Flowgraph View - Kodak

User Guide 

Version 2.2 

March 2007 Part Number 4F3931

Eastman Kodak Company 

343 State Street 

Rochester, NY 14650 

Kodak, EasyShare, Kodak Professional, 

XtraLife, Vision, Cineon and Wratten are 

trademarks of Eastman Kodak Company. 

© Eastman Kodak Company, 2007

A BOUT THIS BOOK 

This book describes how to use KODAK Look Manager System Version 2.2 

Intended users of this book are 

• Cinematographers 

Directors of photography 

Lab timers and technicians 

VFX supervisors 

Colorists and post production engineers 

DI supervisors 

Visual effects supervisors 

Creatives 

Users should be familiar with cinematography techniques and motion picture 

film development procedures, as well as video and digital output procedures. 

Some Look Manager System features are not available to all users, 

depending on the edition that you are using. Three editions are available: 

Educational Edition 

Production Edition 

KODAK VISION2 HD System Edition 

This book discusses all three editions. For a description of the various features 

in each edition, see “Look Manager System Features” on page 5. 

The information in this book is also available in the Look Manager System by 

going to Help > Contents. 

Instructions for both MACINTOSH and WINDOWS Operating Systems are 

included. The software windows shown are for the WINDOWS OS, but the 

MACINTOSH windows function in a similar manner. 

The screenshots shown are from the Production Edition. 

KODAK Look Manager System User Guide V2.2 i

TABLE OF CONTENTS 

Introduction....................................................................................... 1 

When to Use the KODAK Look Manager System ......................... 1 

Communicating Looks With Your Partners ................................... 3 

Look Manager System Features ................................................... 5 

Before Starting .............................................................................. 7 

Getting Help .................................................................................. 8 

Setting Up Your System................................................................... 9 

Step 1: Install the Software............................................................ 9 

Step 2: Obtain a License ............................................................. 10 

Step 3: Connect the Hardware .................................................... 11 

Step 4: Open the System for the First Time ................................ 18 

Adding Licenses ......................................................................... 20 

Software Basics .............................................................................. 21 

The Scene Layout ....................................................................... 21 

Look Builder ................................................................................ 30 

Displaying Properties from Look Builder ..................................... 31 

Look Builder Toolbar Bars........................................................... 32 

Flowgraph View........................................................................... 34 

Setting the Main View Preferences ............................................. 36 

Working with Projects .................................................................... 41 

When Working with Projects........................................................ 41 

Creating a Project........................................................................ 42 

Opening an Existing Project ........................................................ 49 

Synchronizing Projects................................................................ 50 

Importing a Project Synchronization File..................................... 53 

Saving Projects ........................................................................... 53 

Working with Scenes...................................................................... 55 

Creating Scenes .......................................................................... 55 

Importing Images Into a Scene.................................................... 56 

Importing a Scene ....................................................................... 64 

Selecting the Input Source .......................................................... 65 

Selecting the Projection Mask ..................................................... 67 

Selecting the Output Media of a Scene or Image........................ 68 

KODAK Look Manager System User Guide V2.2 iii

Table of Contents 

Selecting Input/Output Profiles .................................................... 69 

Hiding and Deleting Images in a Scene....................................... 70 

Managing Your Scenes................................................................ 72 

Creating Looks in 

Main View ......................................................................................... 73 

Managing Templates and Looks .................................................. 74 

Importing Looks............................................................................ 76 

Negative Settings in Main View ................................................... 78 

Master Positive and Dupe Negative Settings in Main View ......... 80 

Print Settings in Main View .......................................................... 82 

Color Corrector Settings in Main View ......................................... 84 

Saving Looks in Main View .......................................................... 85 

Exporting an Image ..................................................................... 86 

Comparing Looks in the Look Builder .......................................... 88 

Flowgraph View Basics .................................................................. 93 

Flowgraph View Main Window ..................................................... 93 

Toolbars in Flowgraph View......................................................... 94 

Node Descriptions for Flowgraph View........................................ 96 

Menus in Flowgraph View............................................................ 97 

Status Bar in Flowgraph View...................................................... 98 

Indicator Lights in Flowgraph View .............................................. 98 

Workspace Options in Flowgraph View ....................................... 98 

Sample Recipes in Flowgraph View........................................... 100 

Setting Flowgraph Preferences.................................................. 103 

Recipes in Flowgraph View ......................................................... 109 

Managing Your Files in Flowgraph View.................................... 110 

Creating Recipes in Flowgraph View ......................................... 112 

Opening and Closing Recipes in Flowgraph View ..................... 115 

Working with Templates in Flowgraph View .............................. 116 

Viewing Your Recipe Results in Flowgraph View ...................... 118 

Saving Recipes in Flowgraph View............................................ 119 

Sharing Recipes......................................................................... 121 

Viewing Recipe Properties in Flowgraph View .......................... 123 

Input/Output Nodes in Flowgraph View ...................................... 127 

Input Roll/Image Node (Flowgraph) ........................................... 127 

Using the Image Controller Tab 

in Flowgraph View...................................................................... 128 

Save Node (Flowgraph) ............................................................. 135 

iv KODAK Look Manager System User Guide V2.2


Emulation Nodes in 

Flowgraph View ............................................................................ 137 

Negative Node (Flowgraph) ...................................................... 137 

Master Positive and Dupe Negative Nodes (Flowgraph) ......... 149 

Print Emulation Node (Flowgraph) ............................................ 154 

Color Corrector Node (Flowgraph) ............................................ 161 

Tool Nodes in 


Timing Node ............................................................................. 163 

Matrix Gamma Node ................................................................. 165 

Split Node ................................................................................. 167 

Merge Node............................................................................... 168 

Apply 3DLut Node ..................................................................... 170 

HD Standard Looks Node.......................................................... 171 

HD Custom Looks Node............................................................ 172 

Using the VISION2 HD 

System Edition.............................................................................. 173 

Creating VISION2 HD System Looks in Main View .................. 174 

Creating VISION2 HD System Recipes in 

Flowgraph View......................................................................... 178 

3D LUTs—Exporting, Importing, and Applying.......................... 191 

Exporting a 3D LUT in Flowgraph View..................................... 191 

Exporting a 3D LUT in Main View ............................................. 193 

Applying a 3D LUT in Flowgraph View...................................... 194 

Applying a 3D LUT in Main View ............................................... 194 

3DL File Format—Overview ...................................................... 195 

3D LUT—Overview.................................................................... 196 

Viewing Your Results in Flowgraph View .................................. 199 

Using Quick Preview ................................................................. 199 

Using the ImageViewer ............................................................. 200 

ImageViewer Options ................................................................ 202 

Selecting Different Images in a Recipe ..................................... 205 

Comparing Looks ...................................................................... 206 

Digital Still Cameras ..................................................................... 209 

Working with Digital Still Images................................................ 209 

Setting Up the KODAK EASYSHARE Cameras........................ 210 

Setting Up the CANON Cameras ............................................. 211 

KODAK Look Manager System User Guide V2.2 v


Setting Up the NIKON Cameras ................................................ 212 

Transferring Images to the Computer ........................................ 214 

Printing Still Images...................................................................... 215 

Setting up the Printers................................................................ 215 

How to Print a Still Image from the Main View........................... 218 

How to Print a Still Image from the Flowgraph View.................. 221 

Determining Your Printer Offsets ............................................... 224 

Calibrating Your Monitor .............................................................. 227 

How it Works .............................................................................. 227 

Opening the Display Manager System....................................... 228 

The Display Manager System Main Window ............................. 229 

Supported Hardware.................................................................. 230 

Before Calibrating ...................................................................... 232 

Setting the Calibration Options .................................................. 233 

Saving and Loading Settings ..................................................... 239 

Calibration.................................................................................. 240 

Characterization ......................................................................... 248 

Verify .......................................................................................... 250 

Troubleshooting the Look Manager System .............................. 257 

There is Banding Across my Image ........................................... 258 

My Image Doesn’t Look Right .................................................... 258 

My Video Card Needs to be Updated ........................................ 259 

Failed to Apply Refined Look to Image ...................................... 259 

The Image Does Not Appear in Look Builder............................. 259 

Image Does Not Appear in the ImageViewer 

(Flowgraph View) ....................................................................... 259 

