It’s been several months since we last heard from Jonathan Ochmann, CEO of Color.io, and, eager to hear what new developments are in store for us with with the upcoming Impulz 2.0, we reached out to him. He told us he’s been super busy with preparing the launch, adding:
“We went through so many iterations with this product. What I can tell you is that ImpulZ 2.0 won’t be another LUT Library. It’s a standalone app for developing film emulations in a fully featured ACES environment. At the heart of the application are VisionColor film data models but segregated into logical components: Chrominance, Luminance, Density and Processing Characteristics. These segregated models open up the possibility to essentially create new film stocks by, for example, combining the chrominance profile from Vision3 500T with a Fuji density distribution. All of the data sampling and processing in the end-user app is done in our (huge) VisionColor WideGamut HDR color space which is embedded into ACES2065-1. The app supports all ACES IDTs and ODTs and will be able to generate 3D LUTs and ACES CTL files”.
Some of the following may already be out of date.
How is it different from 1.0?
VisionColor ImpulZ 2.0 is a library of analog color spaces that map specific camera signals to the chrominance and luminance response behaviour of premium motion picture and photographic film. ImpulZ 2.0 is built on top of ACES IDTs and functionally extends the ACEScct color space with non-linear gamut confinements based on real film measurements. All library components have been completely re-engineered. Instead of our own input-device-transform system we are now building on top of ACES IDTs. This means more supported cameras and highly stable, artifact-free conversions. Instead of a logarithmic base color space we have completely re-sampled our film data with accurate vector mappings into the huge ACES color space. This means massive benefits for accurate film emulation with never before seen color separation and density. We’ve completely re-engineered our color science framework. When creating a library of consistent color mappings a highly reliable color science framework is key. It’s the progress we’ve made at the framework level that has allowed us to create what we’re confident to say are the best film emulations in existence.
What is native ACES HDR?
In this context, “native” means that our film data samples are not extrapolated from a small gamut. Large gamut, high dynamic range film color coordinates are the foundation of our color science framework. To the best of our knowledge there are no film emulations in existence that have been derived from a color space comparable in size and dynamic range.
Does it support HDR?
Absolutely. In fact, the base color space of our film data samples has a high dynamic range to accurately capture the natural response behaviour of film. So not only is our HDR implementation technically accurate, it is really rather stunning. Also our native high dynamic range, large gamut base color space allows us to provide perfect interpolations for non-hdr outputs and smaller color spaces.
Does it work without ACES?
Yes. We’ve created a VisionLOG pipeline for non-ACES users. This pipeline provides accurate device calibrations as 3D LUTs that are suited for a variety of non-aces workflows. These mappings are stress-tested and proven to be incredibly stable so you can expect all the benefits from the ACES pipeline in your non-aces environment.
The release date is early 2022. The exact date will be announced soon. Pricing TBA.
Let us know in the comments section if you’re as excited about this announcement as we are!
Whatever makes grading exotic looks easier and lowering the threshold of not just applying a log to rec709 lut to a footage and exporting it as is, à la DPreview.