colour-software-colour-lab

LOOK DESIGN SOFTWARE

FASTEST AND MOST INTUITIVE TOOLS FOR LOOK DESIGN AND COLOR MANAGEMENT

Colourlab provides a complete look design and a universal color management solution for the creative filmmaker. It’s a unique set of algorithms are built on the latest advances in color science based on common laws of perception. Its pristine image quality and powerful set of features including high precision image processing, ACES, film stock emulation, color palettes and profiles, custom contrast curves, ASC CDL, 3DLUT and hardware integration give you endless creative flexibility to take your image to new heights.

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POWERFUL ALGORITHMS

FILMSTOCK, COLOR PALETTES, CAMERA PROFILES CONTRAST CURVES

At the heart of Colourlab are powerful algorithms that form an innovative approach for control of image DNA.

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Directly integrated with DaVinci Resolve

A suite of plug-ins for Mac, Windows and Linux

Our advanced color science expands capabilities of Davinci Resolve further giving you a unique set of tools for the look creation and color management so you are able to focus on creative aspects of colorist tasks while we take care of the technical part.

HARDWARE INTEGRATION

export 3dluts for all lut hardware units and most monitors and cameras

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3D LUT UNITS
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MONITORS
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RED
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ARRI

Colourlab offers support for all professional 3D LUT hardware units including: BOX I/O, Teradeck, OMOD, Fuji IS, Decklink, Atomos, Small HD, Panasonic Varicam, RED

Colourlab supports most professional digital cameras and creates output profiles for both SDR and HDR monitors.

FILM STOCK EMULATION

Colourlab’s unique film stock emulation process.

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COLOUR PALETTES

Colourlab’s set of ever expanding colour palettes.

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Custom CAMERA PROFILES

Colourlab’s secret lies in its unique camera input profiles. Designed and developed by one of the leading colour scientist, these profiles unlock new camera potentials.

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ARRI
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RED
CANON
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PANASONIC
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SONY

BUILT FOR HDR WORKFLOWS

Colourlab is build from ground up to support parallel SDR and HDR workflows.

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ACADEMY COLOUR ENCODING SYSTEM

Colourlab is capable of creating looks for ACEScct pipelines for even the most demanding workflows.

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UNIVERSAL COLOUR MANAGEMENT

Colourlab color management approach is universal and open. Color decisions and looks can be communicated with all members of production and post-production, regardless of what software platform they use. Colourlab breaks the barriers in open color communication

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DaVinci Resolve 16
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Baselight
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Nucoda
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Adobe Premiere
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Adobe Photoshop
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Avid
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FCPX
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Affinity
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Nuke
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Livegrade

TRAINING & CERTIFICATION PROGRAM

Colourlab comes with a full training program provided by Colour.training. With a choice of online or classroom-based training and certification program held in London, New York, and Los Angeles.

BEGINNERS

INTRODUCTION TO DIGITAL CINEMATOGRAPHY
  • Light and the human visual system
  • Digital camera sensors
  • RAW processing pipeline
  • Colour spaces
  • Gamma, linear, log, PQ
  • The truth about resolution
  • Common digital camera models
INTRODUCTION TO COLOUR SCIENCE 2.0
  • What is Colour Science?
  • Physics of Colour
  • Artistic view on Colour
  • Primary Colour Correction
  • Secondary Colour Correction
  • Colour Cube – 3DLUT
  • Expanding our view on Colour
  • Mysterious world of illusion
  • Colour and Emotion
  • Colour and Harmony

INTERMEDIATE

COLOUR MANAGEMENT FUNDAMENTALS
  • Light and the human visual system
  • Colour Managed Workflow overview
  • Colour management On-set
  • Colour Management in Datalab,
  • Digital dailies and Transcoding
  • Colour Management in Post Production
  • Colour management for VFX
  • ACES – Academy Colour Encoding
  • System – overview
COLOURLAB 101
  • How to load Colourlab software and get started
  • Colourlab interface overview
  • Colourlab Setup tab
  • Getting different RAW camera formats into Colourlab
  • Colourlab Look Design tab
  • Balance and Input Camera profiles
  • Creating your first look
  • Film stock emulation profiles and how to use them
  • Creative palettes profiles and how to use them
  • Technical tools and how to use them
  • Output profiles and how to use them
  • Exporting a LUT and sending to Resolve