DPX and CIN Images Cannot be Viewed .................................. 260 

Quick Preview/ImageViewer Do Not 

Display Images (Flowgraph View) ............................................. 260 

Changes Do Not Appear in the ImageViewer 


Images Do Not Refresh with the New Look 

(Main View) ................................................................................ 262 

The System Does Not Recognize my Image ............................. 262 

Look Builder Does Not Open ..................................................... 263 

USB Device Is Not Recognized ................................................. 263 

ImageViewer Does Not Open 


Recipe Issue Displayed in Recipe Information 


vi KODAK Look Manager System User Guide V2.2


Indicator Light is On (Flowgraph View) ..................................... 264 

The System Does Not Recognize my License .......................... 264 

Troubleshooting 

Monitor Calibration....................................................................... 265 

Calibration Failure ..................................................................... 266 

Characterization Failure ............................................................ 267 

Verification Failure..................................................................... 267 

Dark Gain Correction Failure..................................................... 268 

Sensor Does Not Adhere to Screen .......................................... 268 

Sensor Needs to be Replaced................................................... 269 

Sensor is Not Recognized ......................................................... 269 

Enable Cable Does Not Recognize the Monitor........................ 270 

Calibrate Icon is Not Available................................................... 270 

Problem with the .ini File ........................................................... 270 

The Results are Not as Expected.............................................. 271 

Super Bright Capable Display will Not Calibrate ....................... 271 

Appendix A 

Shortcut Keys in Main View......................................................... 273 

Scene Layout Shortcut Keys ..................................................... 273 

Look Builder Shortcut Keys ...................................................... 275 

Appendix B 

Shortcut Keys in 


System Shortcut Keys ............................................................... 277 

Image Controller Shortcut Keys ................................................ 279 

ImageViewer Shortcut Keys ..................................................... 279 

Appendix C 

Shortcut Keys in 

Display Manager System ............................................................. 281 

Display Manager System Shortcut Keys .................................. 281 

Appendix D 

Image Types .................................................................................. 283 

Appendix E 

Regulatory Information ................................................................ 285 

KODAK Look Manager System User Guide V2.2 vii


Appendix F 

System Requirements................................................................... 287 

Minimum Requirements ............................................................. 287 

Additional Software .................................................................... 288 

Required and Optional Hardware............................................... 288 

Glossary ......................................................................................... 289 

Index ............................................................................................... 297 

viii KODAK Look Manager System User Guide V2.2

INTRODUCTION 

With the KODAK Look Manager System you can create and communicate a 

desired and consistent tone and color look. 

Use digital still images or scanned frames to develop the desired look for your 

production. Experiment with filmmaking options by digitally emulating: 

Photochemical processing and printing 

Video and digital output processes 

Digital intermediate processes 

When to Use the KODAK Look Manager System 

Following are examples of how to use the Look Manager System to improve 

the production process and maintain a consistent look. As you become 

familiar with the Look Manager System, you will discover your own creative 

uses for the application. 

During Pre-Production 

Scouting a Location 

A location scout can capture digital still images of a potential location. Use the 

Look Manager System to find the best combination of in-camera and 

traditional digital post-processes to develop a desired look. 

Deciding How You’re Going to Shoot 

Use the system to make critical decisions when selecting: 

Film stock 

Development processes 

Exposure settings 

Filters and gels (for tone and color impact, not defocus/blur effects) 

Previsualize with different settings and options to see how they affect the final 

product. 

KODAK Look Manager System User Guide V2.2 1

Introduction 

Calculating Filter Factors 

Instead of referring to filter factor charts that may or may not contain the 

specific combination that you want, use the Negative node to automatically 

calculate the filter factor. 

Communicating With Production Staff 

Save and print images as they will appear in the final media. Send these 

images to costume, makeup, lighting, set direction, and other principle 

production team members. They can refer to this look while making their 

creative decisions. 

Emulate the KODAK VISION2 HD Digital Processor 

Create Standard and Custom looks as they will appear on the VISION2 HD 

Digital Processor. (VISION2 HD System Edition) 

During Production 

Viewing Dailies 

Send images to the dailies timer to provide a picture reference for the desired 

look for print or video dailies. 

Receive still images from the timer to view the dailies on a calibrated display. 

(Production Edition and VISION2 HD System Edition) 

During Post-Production 

Communicating Color Corrections 

Send the image from the Look Manager System to the colorist, who can use it 

as a visual reference. (Production Edition and VISION2 HD System Edition) 

Maintaining the Look Across Media 

Export a 3D LUT to maintain the desired look to all output media, such as film, 

TV, and digital cinema. (Production Edition and VISION2 HD System Edition) 

During Film Processing 

Communicating Processing Requirements 

When submitting film to the lab for processing, include the printed image. The 

lab technicians can refer to the image when setting up their equipment for 

processing. 

Creating Demos for Lab Customers 

Demonstrate to lab customers the laboratory’s unique processing capabilities 

for photochemical effects without actually running tests and processing film. 

2 KODAK Look Manager System User Guide V2.2

Communicating Looks With Your Partners 

Introduction 

After you create a look (your desired artisitic intent), you communicate it to 

your partners in different ways, depending on whether they are using KODAK 

Look Manager System or KODAK Display Manager System. 

Partner is not using Look Manager System or Display 

Manager 

1. You use Look Manager System to create a look. 

2. You export images as JPEG or TIFF image files, then send them to your 

partner. See “Exporting an Image” on page 86. 

3. Your partner uses any imaging tool to view the JPEG/TIFF images. The 

imaging tool used must not apply additional color conversion (i.e., sRGB). 

Comment: There is no perfect visual reference because your partner has 

no monitor calibration. 

Partner is using Display Manager, but not Look Manager 

System 


2. You and your partner use Display Manager to calibrate your monitors. 

3. You export images as DPX image files, then send them to your partner. 

See “Exporting an Image” on page 86. 

4. Your partner uses Display Manager to view the exported DPX images. 

5. For advanced users: If you change the Display Manager settings, save the 

setting (.ini file) and send it to your partner. Your partner must load the 

new setting in Display Manager before viewing the exported DPX images. 

Comment: A perfect visual reference is achieved when you both calibrate 

your monitors and use the same Display Manager settings. 

Partner is using Look Manager System 


2. You and your partner use Display Manager to calibrate your monitors 

(Production Edition only). 

3. You and your partner use Look Manager System to communicate your 

look 3 different ways: 

a) Exchange DPX files. See “Partner is using Display Manager, but not 

Look Manager System” on page 3. 

b) Use Project Synchronization. See “Synchronizing Projects” on 

page 50. 


Introduction 

c) Use 3D LUTs. See “3D LUTs—Exporting, Importing, and Applying” on 

page 191. 

Notes on 3D LUTs: 

The post-house can use the 3D LUT files to quickly understand the 

intent of the cinematographer. Howerver, additional color correction 

can be applied. 3D LUTs exported with Look Manager are compatible 

with different color correctors or 3D LUTs rendered in the market (for 

example, PANDORA MEGAMOORE Def Color System, AUTODESK 

Discreet Lustre, DIGITALVISION Nucoda Film Master, KODAK 

Telecine Calibration System). 

Your partner can apply the 3D LUT that you exported. See “Apply 

3DLut Node” on page 170 and page 191. 

Comment: A perfect visual reference is achieved when you both calibrate 

your monitors, use the same Display Manager settings, and use DPX for 

3D LUT communication and implementation in post-house. 

Other Communication Methods 

Print an image. See “How to Print a Still Image from the Main View” on 

page 218. 

Share recipes created in the Flowgraph View. See “Sharing Recipes” on 

page 121. 


Look Manager System Features 

Introduction 

Three editions of the Look Manager System are available: Educational, 

Production, and VISION2 HD System Editions. 

NOTE 

There may be occasions when you need more than one licensed edition on your 

system. For more information see “Adding Licenses” on page 20. 

