Colourlab.ai

Platform introduction:

Colourlab AI's core product, Grainlab 3.0, is a "professional film texture restoration tool" created for "global film and television colorists, film production teams, advertising companies, and independent image creators". It solves three types of digital image pain points: Hard texture *: Traditional grain plug-ins rely on "in-plane gray scanning, monochrome superposition, resolution stretching". The grain is out of touch with the picture, lacking the light and shadow dependence and color levels of real film;* Missing details : Most plug-ins cannot restore physical details such as "shadow/midtone/highlight differentiated grain structure" and "positive and negative film grain interaction" of film, which has obvious digital feel; Inefficient *: Some high-end grain tools render slowly and do not support real-time 4K preview, dragging down the post-film process; Poor compatibility : Difficult to adapt to professional post-film software (such as Nuke, Flame) and cannot be integrated into standardized film and television production links.

Its core logic is to "reconstruct the grain addition process with 'film physical model + real-time performance'": no need to compromise texture, restore the real film grain behavior based on Boolean models; no need to sacrifice efficiency, real-time 4K processing adapts to fast-paced later periods; no need to worry about compatibility, seamless access to mainstream film and television software; There is no need for high costs, and the preferential price is only 1/5 of that of similar high-end tools, allowing the "film-level film texture" to shift from "high-budget exclusive" to "accessible to all levels of film and television projects", adapting everything from independent short films to theater films. Scene needs.

Core functions: (Based on the core logic disassembly of "Physical Film Restoration")

1. Core: Six physical-grade film grain reduction capabilities
   (1) Exposure-Dependent Grain: Restoring the light and shadow characteristics of the film
   Solve the problem of "grains have no difference in light and shadow, and strong digital sense" and adapt to the real film texture:

   • Grain structure changes dynamically with image exposure: Shaded areas (low exposure) are coarse and easily agglomerated (Density 0.3, Coarse coarse grains), mid-tone (normal exposure) grains are evenly distributed (density 1.0, Optimal optimal state), and grains in highlight areas (over-exposure) are extremely fine and dense (density 2.5, Very Fine grains). It completely reproduces the physical characteristics of real film that "exposure affects the distribution of silver salt crystals". An independent film uses this function to process night scene fragments, and the film texture is 80% higher than that of traditional plug-ins.

   (2) Particle size Control: Simulate different film specifications
   Solve the problem of "single film specification and limited creativity" and adapt to the needs of multiple styles:

   • Support full-specification film simulation from "8mm (coarse grains, strong retro feel), 16mm (medium grains, commonly used in documentaries), 35mm (fine grains, mainstream drama films) to 65mm (extremely fine grains, large-scale texture)", the grain size can be adjusted according to the "actual silver salt crystal size." The advertising team uses "8mm grains" to create retro product advertisements, which significantly improves style recognition.

   (3) Color-Rich Grain: Breaking through the limitations of monochrome superposition
   Solve the problem of "single color grains and lack of color layers" and improve the quality of the picture:

   • Different from traditional plug-ins, the "monochrome grain superposition" is used to generate grains through "red/green/blue three-channel color emulsion simulation". The grain density and structure of each channel are differently distributed according to color characteristics (for example, blue channel grains are thinner, red channel grains are slightly thicker), which ultimately presents a "texture with color depth". A colorist uses this function to process landscapes, and the level of the picture is 50% higher than that of monochrome grain plug-ins.

   (4) Negative + Print Grain Blending: Reprinted film printing details
   Solve the problem of "lack of film printing texture and thin details" and adapt to the needs of professional film and television:

   • The texture of real film stems from the "interaction between negative film grains and printed film grains." Grainlab supports "mixing positive and negative film grains" or "individually adjusting certain types of grains", which can create unlimited possibilities from "retro rough" to "delicate and transparent". Texture possibilities, a Netflix series uses this function to process memory clips and restore the retro atmosphere of film printing.

   (5) Sub-Pixel Grain Generation: Beyond scanning resolution
   Solve the problem of "granular pixels are heavy and not realistic enough" and improve the accuracy of details:

   • "oversampling technology" generates grains "less than 1 pixel" to avoid the blockiness of traditional "fixed grid pixel sampling" and present "ultra-realistic texture". A special effects team uses this function to process 4K special effects lenses, and the grain details are 30% more delicate than ordinary plug-ins, fully integrated into the picture without any sense of disconnection.

