog2_before01b.jpg]75510Digital
Sony S-LOG2 footage with superb dynamic range but poor color contrast and lack of texture and tonal richness.
[img src=http://www.vision-color.com/wp-content/flagallery/impulz/thumbs/thumbs_06_fujipro400_after_01b.jpg]62840Film Emulation
Fuji Pro 400 emulation of S-LOG2 footage. Notice how the LUT manages to create a filmic contrast while retaining low level saturation and gracefully blooming the highlights. This is the camera negative processed through our Film Contrast 01 curve.


Basic

€39

~ 53 USD
VAT may apply for EU customers

Add to Cart

Ultimate

€99

Hollywood DI

~ 135 USD
VAT may apply for EU customers
Add to Cart


Client References - VisionColor ImpulZ

Check out our Vimeo Channel  for thousands of other videos graded with our products!

1. How is ImpulZ™ different from OSIRIS?

Let’s put it this ways: You could easily create your own version of OSIRIS with ImpulZ™! ImpulZ 3D LUTs contain only unprocessed negative and print film emulations that can be used to replicate an entire film workflow. With ImpulZ Ultimate you could start with a camera negative emulation, add your own seperate color grade and virtually print the whole thing back to film. OSIRIS is great for a quick and easy film look that has all of these steps baked in but ImpulZ puts YOU in complete control of the grade without taking creative license over your images. You can also combine the two packs and cook up your own unique color recipes – the sky is no longer the limit.

2. I don’t have a high-end camera. Will ImpulZ™ still work with my 8-bit footage?

Yes. There are even some visual examples of ImpulZ LUTs working their magic on compressed DSLR footage on this very site. While we do suggest that you denoise and dither your footage before applying any color corrections we’ve worked hard to make our LUTs as stable as possible while retaining a high degree of accuracy in the conversions. On Rec.709 video footage most of the conversions will be really subtle since your camera already applies a film-like curve to the image that usually doesn’t need any more contrast. The camera negative emulations with no print LUT applied will often look like an alternate picture profile – but with the beautiful color response and non-linear saturation of film.

3. How are LUTs different from filters or regular presets?

Presets and filters are usually limited to only work for very specific imagery, namely the kind of imagery they have been created for. Our 3D LUTs cover the entire color gamut by performing complex transformations to every single color that your camera is capable of capturing. The main benefit of 3D LUTs is that they contain pre-calculated tables of numbers representing the results of highly complex non-linear functions which would be too CPU intensive to calculate in real time. The three-dimensional cubes of ImpulZ apply more than 30.000 individual transform vectors that change all color attributes relative to each other.

Color Science - VisionColor

For example: When you’re making a curves adjustment it’s not very practical to add more than ~5 points to the curve. All other values in between are then interpolated by the software and while you can make similar adjustments to the individual color channels you’re not likely going to end up with a curve that has more than 20 or so adjustments. Now consider a lookup table that has not 20 but 30.000 individual transformation vectors stored in a color matrix that assigns new output values to each input value which is representative of a unique color. And since the cube in which the vectors are positioned is three-dimensional the color transformations are not limited to adding or subtracting colors based on luminocity. A three dimensional matrix transformation allows for all color attributes to be changed relative to another attribute for example: hue based on saturation or a certain hue with a certain saturation based on it’s luminance. Since these non-linear functions that are applied to the image data during such transformations are too complex for software to compute smoothly in real time, the results of these functions are stored in lookup tables.

The challenge in creating high resolution LUTs for image manipulation purposes is therefore to find the right balance between accuracy and stability. Since the matrix can pick up on super desaturated colors for example we had to find a way to not accidentally accentuate noise or other color artifacts. Even though this isn’t completely avoidable we’ve developed a technique for LUT smoothing that is based on an algorithm from statistical analysis to dynamically alter values above a predefined threshhold to avoid color instability.

4. Is it possible to upgrade from an inferior version of ImpulZ™?

If you want to upgrade to a superior version of the ImpulZ film pack (like Basic to Pro or Pro to Ultimate) shoot us an Email to support[at]vision-color.com and we’ll provide you with an upgrade code.

Downgrading is not supported.

5. Should these LUTs be used for print previewing and/or negative matching?

Know that all of our LUTs are optimized for Rec709 2.2 monitor viewing and are no substitute for custom film profiling services. The countless variables involved in capturing, film development, scanning and printing on both our and your end will inevitably intoduce discrepancies between our emulations and your references. Again, film profiling specifically for your end-to-end calibrated working environment is the only real way to get consitent results.

6. What’s the deal with the “film-look” anyway?

Obviously these LUTs serve a very specific (but still very broad) purpose which is to emulate a film workflow digitally. While the perception of color and beauty is ultimately subjective in a mind-dependent sense, the large majority of photographers, directors, colorists and others with an outspoken appreciation for light and color seem to agree on the superior aesthetic of film over digital for capturing and communicating stories and evoking an emotional response in the viewer.

We’re not so much conservative or nostalgic about a medium that once constituted a standard based on technological limitations as much as we believe that all art and craftsmanship including cinema is inherently subtractive. Out of all the millions of stories that could be told we are touched by those that focus on characters and events we can relate to; out of all the notes on the chromatic scale it’s the few that form a particular melody that aquire context and poetic meaning. The characterisitcs of film as a medium are much more representative of this subtractive nature of storytelling than the technically more accurate color reproduction of reality as captured by digital devices. Film compresses hues, limits saturation and is considerably softer and noisier than today’s high end sensors – all qualities that are hardly marketable to a crowd that has been hyped up for megapixels and other easily verifyable tech-facts. What we’re trying to do is preserve some of the things we love about a dying medium and translate them to the digital realm. Is applying an ImpulZ™ LUT to digital video the same as shooting on film? Definitely not. But it successfully approximates some of the color (and grain) characteristics really, really well.

— Samu Amunét (@LionizeLove) August 7, 2014

ImpulZ Quickstart Guide & Overview Tutorial

ImpulZ Official Documentation


For more tutorial content and product help visit our support section: Click here

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