Educational 

Edition 

Production 

Edition 

Time Limit Annually Weekly, monthly or 

annually 

Image Input 

Type 

Image Output 

Type 

View Images 

on a 

Calibrated 

Monitor 

Print Images 

with the 

Desired Look 

Save Images 

with the 

Desired Look 

Monitor 

Calibration 

with KODAK 

Display 

Manager 

System 

Supported digital still 

camera images, .dpx, 

.cin, .kdx, .jpg, and .tif 

(created from 

Telecine frame grab 

or from computergenerated 

images) 

.dpx, .cin, .jpg, .tif (8 

bits) 


camera images, .dpx, 

.cin, .kdx, .jpg, and .tif 

(created from 

Telecine frame grab 

or from computergenerated 

images) 

VISION2 HD System 

Edition 

Based on use of 

VISION2 HD Film 

stock (5299/7299) 


camera images, and 

.vid 

.dpx, .cin, .tif, .jpg .tif, .vid, .jpg 

No Yes Yes 

Yes Yes No 

Yes Yes Yes 

No Yes Yes 


Introduction 

Full 

Emulation 

Capability 

Yes Yes Yes 

Platforms WINDOWS 2000/XP 

OS, MACINTOSH OS 

10.4 

Export 3D 

LUT 

WINDOWS 2000/XP 

OS, MACINTOSH 

OS 10.4 

No Yes in 3DL format for 

use with other 

hardware or software 

systems; LUT format 

for DISCREET; MGA 

format for Pandora. 

Import Looks Yes Yes Yes 

Video Output No No Yes 

Film Output Yes Yes No 

Create and 

Save Projects 

Synchronize 

and Import 

Projects 

Dual Head 

Capability 

Create a Look 

in Flowgraph 

View 

Supports 

Input and 

Output 

Profiles 

Educational 

Edition 

Production 

Edition 

Yes Yes Yes 

Yes Yes Yes 

Yes Yes Yes 

Yes Yes Yes 

Yes Yes Yes 


Edition 

WINDOWS 2000/XP 

OS, MACINTOSH OS 

10.4 

Yes in XML format 

only for use with the 

VISION2 HD 

Processor with scans 

of VISON2 HD Film 

only 


Before Starting 

Set Your Monitor Color Quality 

Introduction 

Be sure that your monitor Color Quality is set to the highest value possible 

(32-bit is recommended). 

In WINDOWS OS: 

1. Right-click the desktop and select Properties. 

2. Click the Settings tab. 

3. Under Color Quality, select the highest setting possible. 

In MACINTOSH OS: 

1. Click the Apple icon at the top left of your screen. 

2. Go to System Preferences > Display > Display Tab. 

3. In the Colors field, select the highest setting possible. 

Check Your Viewing Environment 

Calibrate 

IMPORTANT 

Always make image adjustments in a dimly lit environment and on a calibrated 

monitor. 

(Production Edition and VISION2 HD System Edition) Always work with a 

calibrated display. When you open the Look Manager System, you are 

prompted if your display needs to be calibrated. 

For details on how to calibrate, see “Calibrating Your Monitor” on page 227. 


Introduction 

Getting Help 

Online User Guide 

To access this User Guide from the Look Manager System, go to Help > 

Contents. A browser window opens and displays the online manual. 

Online How Do I topics 

For a quick description of commonly used procedures, go to Help > How Do I. 

A browser window opens and displays the Help system. 

What’s this? 

Enable What’s this by clicking the question mark in the window title bar; or in 

Flowgraph View and Look Builder, click the question mark in the toolbar. Then 

click the item for which you want information. A pop-up window opens 

describing the selected item. 

(WINDOWS OS only) Press Shift + F1 to open the pop-up window. 

Troubleshooting 

See “Troubleshooting the Look Manager System” on page 257 for answers to 

common questions about the Look Manager System. 

See “Troubleshooting Monitor Calibration” on page 265 for answers to 

common questions about calibrating your monitor. 

Phone Support 

Go to www.kodak.com/go/lm to find the telephone support number for your 

region. 


SETTING UP YOUR SYSTEM 

To set up the KODAK Look Manager System you must install the software and 

then connect the hardware needed for monitor calibration (Production Edition 

and KODAK VISION2 HD System Edition). You must then obtain a license. 

Optional hardware components that you may want to connect to your 

computer are: 

Supported printers for printing images with the look you created 

Camera card reader for inputting digital, still-camera images into your 

computer 

USB Hub for connecting multiple USB devices through one port 

Port Authority hub for running cables long distances 

Step 1: Install the Software 

IMPORTANT 

Before installing the Production Edition and VISION2 HD System Edition, 

uninstall any monitor calibration software on your system. This software could 

interfere with the KODAK Display Manager System. 

To install the Look Manager System software: 

1. Go to http://www.kodak.com/go/lm. 

2. Click Look Manager Software Download V2.2. 

3. Follow the screen directions to locate and download the software zip file. 

4. Unzip the file and launch the installer: 

(WINDOWS OS) Double-click KLMS_V2.2_MainApp_win.exe 

Follow the on-screen instructions. 

(MACINTOSH OS) Double-click klms.2.2.mpkg and follow the 

on-screen instrucions. 

NOTE 

(WINDOWS OS only) If you are prompted to locate drivers, go to \Kodak\ 

KODAK Look Manager System\WindowsUSBDrivers. 


Setting Up Your System 

Step 2: Obtain a License 

1. (WINDOWS OS) Double-click the Look Manager System desktop icon that 

was added to your desktop. 

OR 

(MACINTOSH OS) Create an alias on the Dock by dragging the 

application icon from your applications directory into the Dock. Doubleclick 

the alias. 

The following window opens. 

NOTE 

This window opens if there is no Look Manager license on your system or 

whenever your license expires. 

2. Click Cancel. 

The license agreement opens. 

3. Read the agreement and click Accept. 

An error message similar to the following opens. 

4. Write down the HostID. You need this ID to obtain your license. 

5. Click Exit. 

6. Go to www.kodak.com/go/lm and locate the email address or phone 

number for the customer service representative in your region. 

7. Provide your customer service representative with the HostID. 

License information will be emailed to you. 



8. When you receive the email, detach the license file and save it on your 

computer in the following location: 

WINDOWS OS: C:\Program Files\Kodak\EICommon\Licenses 

MACINTOSH OS: /Library/Application Support/Kodak/EICommon/ 

Licenses 

9. (MACINTOSH OS Users only) Set the license file properties to Read & 

Write. 

a) Click the file to select it. 

b) Press + I. 

c) Under Ownership & Permissions, change all settings to Read & 

Write. 

Step 3: Connect the Hardware 

(Production Edition and VISION2 HD System Edition only) 

If you purchased the Production Edition or VISION2 HD System Edition, you 

can use the KODAK Display Manager System to calibrate and characterize 

your monitor. You must connect the enable cable (if using a compatible 

monitor) and the appropriate sensor to your computer. See “Supported 

Hardware” on page 230. 

You may need to purchase a USB hub if you do not have enough available 

ports. 

If you must run the cables long distances, you may need to purchase a Port 

Authority device and additional cables. 

IMPORTANT 

USB cables are limited to a distance of 5 m (16.4 ft.) between full-speed devices. 

If you need a longer cable, you can add up to five repeaters. Repeaters can be 

placed every 5 m (16.4 ft.) for a total length of 30 m (98.4 ft.). 



Enable Cable (USB Cable ECC 1) 

Connect to the monitor 

cable 

Connect to a USB 

port 

The enable cable allows the computer to talk to the monitor. It connects to the 

monitor port, a USB port and then to the monitor cable. 

You may need a 9- to 25-pin adapter depending on your configuration. 

To connect the enable cable: 

1. Disconnect the original monitor cable from the computer. 

2. Attach the enable cable to the monitor port on the computer. 

3. Connect the monitor cable to the enable cable. 

4. Attach the USB connector of the enable cable to a USB port. 

USB connection 

Connect to the computer 

monitor port 

Enable cable connection 

Monitor cable connectsion 


X-RITE Sensors 


X-RITE DTP94+EK Monitor Optimizer (MonacoOPTIX) 

Use this USB sensor on CRT or LCD monitors. 

Counterweight - 

Attach to the 

sensor cable to 

counterbalance 

the sensor. 

Suction cup - 

Attach to the 

cable. Supports 

the instrument's 

weight when 

using CRT 

monitors. 

To position the sensor: 

1. Attach the counterweight to the cable. 

2. If using a CRT monitor, attach the suction cup to the cable. 

IMPORTANT 

Never use the suction cup on an LCD monitor. 

3. When prompted by the software, position the sensor over the indicated 

area on the screen. Position the counterweight so that it counterbalances 

the sensor. 

LCD monitor CRT monitor 

Sensor 

Counterweight 

Suction cup 

Sensor 

USB connection - 

Connect to a USB 

port on your 

computer. 