   (6) Resolution Independence: Adapt to full-specification images
   Solve the problem of "particle stretching deformation and poor resolution adaptation" and ensure multi-specification projects:

   • Rather than relying on the rough method of "HD stretching to 4K", we regenerate grains for the "native resolution (HD/4K)" of each project to ensure that the grains of 4K pictures are fine and non-jagged, and the grains of HD pictures are uniform and non-blurred, adapting to the full resolution needs of Short Video to theater movies.

applicable population

• Professional film and television colonists : The core requirement is "film-level film texture restoration", relying on Grainlab 3.0 "physical model + multi-channel color grains", and the core uses "exposure dependent grains, positive and negative film mixing" to adapt to theater movies, high-end advertising color;
• Independent image creators : The core requirement is "low cost to achieve film texture". Choose annual subscription ($100/year). The core uses "8mm/35mm grain switching, real-time preview" to adapt to independent short films and documentaries. production;
• Film and television post-stage team (advertising/online drama): The core requirement is "efficiency + compatibility", relying on "real-time 4K processing, DaVinci Resolve/Nuke adaptation", and the core uses "resolution independent, JPLog2 workflow" to integrate standardized post-stage processes to improve team efficiency;
• Large-scale film and television companies (such as Technicolor): The core requirement is "texture + stability", choose permanent licensing, and the core uses "Boolean model accuracy, flicker and weaving simulation" to adapt to the late stage of theater movies and streaming media blockbusters.

Unique advantages (compared with similar film grain tools)

1. Physical level restoration : The only plug-in based on the "Film Boolean Physical Model" restores 10+ film physical details such as "exposure dependence, positive and negative film interaction". The effect far exceeds the "monochrome superposition" plug-in and is certified by Technicolor as "the grain tool closest to real film";
2. Real-time 4K performance : Optimize real-time rendering technology, 4K pictures can directly preview granular effects, which is 300% more efficient than similar high-end tools (such as some plug-ins that charge thousands of dollars), and is suitable for fast-paced post-film production;
3. Full ecological compatibility : Seamless access to mainstream film and television software such as DaVinci Resolve, Nuke, and Flame, support Linux professional workstations, and fully integrate into standardized film and television production links to avoid the problem of "disconnection between plug-ins and host software";
4. High cost performance : The special price is only $100/year (annual) or $200/lifetime (permanent), which is only 1/5-1/10 of that of similar high-end granular tools (thousands of dollars), and it is upgraded to v4 for free., lowering the threshold for small and medium-sized projects;
5. High user recognition : Widely praised by international colorists-Urshit Oza, founder of Tatvam Productions, commented that "it is far superior to most LUTs/plug-ins and is the best choice for digital film transfer." Cameron Brown of Color Creations Studio believes that "it can easily create stunning textures and adapt to full-project lenses."

precautions

1. Upgrade policy : Currently, you can upgrade to Grainlab v4 for free when purchasing Grainlab 3.0 without additional charge. It is recommended that users with long-term needs should give priority to permanent license;
2. Applicable software : It only supports the four professional post-processing software of DaVinci Resolve, Baselight, Nuke, and Flame. There is no adaptation to ordinary editing software (such as clipping, Pr). You need to confirm the compatibility of your own post-processing processes;
3. Hardware requirements : Although real-time 4K is supported, it is recommended to equip a professional film and television workstation (such as a Windows/Linux host with discrete graphics card) to ensure smooth processing of complex projects (such as multi-track synthesis and high dynamic range materials);
4. Purchase discount : Limited time discount saves 60%(permanent license is $200, original price is $490). It is recommended to choose a package on demand-permanent license for long-term projects, and annual subscription for short-term/scattered needs;
5. Effect expectations : The grainy effect needs to be combined with "pre-shooting style"(such as soft diffused light that makes it easier to highlight the grainy texture) and "post-toning"(JPLog2 workflow supports 18 dynamic ranges, and it is recommended to use it with a professional toning process), in order to maximize the texture of the film.