ADVANCED

COLOURLAB 201
  • Colourlab Live Tab
  • Loading and Applying Looks
  • Creating ASC CDLs
  • Working with Box I/O
  • Working with OMOD
  • Working with Varicam
  • Exporting Colour Metadata
  • Working in ACES – setup
  • Creating looks in ACES
  • Exporting looks in ACES
COLOURLAB COLOUR COOKING
  • Film Stock Emulation
  • Bleach bypass
  • Duotones
  • Hipster looks
  • Cross process
  • Natural colours
  • Day for night
  • Colour isolation
  • Classic black and white
  • Orange and teal
  • Colour Wash and Tint
  • Classic action movie look
  • Grunge and horror movie look
  • Flashback looks

$FREE

COLOURLAB Look Design
Trial License
No LUT export
Watermarked Output

Quick Start
Online Training

$200

COLOURLAB Look Design

1 Year Subscription
+ Quick Start
Online Training

$695

COLOURLAB Look Design
COLOURLAB HDR
COLOURLAB ACEScct
GRAINLAB

1 Year Subscription
+ Online Training

$1200

COLOURLAB Look Design
COLOURLAB HDR
COLOURLAB ACEScct
GRAINLAB

1 Year Subscription
+ Online Training
+ 2 Day Classroom Training LA/NYC

SPECIAL PRICING

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Color Managed Workflow
HDR Masterclass
Certificate Holders

$Free Colourlab Studio

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Feature Film &
Commercials
Masterclass
Certificate Holders

$Free Colourlab

FILM EDUCATION

Film School Students &
Teachers from Qualified
Educational Institutions

$POA

STUDIOS

Special pricing on multiple
licenses

$POA

TECH SPEC

Technical specification of your software

Camera Input Profiles
  • Alexa Wide Gamut + Log-C
  • Sony S-Gamut3.cine + S-Log3
  • Sony S-Gamut3.cine + S-Log3
  • Panasonic V-Gamut + V-Log
  • Red IPP2 REDWideGamutRGB + Log3G10
  • Red DragonColor2+RedLogFilm
  • Canon Cinema Gamut + C-Log3
  • Blackmagic Design Wide Gamut Gen 4 + BMD Film
  • DJI D-Gamut + D-Log
  • REC709 + 2.4
Output Color Spaces
  • REC709 (2.4 Gamma)
  • P3DCI (White 5900K 2.6 Gamma)
  • P3D65 ( White 6500K 2.4 Gamma)
  • RED IPP2 In Camera
  • HDR10 (ST2084 REC2020 PQ1000)
  • HDR PQ100 (REC2020 or P3D65)
  • HDR PQ800 (REC2020 or P3D65)
  • HDR PQ1000 (REC2020 or P3D65)
  • Archive/Restore
Kodak Film Stock Profiles
  • Kodak 2383 Print Stock
  • Kodak 2393 Print Stock
  • Kodak Ektar 100 Negative
  • Kodak Elite Chrome 200 Negative
  • Kodak Elite Color 200 Negative
  • Kodak Vision 3 200T Negative
  • Kodak Vision 3 400T Negative
  • Kodak Vision 3 5207 Negative
  • Kodak Vision 3 5219 Negative

 

Delivery Formats
  • SDR REC709
  • DCI P3 D60
  • Dolby P3 D65
  • Apple P3 D65
  • HDR10
  • Dolby Vision PQ800/1000/2000
  • HDR Archive/restore

 

 

 

Color Engine DNA
  • 4096 point
  • Ultra Wide Gamut
  • 32-bit Float
  • ACEScct 1.1
  • Dual Engine Processing
  • Davinci Resolve 14, 15, 16
  • Mac OS, Win10, CentOS, Ubuntu
  • GPU accelerated: Cuda, Open CL, Metal2

 

Color Palettes
  • Neutral N1, N2, N3 – Color Space Acurate
  • Positive – Major
  • Negative – Minor
  • Ultra Wide Gamut
  • High Precision Processing
Contrast Curves
  • S-Curves – Standard Contrast
  • L-Curves – Low Contrast
  • F-Curves – Film Contrast
  • 4096 Point
  • High Precission Shadow Detail
Fuji Film Stock Profiles
  • Fuji 8543 Negative
  • Fuji 8553 Negative
  • Fuji 8563 Negative
  • Fuji eterna 250 Negative
  • Fuji F125 Negative
  • Fuji Vivid 500 Negative