Sensor - hang in 

front of monitor 

Counterweight 



X-RITE DTP92+EK Monitor Optimizer 

Use this serial sensor on CRT monitors. 

120V power supply 

Adapter connections 

Power supply 

connection 

Sensor 

230V 

power supply 

WINDOWS OS 

adapter 

To connect the sensor: 

1. Turn off your computer. 

2. Connect the WINDOWS OS adapter to the sensor cable. 

3. Plug the WINDOWS OS connector into a serial port on the computer. 

4. Plug the AC adapter connector into the sensor cable. 

5. Plug the AC adapter into a power outlet. 

6. Turn on your computer. 

When prompted by the Display Manager System, attach the sensor as shown 

here, making sure that the round portion of the sensor is at the top. 

To attach the sensor: 

1. Firmly push on the sides of the sensor 

so that the spring-loaded suction cup 

slides forward onto the screen. 

2. When the suction cup is firmly in 

place, release the sensor. 

You may need to moisten the suction cup by wiping it with a tissue lightly 

dampened with water, or to fog the suction cup by breathing on it. 

You may need to clean the monitor and suction cup, if the sensor does not 

firmly attach. Clean the suction cup with a clean, dry cloth. 


IMPORTANT 

Do not apply a cleanser to the suction cup. 


To clean the monitor, use a soft, lint-free paper or cloth lightly dampened with 

a mild glass cleaner. 

SEQUEL Sensors 

SEQUEL Chroma 4/C USB Sensor for CRT Monitors 

The sensor connects to a USB port and attaches to a CRT monitor with 

suction cups. 

Attach to the 

monitor with 

suction cups 

Connect to the 

computer USB port 


here. 


1. Press the sensor firmly to the 

screen being careful not to press 

too hard. 

2. Center it within the square. 

3. Make sure that all suction cups are 

pressed against the monitor. If any 

of the suction cups come loose, the 

results may be unreliable and the 

process should be repeated. 

4. If the sensor falls off the monitor, 

reattach it and restart the process. 

NOTE 

You may need to clean the sensor and the screen. See “Sensor Does Not Adhere 

to Screen” on page 268. 



SEQUEL Chroma 4/L USB Sensor for LCD Monitors 

The sensor connects to a USB port. 

Hold the sensor 

against the screen 

Connect to the 

computer USB port 

When prompted by the Display Manager System, hold the sensor as shown 

here. 

To position the sensor: 

1. Hold the sensor firmly to the 


too hard. Center it within the 

patch. 

2. Continue to hold it in place while 

readings are taken. 

3. For laptops, tilt the screen as far 

back as possible and hold the 

sensor firmly against the center of 

the patch while readings are 

taken. 



SEQUEL Chroma 4/C Serial Sensor for CRT Monitors 

Use this serial sensor on CRT monitors. 

Attach to monitor 

with suction cups 

Connect to serial 

port on your 

computer 


here. 


1. Press the sensor firmly to the 


too hard. Center it within the 

square. 

2. Make sure that all suction cups 

are pressed against the monitor. If 

any of the suction cups come 

loose, the results may be 

unreliable and the process should 

be repeated. 

3. If the sensor falls off the monitor, 

reattach it and restart the process. 



Step 4: Open the System for the First Time 

1. Double-click the Look Manager System desktop icon. 

You are prompted to enter user information. 

2. Enter the information and click OK. 

3. If you purchased more than one license, select the appropriate license and 

click OK when prompted. 

In the Production Edition and VISION2 HD System Edition, the following 

message opens. 

4. (Production Edition and VISION2 HD System Edition) Click Yes to 

calibrate and characterize your monitor. See “Calibrating Your Monitor” on 

page 227. 

OR 

Click No to open the Look Manager System. You can calibrate your 

monitor at a later time from within the Look Manager System. 

5. (Production Edition and VISION2 HD System Edition) When prompted, 

select the type of monitor you have. 

CRT or LCD: when using default or saved color profiles. 

Last Characterization: when using the most recent monitor 

characterization performed by KODAK Look Manager or Display 

Manager Systems. 


6. Click OK. 



7. Choose from one of the options to select how to start up the Look Manager 

System. 

Create Look using Flowgraph: Select this option to create an 

advanced look using the Flowgraph View. Click OK. (You can later 

import this look into a project.) The Flowgraph View opens where you 

can create your advanced look. See “Flowgraph View Basics” on 

page 93. 

Create new project: Select this option to create a new project using the 

Main View. Click OK. The Project Wizard opens. See “Creating a 

Project” on page 42. 

Open existing project: Select this option to open an existing project. 

After selecting this option, double-click the appropriate project from the 

displayed list, or click Another File to navigate to the appropriate 

project. The Look Manager opens and displays the selected project. 

See “Creating Looks in Main View” on page 73. 



Adding Licenses 

You may need to purchase and install more than one type of license. 

Depending on your needs, you can switch from one license to another. 

To add a license: 

1. Go to Help > About. 

A window similar to the following opens. 

2. Write down your HostID and click OK. 

3. Go to www.kodak.com/go/lm and locate the email address or phone 

number for the customer service representative in your region. 

4. Provide your customer service representative with the HostID. 

License information will be emailed to you. 

5. When you receive the email, detach the license file and save it on your 

computer in the following location: 



Licenses 

6. Restart the Look Manager System. 

7. At the license startup window, click the appropriate license. 

8. Click OK. 

9. Follow the on-screen prompts to open the Look Manager System with your 

new license. 

For information on how to switch between licenses, see “Selecting a License” 

on page 37. 


SOFTWARE BASICS 

The Look Manager System provides two methods for creating looks. 

The Main View consists of two main windows—Scene Layout for 

importing and organizing images and looks for your project and Look 

Builder for creating, applying and customizing looks for the images. 

The Flowgraph View is used for projects that require advanced digital 

intermediate processes or for pre-production use. 

NOTE 

If you are using an extended desktop, the Scene Layout and Look Builder are 

displayed on separate monitors. 

The Scene Layout 

Title bar: 

Includes the 

project name 

and type of 

license 

Menus: 

Traditional 

style menus 

for File, Edit, 

View, Tools 

and Help. 

Scene 

Display Area: 

Organize and 

display 

images within 

a scene. 

Status Bar: 

Displays the 

current 

system 

Use the Scene Layout to import images into scenes. 

Main Toolbar: Contains commonly used 

features. Can be customized or new 

toolbars can be created. 

Image Input Box: Displays images that 

you can click and drag into your scenes. 

Tabs: Three tabs 

allow you to 

organize and 

manage looks, 

display look 

settings, and 

view and edit 

image 

information. 

Mon Cal: 

Indicates your 

monitor status: 

Red—not 

calibrated, not 

characterized. 

Yellow—not 

calibrated but 


Green— 

calibrated and 



Software Basics 

Look Browser Tab 

Use the Look Browser tab to manage the looks that you use in your project. 

Collapse All: Click to 

close each group. 

Expand All: Click to 

display all items 

within a group. 

New Group: Click to 

create a new group. 

Drag looks from the 

Look Browser tab 

into that group to 

keep them neatly 

organized. 

Looks/Templates 

Display Area: A group 

of sample looks. The 

available templates 

and the base looks 

that you import or save 

appear with a 

thumbnail image 

displaying the look. 

Show Selected Images: 

When this is selected, 

the thumbnails reflect 

the looks applied to the 

image in the scenes 

area. 

Show Original Images: 

When this is selected, 

the thumbnails display 

the original image used 

to save the look. 

Import Look: 

Opens a window 

where you can 

select and import 

an existing look. 

Trash folder 

(Not Shown): 

Drag unused 

looks into this 

folder. 


Look Settings Tab 


This tab reflects the various settings used to create the look of the currently 

selected image. 

Look/Template 

Name 

Save Look As: 

Allows you to 

save this look as 

a base look that 

can be applied 

to other images. 

Look Settings: 

Lists the settings 

used to create 

the look. 



Info Tab 

The Info tab displays the image information for the selected image. When you 

import an image into a scene, the fields under Digital Camera or Film 

Camera are populated by the Look Manager System based on the information 

contained in the image file. 

You can enter shot, take, and roll information, as well as add comments or 

enter information about the camera for your reference later. You can flag an 

image for specific purposes. 

Hero—Select this option to identify an image that is representative of the 

scene. 

