Using KOMA

Install

Run the installer. The plug-ins and the application go in together.

Quit your host first. The installer stops if Resolve, Premiere, After Effects or Flame is running, and a host that was open keeps the old copy loaded.

Where things land:

OFX (Resolve, Flame)	`/Library/OFX/Plugins`
Adobe (Premiere, After Effects)	`/Library/Application Support/Adobe/Common/Plug-ins/7.0/MediaCore`
Application	`/Applications`

Resolve Studio is required. The free version does not load OFX plug-ins.

Use

Resolve — Effects → OpenFX → Filter → KOMA
Premiere / After Effects — Effects → KOTETSU → KOMA
Flame — OFX → KOMA

Grade before KOMA, not after. KOMA works in display-referred Rec.709; for log footage, pick the format under Input Colorspace and the conversion goes in front.

Colour space

KOMA works in display-referred Rec.709.

In	Out
Rec.709 / sRGB	unchanged — no conversion either way
Log / Linear	converted to Rec.709
Bypass	nothing at all

Only log is one-way. The film stage *is* the scene-to-display rendering, so there is no route back to S-Log3.

HDR (PQ / HLG) and ACES are not supported, and P3 is not offered. Feed KOMA that material and you get a picture and no error — but the colour is wrong.

Update

Run the new installer the same way. Settings, licence and projects all stay.

When the panel reads KOMA 1.2.1 — 1.3 is out, there is a newer version. It checks the site's version number once a day and shows nothing if there is no network.

Licence

The key goes in from the panel. In OFX hosts press Settings…; in Premiere and After Effects press Licence.... Either opens a window of its own, and so does the application's preferences. One key covers the plug-ins and the application.

Two machines at a time. To move to a third, release one first — from your

Polar account page or from the application's preferences

Activation is online once. After that it renders with no network. It

checks in about once a day when there is one, and a machine that cannot reach us is never stopped by that

Before a licence goes in, every feature works and the output carries a

watermark. There is no time limit

When something is wrong

The plug-in does not appear Restart the host. If it still does not, check you are on Resolve Studio — the free version does not load OFX plug-ins.

The installer stops with an error A host is running. Premiere and After Effects can stay in the background after their windows close.

After Effects says the effect is installed more than once An old copy is still there. Delete KOMA.plugin from ~/Library/Application Support/Adobe/…/MediaCore if it exists; the one under /Library is the right one.

The watermark will not go away Enter the licence from the panel — Settings…, or Licence... in Adobe — then restart the host. The plug-in reads the licence when it loads.

4K is slow Turning off MTF / Acutance gives back about 9.5 ms at UHD — switch it off while you cut and back on to export. On a laptop, plug in: a low battery throttles the CPU side enough to miss the frame.

After Effects is slower than Premiere After Effects renders on the CPU at present. Premiere and Resolve use the GPU.

Remove

In the application: KOMA → Uninstall KOMA…. The licence and settings stay.

Contact

support.koma@kotetsu.work

Controls

Generated by tools/make_help from filmui::kParams. Do not edit by hand.

Source

Control	Range	Default
Input Colorspace		Rec.709	What the incoming pixels are. A log format inserts the conversion to Rec.709 in front of the film stage; Rec.709 goes straight in. A look preset never changes this, including Neutral.

Film

Control	Range	Default
Film Type		Cine 250D
Exposure (stops)	-4 – 4	0
Film Character	0 – 2	1	How much of the stock's own colour separation to keep.
Print Contrast	0.5 – 2	1
Highlight Rolloff	0 – 1	0	How far the top bends away before white. Print stock does not run straight into it, and contrast cannot stand in — contrast pivots, so a softer top bought that way costs the whole upper half.
Saturation	0 – 2	1
Signature	0 – 1	0
Skin Brightness	0.5 – 1.5	1
Skin Saturation	0 – 2	1
Skin Tint	-30 – 30	0

Grain

Control	Range	Default
Enable Grain		on
Grain Type		Lattice	Lattice is the interpolated field KOMA has always used. Particles scatters discrete crystals instead, which is what gives film its edges and its gaps.
Gauge		35mm
Amount	0 – 2	0.5	Goes to 2. Past 1 is more grain than any of the presets ask for, which is the point of it being there.
Clumping	0 – 1	0.5
Size (multiplies gauge)	0.25 – 4	1
Shadows	0 – 2	1
Midtones	0 – 2	1
Highlights	0 – 2	1
Print Grain		off	The print stock has grain of its own, and it is not enlarged the way the negative's is. On a small gauge it hides under the negative's; on 65mm it is the larger of the two.
Print Grain Amount	0 – 2	0.35
Print Grain Size	0.25 – 4	1	Not multiplied by the gauge — the print is already at final size.

