KOMA
Film Emulation
Film Emulation
Film, stage by stage.
A film emulation for OFX hosts and for Premiere Pro and After Effects, with a standalone application for set. One installer covers all of them.
Free to use and watermarked until it is licensed. macOS 11 and later.
14
stocks, six looks
Negative, reversal, monochrome and print. Every value a look sets stays adjustable.
1INSTALLER
every host on the machine
OFX and Adobe in one package, and one licence for all of it. No per-host purchase.
4KREAL TIME
Metal on every stage
Grain, halation, MTF and gate weave all on the GPU. Speed depends on the machine.
Buy it once. Use it everywhere you work.
Start from a look. Then make it yours.
The same frame with KOMA off and on. Drag the handle; pick a look below. Input set to S-Log3.
Every stage is a switch, and every switch is a picture.
The same frame with one stage on. Each is pushed well past a delivery setting so it reads at this size — they are the controls you get, turned up.
Approve the look on the monitor, not in an email.
The standalone application takes SDI in, applies a grade and the film
pass, and sends SDI out. The settings save as a .koma preset,
which the plug-ins read.
Why it looks the way it does.
The picture is taken back to exposure, run through the negative's characteristic curve, printed, and returned to display. Colour and grain are not added afterwards — they come out of the pass.
The negative's curve and the print's density, calibrated on white, mid and black. Rec.709 in and Rec.709 out is not tone mapped twice.
Lens flare, lateral scatter inside the emulsion, reflection off the back of the base, and dye cloud diffusion. Different physics, so different radii and different colour bias.
Multiplied in density, with sigma going as the square root of density. Each layer has its own particle size, and the gauge runs from 65mm down to 8mm.
MTF falloff, the acutance developing leaves at an edge, and the interlayer effect. Lateral chromatic aberration, gate weave, light leaks.
A shot is graded in one application, comped in another and cut in a third. KOMA is one engine behind all of them, so the look does not have to be rebuilt at each door — and a comp does not have to be handed back because the plate no longer matches.
A .koma preset carries every value. Save it on the grade,
open it in the comp, apply it on the cut. It is plain text, so it goes
in the show's repository with everything else.
The plug-ins and the application share one implementation, checked frame against frame between CPU and GPU. A look is not re-approximated per host, so the same preset gives the same picture.
Stocks, looks and colourspaces are stored as names, not as positions in a menu. Presets survive the list being reordered or added to, which is what makes them safe to keep for the length of a show.
Bypass returns the input untouched, so a comp can be built on the clean plate and the film pass put back over the finished shot — the order it happens in on a real one.
AJA and Blackmagic cards, in and out. The output locks to the incoming signal, so it follows the camera's rate rather than asking for one.
CDL, tone curve and HSL curves sit before the film stage — the same order as a grade node in front of the plug-in, so what is set on set is what is rebuilt in post.
One frame. The picture that goes to the monitor is the picture that was rendered, not a second pass behind it.
Open a frame or a clip, play it, step it, write a full-resolution still. The look is judged on the material, not on a chart.
.koma files, which travel between hosts.After Effects renders on the CPU at present. How fast it runs depends on the machine and on which stages are on.
Free to try. One price when you deliver.
Free
Every feature, on every host.
¥19,800 / year
About US$129. Tax and the exact rate to be confirmed.
Sales are not open yet. Write to taki@kotetsu.work and you will hear when they are.