Flag—Select this option to identify an image for other purposes. 

Pre-production—Select this option to identify an image that should be 

used only during pre-production. 


Scene Area 


Each project that you create consists of still images grouped together in 

scenes. 

In the scene area, you can expand or collapse scenes as necessary by 

clicking the arrow at the left-side of a scene title. 

Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in an 

image to access the following options: 

See page 70. 

See page 67. 

See page 65. 

See page 218. 

See page 68. 

See page 69. 

See page 69. 

Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in the 

scene title bar to access the following options: 

See page 71. 

See page 71. 

See page 58. 

See page 72. 

See page 72. 

See page 68. 

See page 69. 

See page 69. 




black area outside of a scene to access the following options: 

Image Input Box 

When toggled on, the Image Input Box appears at the top of the Scene Layout 

and contains all the images in a specific directory. Click and drag the images 

from the box into a scene. The images that you place in the scene are the 

images that you will be working with as you create and apply looks. 

Click F3 to toggle the box on and off. 

Import Images: 

Click here to 

display images 

from a specified 

directory 

Select All: 

Highlights all 

the images 

in the box 

Deselect: Deselects the selected images. 


Menus 


The menus at the top of the Scene Layout offer standard menu options. 

See page 227. 

See page 93. 

See page 28. 

See page 191. 

See page 86. 

See page 50. 

See page 55. 

See page 227. 

See page 36. 

See page 53. 

See page 61. 

See page 64. 



Customized Toolbars 

You can create your own toolbars that contain only the options that you use 

most often. 

To add a toolbar: 

1. Go to Tools > Customize Toolbars. 


2. Click New Toolbar. 


3. Type the name and click OK. 

4. In the left pane on the Customize window, select one of the menus—Edit, 

File, Help, Tools, or View. 

The options for that menu are displayed. 



5. Click the desired option and click the right arrow to add the option to the 

new toolbar. To remove an option, click the option and click the left arrow. 

6. To add a separator after an option, add the option and then click Add 

Separator. To remove a separator, click the separator and click the left 

arrow. 

7. Click OK when you are finished making your choices. 

The new toolbar appears at the top of Scene Layout. 

To delete a toolbar: 

1. Go to Tools > Customize Toolbars. 

2. Click a customized toolbar in the right pane. 

3. Click Delete Toolbar. 

4. Click Yes to confirm. 



Look Builder 

Toolbar: Includes icons for Full 

Screen; Out-of Gamut Colors; 

Toggle Look; Save Look; Print; 

Toggle Image Info; Crop; 

Hide/Delete; Compare Mode; 

Display Mode; What’s this?; and 

Navigation tools 

Image 

Viewing 

Area: 

Display 1, 

2, or 4 

images 

Look 

Summary: 

Displays a 

summary of 

the look 

options 

applied to 

the image. 

The Look Builder is where you create and refine looks. Open the Look Builder 

by double-clicking an image in the Scene Layout. 

Look Browser, Look Settings and Info 

Tabs: These three tabs are also 

available in Scene Layout. 

Look Control Area: Select the desired settings for each of the tabs 

in the production process. The tabs that are available in Look 

Builder are determined by the type of template that you applied to 

the image and the type of Look Manager license that you have. 

Resize bar: 

Click and drag 

to resize the 

viewing area 


Displaying Properties from Look Builder 


From the Properties window, you can choose to display pixel information and 

look information. 

If you enable the Display pixel information, as you move the cursor around 

the image, the pixel values are displayed on the bottom left of the Look Builder 

window. 

(x:y)—coordinates for the cursor 

RGB—red, green and blue values as measured before the monitor 

characterization profile is applied to the image. 

rgb—red, green and blue values as measured after the monitor 

characterization profile is applied to the image and the color is converted to 

display color space. 

To set the properties display: 

1. In Look Builder, right-click (WINDOWS OS) or Control + Click 

(MACINTOSH OS) the image and click Properties. 


2. Select Display pixel information. 

3. Set the (Average) Avg. Radius that you want to use when calculating the 

average of multiple pixel values. 

4. Select Display look summary to display the look summary on the 

lower- left corner of the image in Look Builder. 

5. Click OK. 



Look Builder Toolbar Bars 

The Look Builder toolbars provides options for viewing, saving and printing the 

looks that you create. Click and drag the toolbars to move them. 

Main Look Builder Toolbar 

Full Screen—Toggles on and off the Full Screen view option. We 

recommend that you use full screen mode when you are looking at subtle 

color and lighting differences. Press F5 or ESC to exit the full-screen 

mode. 

Out-of-Gamut—Click and hold to view out-of-gamut colors. 

Toggle Look—Click and hold to toggle between the refined look and the 

base look on the selected image. 

Save Look—Opens a save window where you can name the look. The 

saved look appears on the Look Browser tab, where it can be applied to 

other images. 

Print—Opens the Print Image wizard where you can select a printer and 

apply a printer offset for fine control over the printed image. 

Toggle Image Info—Toggles on and off the Look Browser, Look Settings, 

and Image Info tabs. 

Crop—Opens the Crop Image window where you can select the desired 

aspect ratio. 



Hide/Delete—Deletes or hides the selected image in the Look Builder 

and at the same time deletes or hides the image from the Scene Layout. 

The next image in the scene is displayed in place of the deleted image. 

Hidden images can be restored later; deleted images are permanently 

removed. 

Compare Mode—Select a pattern for swiping—horizontal, vertical or 

butterfly effect. 

Display Mode—Choose to view 1, 2, or 4 images at a time. 

What’s This—Click to enable What’s This. Then click an area of the Look 

Builder to display a pop-up window with information. 

Look Builder Navigation Bar 

Previous Scene—Displays the corresponding image number in the 

previous scene. 

Previous Image—Displays the previous image in the scene. 

Next Image—Displays the next image in the scene. 

Next Scene—Displays the corresponding image number in the next 

scene. 



Flowgraph View 

Flowgraph View offers a flowgraph interface for working with projects that 

require advanced digital intermediate processes or when doing pre-production 

work. You can: 

Make Color Corrector adjustments 

Apply output timing 

Apply custom matrix and gamma 

Split and merge looks 

The Flowgraph View allows you to create a recipe that contains the look 

information. You can import this look into a project in the Main View. 

IMPORTANT 

• If the recipe contains a merge node or a split node, you will not be able to 

import the look into the Main View. 

• Make sure the recipe you create has only one branch or one chain. When you 

import a multi-branch or multi-chain recipe into Main View, your original image 

could be lost and replaced by a default image. 

You can access the Flowgraph View in two ways: 

Go to Tools > Flowgraph View. 

When opening the Look Manager System, select Create Look using 

Flowgraph on the Project Startup window. 



To use the Flowgraph View, drop nodes into the work area and connect the 

nodes. Double-click each node to open an options window where you can set 

the parameters for that node. 

Following is a sample recipe, which was created in the Flowgraph View. 



Setting the Main View Preferences 

Go to File > Preferences to set the Look Manager System default 

preferences. Three tabs are available—Monitor, License Selection, and 

Project Settings. 

Selecting Your Monitor Type 

To accurately display an image, you must select the correct monitor type. The 

Look Manager System prompts you for this information each time you open 

the system. However, you can also select the correct monitor type after the 

system has been opened. You may need to do this if you connect a CRT 

monitor to your laptop while the system is open. 

To select your monitor type: 

1. In Scene Layout, go to File > Preferences. 

2. Click the Monitor tab if it is not already selected. 

3. Select the correct monitor type and click OK. 


Selecting a License 


If you have multiple licenses for the Look Manager System on your computer, 

you can switch between the various editions as needed. 

You must shut down and restart the Look Manager System each time that you 

switch licenses. 

To add a license, see “Adding Licenses” on page 20. 

To select a license: 


2. Click the License Selection tab. 


3. Click the appropriate license. 

4. Click OK and restart the application. 

Select Don’t show license selector on startup to disable that feature. 

If you choose to show the license selection at startup, you can select your 

license at startup instead of using this tab. 

NOTE 

If there is a problem with your license, the More Info button appears. Click it 

and take a screen shot, then call your support person (see page 8). Also see 

Troubleshooting on page 264. 



Selecting Project Settings 

The selections that you make on the Project Settings tab are the default 

settings that appear in the Project Wizard when you create a new project. 