Lens

Control	Range	Default
Enable Bloom / Diffusion		off
Bloom Strength	0 – 1	0.3
Bloom Radius	0.002 – 0.15	0.03
Bloom Threshold	0 – 2	0.6
Diffusion (veiling glare)	0 – 1	0
Enable Chromatic Aberration		off
CA Amount	0 – 1	0.3
CA Edge Falloff	0 – 3	1
Enable Vignette		off
Vignette	0 – 1	0
Vignette Radius	0 – 1	0.55
Vignette Softness	0 – 1	0.6
Light Leak	0 – 1	0
Light Leak Angle	0 – 360	0
Light Leak Softness	0 – 1	0.55
Light Leak Flicker	0 – 1	0	A leak is a gap opening and closing as the camera runs, so this swings harder than the glow flicker and can shut the leak entirely.
Light Leak Color		1.00 0.42 0.16

Halation

Control	Range	Default
Enable Halation		on
Strength	0 – 2	0.5
Radius	0.002 – 0.06	0.01
Threshold	0.1 – 2	1
Halation Color		1.00 0.25 0.08	How much of each layer comes back. The scatter distance stays physical: red penetrates deepest and spreads widest.
Glow Flicker	0 – 1	0

Bleed

Control	Range	Default
Enable Irradiation		on
Irradiation	0 – 1	0.35
Irradiation Radius	0.0005 – 0.02	0.004
Dye Cloud Bleed	0 – 1	0.35
Dye Cloud Radius	0.0005 – 0.02	0.003
Inter-layer Edge Colour	0 – 1	0.4

Sharpness

Control	Range	Default
Enable MTF / Acutance		on
MTF Softness	0 – 1	0.35
Acutance (edge effect)	0 – 1.5	0.5

Motion

Control	Range	Default
Gate Weave		off
Weave Amount	0 – 1	0.5

Ageing

Control	Range	Default
Enable Crossover		off	Off by default because the amount is zero by default — a switch that is on and doing nothing is a question the picture cannot answer.
Crossover	-1 – 1	0	The three dye layers' curves are not parallel, so the neutral axis bends and the two ends of the scale go opposite ways. It is what a negative printed onto a mismatched stock does, what cross-processing does, and what almost every aged roll does. One control, because one cause moves both ends — two independent tints would be a grade, not this.
Crossover Axis	0 – 360	0	Which way. 0 puts the shadows blue and the highlights yellow, which is the direction ageing takes: the blue-sensitive layer is the top one.
Mottle		off	The low-frequency end of the same noise. Granularity is quoted through a 48um aperture but the spectrum carries on below it, and down there the three layers are still uncorrelated — so it stops reading as luminance grain and starts reading as colour blotches. Uneven development and coating variation land in the same band.
Mottle Amount	0 – 2	0	Does not scale with the stock, unlike the two grain generations.
Mottle Scale	0.25 – 4	1	Patch size. 1 is about a twentieth of the frame.
Freeze Mottle		off	Film moves: every frame is a different piece of it, so the blotches are redrawn every frame. Tick this to hold one field still — eighty-pixel patches changing 24 times a second can read as boiling rather than as texture.

Films and looks

Input Colorspace — Linear (Rec.709 primaries), Rec.709, sRGB, Bypass (no conversion), S-Log3 / S-Gamut3.Cine, LogC3 (EI800) / AWG3, LogC4 / AWG4, V-Log / V-Gamut, Log3G10 / REDWideGamutRGB, C-Log3 / Cinema Gamut

Film Type — -, Cine 50D (fine), Cine 250D, Cine 200T, Cine 500T (coarse), Cine Mono 250, Portrait 400, Portrait 160, Vivid 100, Amber 200, Pastel 400, Neon 800T, Chrome 50 (slide), Mono 400, Cine Print

Look — Neutral, Film Classic, Teal & Amber, Print Master, Neon Night, Faded Pastel, Custom

KOMA