- TONAL BALANCE CONTROL PRESET FOLDER LOCATION INSTALL
- TONAL BALANCE CONTROL PRESET FOLDER LOCATION MANUAL
- TONAL BALANCE CONTROL PRESET FOLDER LOCATION PATCH
- TONAL BALANCE CONTROL PRESET FOLDER LOCATION PRO
- TONAL BALANCE CONTROL PRESET FOLDER LOCATION PLUS
Using the density control doesn’t affect saturation in the same way as changing a lift/shadow control. It effectively works like an offset control that moves the whole signal higher or lower as you look at the videoscope. Gain for highlights.ĭensity is a film-style control that’s probably unfamiliar to most video operators. These act much like level controls in other applications and plug-ins. Next are the three lift/gamma/gain controls, which are similar to the exposure sliders in the previous version. There’s a Kelvin-based color temperature slider to warm up or cool off the image. If you pick auto, the controls still let you adjust the image further.
TONAL BALANCE CONTROL PRESET FOLDER LOCATION MANUAL
You can opt for automatic white balance or manual control. The next series of sliders in the panel turns Koji Advance into a full-on color correction plug-in.
As before, there’s a Film Stock Mix slider to control how much of this look is being applied to the image. The LC preset is a brighter version that is more conducive to downstream color correction, which may be added on top of the LUT filter. The film stock selector lets you choose from a number of presets based on the six film stocks and their variants. Various DSLR camera types also have available options. If it is already a Rec709 color profile, then select the generic Rec709 choice. If your footage is from a specific camera encoding scheme, such as ARRI Log-C or RedLogFilm, select the matching choice. Pick these from the pulldown menus at the top of the control panel. The first two choices you need to make are the camera preset and film stock. To use Koji Advance, drop the plug-in effect onto your clip. You can move or copy this folder to any location you like. These are available to be used with other applications that allow LUT files to be imported, like DaVinci Resolve, Avid Media Composer, or Autodesk Smoke. cube format is also installed to your desktop. A folder of the Koji 3D LUT files in the.
TONAL BALANCE CONTROL PRESET FOLDER LOCATION INSTALL
When you install Koji Advance, you can opt to install it into any or all of the available host applications. The application of any of the LUTs adds the color character of that medium and forms a starting point for your color grade. There is also a 2302 HC (high contract) black-and-white stock.Īt this point, it’s important to understand that these LUTs are not designed as creative looks like you’ll find in many other LUT products on the market.
S versions are more saturation, N versions are more neutral, and LC is low contrast. The other three options are on the cooler side. 2393 is considered by Grahn to be the best print film made. These presets were based on research intended to faithfully reproduce the look of specific Fuji and Kodak print stocks as a medium. It includes all of the Advance features as part of the package.Īll packages include presets built around one black-and-white and five color print film stocks. Koji Color also sells Koji Studio, which is a package of technical versions of these same LUTs intended for facilities outputting to DCI-P3 colorspace.
TONAL BALANCE CONTROL PRESET FOLDER LOCATION PRO
It is now also compatible with Motion, Premiere Pro CC, and After Effects CC, along with Final Cut Pro X. Koji Advance has replaced both the DSLR and Log plug-ins and added more controls and film grain.
The Mix slider controlled the amount of the LUT plug-in that was mixed into the image.
TONAL BALANCE CONTROL PRESET FOLDER LOCATION PLUS
The FCP X plug-in itself also allowed for control over shadow, mid, and highlight exposure, plus saturation and a Film Stock Mix slider. The Log package cost a bit more and added files and presets to be used with log gamma encoding, like ARRI Log-C. The lower cost DSLR package used emulation presets designed for Rec709 video signals. The original version of the Koji Color plug-in was designed for Apple Final Cut Pro X and came in the form of two products – Koji DSLR and Koji Log.
Koji combines their LUTs, so each file is specific to a camera manufacturer and film stock type. Some LUT developers split these into two sets of LUTs, while others combine both into a single 3D LUT file.
TONAL BALANCE CONTROL PRESET FOLDER LOCATION PATCH
Typically LUT packages require camera patch LUT files (to correct for each manufacturer’s log encoding scheme) and the “look” file. ( Click on any image in this post for an expanded view.) Other products have included an iPad application and an earlier version of the Koji Color plug-in. Koji Color is a collaboration between Dale Grahn – the highly regarded film lab timer (the film equivalent of a colorist) behind many blockbusters – and plug-in developer Crumplepop. For folks who like to use film emulsion LUTs (look up tables), Koji Color has recently updated its product line with Koji Advance.
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