NOTE 

Do not use this tab to change these settings for selected images. Instead, 

right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) the selected 

images and choose the options from the pop-up menu. 

To change the Project Settings preferences: 


2. Click the Project Settings tab. 


3. Click Projection Mask. 

The Crop Image window opens. 

4. Select the appropriate aspect ratio from the Aspect Ratio drop-down 

menu. Or click and drag the red crop box to size it manually. To move the 

crop box, click the center circle and drag the box. 



5. (DPX images only) If you subscribed to the KODAK Motion Picture 

Scanner Profiling Service: In the Select default input setting profile 

field, click Select and browse to and select the profile for the scanner used 

to create the images. 

6. (DPX images only) If you subscribed to the KODAK Scanner Recorder 

Profiling service: In the Select default output profile field, click Select. 

Browse to and select the profile for the recorder that will be used to record 

the film, or select the profile for the digital projector or HD/SD display that 

will be used to display the completed project. 

7. From the Select default output media field, select the type of film to 

which the completed project will be output. You can change this option at a 

later time from within the Look Manager System. 

8. Click OK. 


WORKING WITH PROJECTS 

The Look Manager System allows you to organize your work into projects. 

Use the Project Wizard to create a Look Manager System project. 

When you create a project, the system automatically creates the 

sub-directories for storing all the items that you work with and create in the 

project, such as: 

images 

base looks 

refined looks 

3D Luts 

When Working with Projects 

Keep these tips in mind: 

Only one project can be open at a time. 

A project must be open before you can add scenes to the scene workspace 

area. 

You can open the Look Manager System by clicking on a project’s .lm file. 

You cannot open a recipe created in Flowgraph View (.lms) in a project. But 

you can import the look into a project. 


Working with Projects 

Creating a Project 

The Project Wizard leads you through the steps to create a new project. 

To create a project: 

1. Open the Project Wizard in one of the following ways. 

Select the Create new project option when you open the Look Manager 

System. 

OR 

Go to File > New > New Project in the Scene Layout. 



2. Click Next. 



3. In the Enter drive and directory location for new project field, enter the 

path where you want the project saved. If necessary, click the Select 

button to locate the directory. 

4. In the Enter project name field, type the name of the project. 

5. (Production Edition and Educational Edition) From the Select default 

output media field, select the type of film to which the completed project 

will be output. You can change this option at a later time from within the 

Look Manager System. 



6. For DPX images only, select Options. 

The default input/output profile options are displayed. 

If you subscribed to the KODAK Scanner Recorder Profiling service: In 

the Select default input profile field, click Select and browse to and 

select the profile for the scanner used to create the images (DPX 

images only). 

If you subscribed to the KODAK Scanner Recorder Profiling service: In 

the Select default output profile field, click Select. Browse to and 

select the profile for the recorder that will be used to record the film, or 

select the profile for the digital projector or HD/SD display that will be 

used to display the completed project (DPX images only). 





8. From the Aspect Ratio drop-down menu, click the appropriate output 

media ratio, or click and drag the red crop box to size it manually. To move 

the crop box, click the center circle and drag the box. 

You can change the default projection mask at a later time from within the 

Look Manager System. You can also change the mask for selected 

images from within the Look Manager System. See “Selecting the 

Projection Mask” on page 67. 





10. (Optional) In the Import Images field, enter the path name to the directory 

that contains the images for your project. For example, enter the path 

name to your digital camera flash card or a directory of scans from a 

post-production house. 

11. (Optional) Click Import Looks to import an existing look into your project. 

This can be a: 

Look in recipe format (.lms) that you created from Version 1.1 of the 

Look Manager System 

Look in recipe format (.lms) that you created from Flowgraph View in 

Version 2.x of the Look Manager System 

Look from a different Version 2 project (.lk) 




a) In the Folder Name pane, locate and click the appropriate directory. 

The available looks in that folder appear in the Available Looks field. 

b) Double-click the appropriate look. 

The look appears in the Selected Looks table. 

c) Continue to browse and select until you have loaded all of the looks 

that you want to import. 

d) Click Import. 





13. Review the summary information. 

14. Click Back if you need to make any changes. 

15. Click Finish. 

The project opens with one blank scene in the Scene Layout. To continue 

working with the project, see “Working with Projects” on page 41. 


Opening an Existing Project 


To open an existing project from within the Look Manager System: 

On the Project Startup window as you open the Look Manager System, 

select Open an Existing Project and double-click the desired project. If 

your project does not appear in the list, click Browse to locate the project. 

OR 

1. Go to File > Open Project. 


2. In the left-pane, navigate to and select the folder that contains the project. 

All of the projects in that folder appear in the right pane. 

3. Double-click the appropriate project. 

NOTE 

If you decide to create a new project instead of opening an existing one, click 

New to open the Project Wizard. 

To open an existing project from outside the Look Manager System: 

Double-click the main project file that ends in the extension .lm. The Look 

Manager System opens with the project displayed in the Scene Layout. 

OR 

Double-click a project sync file that ends in the extension .syn. See 

“Synchronizing Projects” on page 50. 



Synchronizing Projects 

If you are working on a project with others, you may need to synchronize your 

project so that your partners can view your latest work. For example, the 

Cinematographer can create a sync file to send to their laboratory at the end 

of each day so that the dailies colorist can see all the new images and new 

color corrections that the Cinematographer made. 

The synchronization process creates a .zip file and a .syn file and places 

those files in a synchronization directory within the project directory. You can 

then send these two files to your partner who can open them to view all your 

changes. See “Importing a Project Synchronization File” on page 53. 

The path is similar to the following example. 

The synchronization window maintains a record of all your partners with the 

dates and times that you have synchronized a project and when your partners 

have imported the synchronized project. The first time that a project is 

synched, all of the project files are included. Subsequent syncs only include 

files that were updated after the previous sync. Therefore, if your partner 

imports a second or subsequent sync without first importing the initial sync, 

they will not receive the full project. 

When synching a project, you can elect to include the source images. This 

makes the zipped file very large; but without the source images, the other 

party will not be able to adjust your color corrections or see what the image 

looked like before color correction. 

IMPORTANT 

If your partner works on the project and then imports another synched version, 

all of their work will be overwritten. 


To synchronize a project: 

1. Go to Tools > Synchronize Project. 


2. If necessary, click New Partner to enter the partner’s name. 


3. Type the partner’s name and click OK. 

The name appears in the Partner list. 




4. Click the partner’s name and click Options. 


5. Select Include Source Images and click OK if you want to send the 

original source images along with the project for your partner to work with. 

NOTE 

Without the source images, the other party will not be able to adjust your 

color corrections or see what the image looked like before color correction. 

Including the source images significantly increases the file-size of the 

synchronization data. 

6. Click Sync to. 


7. Click Yes to confirm. 

8. Send the files located in your synchronization folder to your partner by 

email, FTP, burned CD, or other method that you have established. For 

WINDOWS OS, the synchronization folder is located at C:\Program Files\ 

Kodak\KODAK Look Manager System\your current project folder\ 

Your partner must now import the synched project. See “Importing a Project 

Synchronization File” on page 53. 


Importing a Project Synchronization File 

Saving Projects 


When you work with a partner on a project, you can import your partner’s 

synchronized project to update your project. See “Synchronizing Projects” on 

page 50. 

IMPORTANT 

When you import a project, make sure that you have imported all the previous 

syncs and not just the most recent sync. This is necessary because the initial 

sync includes all the project files, but subsequent syncs only include files that 

were updated after the previous sync. 

To import a project: 

1. Go to File > Import > Project. 

A browse window opens. 

2. Navigate to where you saved the .syn and .zip files that you received from 

your partner. 

3. Double-click the .syn file. 

4. Navigate to the directory where you want to unzip the project. If necessary, 

you can create a directory by clicking Make New Folder. 

5. Click OK when you are prompted that the sync is complete. 

The Look Manager System closes the project that is open and then opens 

the imported project. 

NOTE 

You can also import a sync file from outside the Look Manager System by 

navigating to the correct folder and double-clicking the .syn file. The Look 

Manager System opens and asks you where to save the project. Then the project 

opens. 

Your work in a project is saved automatically as you work. However, you may 

want to manually save the project if you feel your system may possibly fail. 

To save a project, go to File > Save Project. 


WORKING WITH SCENES 

When you import images into the Look Manager System you must group them 

into scenes. 

After you set up your scenes, you can create and apply looks to the entire 

scene or to specific images in the scene. Customize a look for a specific scene 

and then reuse that same look in other scenes if necessary. 

From Scene Layout you can: 

Expand or collapse scenes by clicki ng the arrow at the left of the scene 

name. 

Right-click (WINDOWS OS) or Co mmand + click (MACINTOSH OS) the 

scene title bar, an image, or the blank viewing area to display a pop-up 

menu. 

Drag and drop images to change their order within a scene or from one 

scene to another. 

Drag and drop images from the Image Input box to import them into your 

project. 

Drag and drop looks from the Look Brow ser tab to apply a new look to an 

image. 

Double-click an image to color correct it. 

Creating Scenes 

Create scenes that correspond to the scenes in your production. 

To add scenes: 

1. Go to File > New > Scene. 



Working with Scenes 

2. Type the scene number in the first field. If desired, type an extension to the 

scene number in the second field. This information appears on the scene 

title area in the Scene Layout. 

3. Type a description. 

4. Click OK. 

The new blank scene appears in the Scene Layout. 

You are now ready to import images into the scene. 

Importing Images Into a Scene 

To import images into a scene, you can: 

Drag and drop images from the Image Input box 

Add images from a directory into a scene 

Import images from a different project 

Move and copy images from one scene into another 

As you import images, the Production Edition and Educational Edition ask you 

to identify the image source. The Look Manager System needs this 

information to properly emulate a look on the image. 

For a description of recognized image file formats, see “Appendix D Image 

Types” on page 283. 

IMPORTANT 

Do not import images directly from removable media, such as a camera flash 

card or CD. Instead, copy the images to your harddrive and import the images 

from your harddrive. Doing so ensures that you do not lose the source images 

when your media is overwritten. 

Using the Image Input Box 

Use the Image Input box to display a directory of images. Then select and 

drag the desired images into a scene. 

To import images from the Image Input box: 

1. If necessary, open the Image Input box by pressing F3. 



2. If the images for the appropriate directory are not already loaded and 

visible in the box, click Import Images and select the correct directory 

from the browse directory that opens. Click OK. 

3. Select the desired images in the input box by one of the following 

methods. 

Click Select All. 

Click an individual image. 

Press and hold CTRL as you click desired images. 

Click the first image in a series of images that you want to select. Then 

press Shift and click the last image in the range. 

4. Drag and drop the selected images into the scene. 

(Production Edition and Educational Edition) A window similar to the 

following opens. 

NOTE 

If the image was captured by a digital still camera, the available options are 

Daylight (if you were shooting under daylight/HMI conditions) and Tungsten 

(if shooting under tungsten conditions). Some .dpx images contain 

information that allows the Look Manager System to identify and select the 

image source automatically. 



5. (Production Edition and Educational Edition) Click the appropriate image 

source. 

The digital, still-camera choices of Daylight and Tungsten refer to the 

type of light you are shooting under, not necessarily the color-temperature 

of the film stock that you plan to emulate. For example, you could be 

shooting 5218, a tungsten-balanced stock, outdoors under daylight with an 

85 filter on the camera. Digital reference images taken under these 

conditions should be identified as Daylight. 

NOTE 

You can change this option at a later time from within the Look Manager 

System. See “Selecting the Input Source” on page 65. 

6. Select the Apply to all images of the same type option if you are 

importing a large number of images that came from the same source. If 

this option is not selected, you are prompted to select an input source for 

each image. 

7. Click OK. 

The image thumbnails appear in the scene. 

Adding Images to a Scene from a Directory 

To import images directly from a directory: 

1. Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) the 

scene title bar. 

The following pop-up window opens. 


2. Click Add Images. 


3. Browse to locate and select the appropriate directory. 


4. Click OK. 

(Production Edition and Educational Edition) A window similar to the 

following opens. 



NOTE 





image source automatically. 

5. (Production Edition and Educational Edition) Click the appropriate image 

source. 

NOTE 

You can change this option at a later time from within the Look Manager 

System. 

6. Select the Apply to all images of the same type option if you are 

importing a large number of images that came from the same source. If 

this option is selected, you are not prompted to make a selection for each 

image of the same file type. 

7. Click OK. 

The images appear in the scene. 


Importing Images from a Different Project 


There may be occasions when you want to use images from a different 

project. 

To import images from a different project: 

1. Select a scene by clicking the scene title bar. 

2. Go to File > Import > Project Images. 


3. In the Folder Name pane, select the directory. 

All of the available projects in that directory are displayed in the Available 

Projects pane. 

4. Click the appropriate project. 

The available scenes and images from that project are displayed in the 

Available Images pane. 



5. Double-click the appropriate images. 

The image names are displayed in the Selected Images pane. 

NOTE 

To select multiple images, right-click (WINDOWS OS) or Control + Click 

(MACINTOSH OS) an image name, and in the pop-menu click Select All 

Images. 

6. Continue to select directories, projects and images until you have selected 

all the necessary images. 

NOTE 

If you need to remove an image from the Selected Images pane, rightclick 

(WINDOWS OS) or Control + Click (MACINTOSH OS) the image 

name, and in the pop-up menu click Remove the selected image. 

7. Click Import. 

The image thumbnails appear in the selected scene and the images are 

saved in the project folder. 


Moving images between scenes 

To move images from one scene to another: 

Click the image and drag it into the appropriate scene. 

OR 

1. Click to select the desired images. 

2. Go to File > Edit > Cut. 

3. Click in the scene where you want to copy the images. 

4. Go to File > Edit > Paste. 


To copy images from one scene to another: 

Click the image, press Ctrl (WINDOWS OS) or Command (MACINTOSH OS) 

and drag the image into the appropriate scene. 

OR 

1. Click to select the desired images. 

2. Go to File > Edit > Copy. 

3. Click in the scene where you want to copy the images. 

4. Go to File > Edit > Paste. 



Importing a Scene 

You may need to import a scene from another project. For example, if you are 

working on a production that is a sequel to another production that used the 

Look Manager System. 

To import a scene: 

1. Go to File > Import > Scene. 


2. In the Folder Name pane, click the folder where the project resides. 

The available projects are displayed. 

3. Click the appropriate project. 

The available scenes in that folder are displayed. 

4. Double-click the appropriate scenes. 

The scenes appear in the Selected Scenes table. 

NOTE 

To select multiple scenes, right-click (WINDOWS OS) or Control + Click 

(MACINTOSH OS) a scene name, and in the pop-menu click Select All 

Scenes. 

5. Continue to select projects and scenes as needed. 


The scenes appear in your project in the Scene Layout and are named 

with the next sequential scene number. 


Selecting the Input Source 

(Production Edition and Educational Edition) 


When you imported images into your scenes, you selected an input source for 

each image. You may find it necessary to change that selection. 

To change the input source of images: 

1. Select one or more images in one or more scenes. 

2. Ctrl + right-click (WINDOWS OS) or + Control + Click (MACINTOSH 

OS) the selected thumbnail images. 

The following pop-up menu opens. 

3. Click Source. 

The window similar to the following opens. 



NOTE 





image source automatically. The digital, still-camera choices of Daylight 

and Tungsten refer to the type of light you are shooting under, not 

necessarily the color-temperature of the film stock that you plan to emulate. 

For example, you could be shooting 5218 film, a tungsten-balanced stock, 

outdoors under daylight with a WRATTEN Filter, No.85 on the camera. 

Digital reference images taken under these conditions should be identified 

as Daylight. 

4. Click the appropriate input source and click OK. 


Selecting the Projection Mask 


When you created your project, you selected a default projection mask that 

was applied to each image that you imported into a scene. You may need to 

change that setting for all or some of your images. 

To change a projection mask: 

1. Select one or more images in one or more scenes. 


OS) the selected thumbnail images. 


3. Click Projection Mask. 




4. From the Aspect Ratio drop-down menu, click the appropriate output 

media ratio, or click and drag the red crop box to size it manually. To move 

the crop box, click the center circle and drag the box. 

5. Click OK. 

Selecting the Output Media of a Scene or Image 

When you created your project, you selected a default output media for all of 

the images. Now that you have created your scenes, you can change the 

output media as needed. 

To change the output media of a scene or image: 

1. Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in the 

scene title bar if you want to change the output media for the entire scene. 

OR 

Ctrl + right-click (WINDOWS OS) or + Control + Click (MACINTOSH 

OS) the selected thumbnail images if you want to change the output media 

for the selected images. 

2. From the pop-up menu that opens, click Output Media. 

The following sub-menu opens. 

3. Click the appropriate output media type. 


Selecting Input/Output Profiles 

NOTE 

Use this feature with .dpx images only. 


When you created your project, you had the option to select a default input or 

output profile. If necessary, you can select or change those profiles now that 

you have created your scenes. 

If you subscribed to the KODAK Scanner Recorder Profiling service, Kodak 

creates encrypted scanner and recorder profiles for your specific hardware. 

An Input Profile is a scanner profile that adjusts deviations so that the resulting 

.dpx images are closer to CINEON reference, as expected in the Look 

Manager System. 

An Output Profile can be one of the following: 

Film recorder profile 

KODAK Display Manager System 3D LUT for targeted display devices, 

such as digital projectors, SD/HD video broadcast monitors 

Color space conversion, for example, 10-bits log to XYZ 

To change the input or output profile for a scene or image: 


scene title bar if you want to change the profile for the entire scene. 

OR 

Ctrl + right-click (WINDOWS OS) or + Control + Click (MACINTOSH 

OS) the selected thumbnail images if you want to change the profile for the 

selected images. 

2. From the pop-up menu that opens, click Input Profile or Output Profile. 

The following sub-menu opens. 

3. Click Browse. 

A browse window opens. 

4. Browse to and then double-click the appropriate profile. 



Hiding and Deleting Images in a Scene 

If you are working with large numbers of images in a scene, you may want to 

hide or delete some of the thumbnail images. 

To hide or delete an image: 

1. Select an image or images in a scene. 


OS) the selected images. 


3. Click Hide/Delete. 


4. Click either Hide or Delete. 

If you click Hide, the image remains in the scene but is hidden from view. 

If you click Delete, the image is deleted from the project. 

NOTE 

You can also delete a thumbnail image by selecting it and pressing the Del key. 

To hide or delete an image in Look Builder: 

Select an image and click the Hide/Delete icon in the toolbar. 



To display a hidden thumbnail image: 


scene title bar. 

The following pop-up window opens. 

2. Click Show All to display all of the scene’s thumbnail images and reset all 

hidden images to normal. 

3. Click Show Hidden Thumbnails or Hide Hidden Thumbnails to toggle 

the hidden thumbnail images on or off. 



Managing Your Scenes 

Organizing the Viewing Area 

With any large project, you will have multiple scenes in the Scene Layout. You 

can click the arrow at the left of the scene title bar to roll-up or unroll scenes, 

making more viewing room in the scene area. 

Editing scene information 

1. In Scene Layout, double-click the title bar of an existing scene. 


2. Edit the scene number and description as necessary. 

3. Click OK. 

Deleting a scene 

Select a scene and press the delete key on your keyboard. 

OR 

Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in a 

scene title bar and click Delete Scene from the pop-up menu. 


C REATING LOOKS IN 

M AIN VIEW 

Use the Look Builder window of the Main View to create refined looks for your 

images and to create and save base looks. 

NOTE 

You can also create advanced looks in the Flowgraph View and import them 

into your project. See “Flowgraph View Basics” on page 93 

To open Look Builder, double-click an image in Scene Layout. Look Builder 

displays the image and the available tabs that you can use to create the look. 

The available tabs are determined by the template you assigned to the image. 

To increase the viewing area in Look Builder, you can 

Toggle on and off the Info tabs by pressing F9. 

Click and drag the top bar of the Look Control area. 

Select Full Screen view by clicking the Full Screen icon in the toolbar. 

To exit Look Builder, close the window (click ). 


Creating Looks in Main View 

Managing Templates and Looks 

Manage all your looks and templates from the Look Browser tab. The 

template that you apply to an image determines the types of adjustments that 

you can make. 

The Production Edition and Educational Edition of the Main View use the 

following templates. 

NegColor CorrectorPrint_Daylight—Use this template to 

go to Color Corrector and then to Print from an image shot 

under daylight conditions. 

NegColor CorrectorPrint_Tungsten—Use this template to 

go to Color Corrector and then to Print from an image shot 

under tungsten lighting. 

NegPrint_Daylight—Use this template to go directly to 

Print from an image shot under daylight conditions. 

NegPrint_Tungsten—Use this template to go directly to 

Print from an image shot under tungsten lighting. 

NegMpDnPrint_Daylight—Use this template to emulate the 

traditional photochemical release printing chain for images 

shot under daylight conditions. 

NegMpDnPrint_Tungsten—Use this template to emulate 

the traditional photochemical release printing chain for 

images shot under tungsten lighting. 

NegColor Corrector_Daylight—Use this template to go 

directly to Color Corrector from an image shot under daylight 

conditions. 

NegColor Corrector_Tungsten—Use this template to go 

directly to Color Corrector from an image shot under 

tungsten lighting. 

DPX Viewer (for DPX ONLY)—Use this template for 

viewing images without a look applied. Apply to DPX or 

Cineon files only, then communicate that view-only look to 

your partners who are also using the KODAK Look Manager 

System. 

NOTE 

For information on the VISION2 HD Edition templates, see “Creating VISION2 

HD System Looks in Main View” on page 174. For information on Flowgraph 

View templates, see “Working with Templates in Flowgraph View” on page 116. 


Setting a default template or look 

The default template is applied to the first image in a scene. 


NOTE 

Subsequent images assume the template of the preceding image. 

To set a default template or look: 

1. Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) a 

template or look on the Look Browser tab. 


2. Click Set as Default Look. 

Applying a template or look 

You can apply a template or look from the Look Browser tab on either the 

Scene Layout or the Look Builder screens. The images refresh on both 

screens. 

To apply a template or look to images: 

Click and drag the template onto selected images. 

OR 

Select images or a scene and doubl e-click the look or template. 

The images refresh and display the look. 

NOTE 

The template that you apply to an image determines the tabs that are available 

in the Look Control area of Look Builder. 

To view the look information for the selected image: 

Click the Look Settings tab. 



Renaming a Look 

To rename a look: 


template on the Look Browser tab. 


2. Click Rename. 

Importing Looks 

3. Type the new name and press Enter. 

Import existing looks into your project and use them as a basis for your refined 

look. 

Imported looks can be a: 

Look in recipe format (.lms) that you created from Version 2.x of the 

Look Manager System 

Look in recipe format (.lms) that you created from Flowgraph View in 

Version 2.x of the Look Manager System 

Look from a different Version 2.x project (.lk) 

To import looks: 

1. Open the Import Looks window by one of the following methods: 

As you create a new project in the Project Wizard, click Import Looks 

on the Import Images and base look window. 

OR 

On the Look Browser tab, click I mport Looks. 




2. In the Folder Name pane, locate and click the appropriate directory. 

The available looks in that folder appear in the Available Looks pane. 

3. Double-click the appropriate look. 

The look appears in the Selected Looks pane. 

4. Continue to browse and select until you have loaded all of the looks that 

you want to import. 


The imported looks appear on the Look Browser tab. 



Negative Settings in Main View 

The Negative tab emulates the negative film stock and processing. As you 

make adjustments to the Negative node settings, the image in the viewing 

area refreshes to reflect your choices. 

From this tab you can emulate: 

Film Stock 

Processing 

Filters 

Flashing 

Skip Bleach 

Selecting the film stock is the only required selection on the Negative tab. The 

other settings are optional depending on the type of look you wish to create. 

As you make selections, the image refreshes to display the effect of your 

selections. Continue to make selections until you achieve the desired look. 

Film Stock: From the drop-down menu, select the film stock that you will 

use during actual production. The image refreshes and the manufacturer’s 

recommended ASA rating appears in the User ASA Rating field. 

User ASA Rating: From the drop-down menu, select an Exposure Index if 

you prefer to shoot at a rating different from the manufacturer’s 

recommendation. 

Process: From the drop-down menu, choose the type of processing that 

will be used. Choose from Pull 1, Pull 2, Normal, Push 1, or Push 2. 

Filter Trays: Select a Filter Tray to apply filters from that group. 

1) Click in a Filter Tray check box. 

2) From the first drop-down menu, select a family of filters. 

3) From the second drop-down menu, select a specific filter. 

4) Add up to three filters in this manner. 

NOTE 

These filters only emulate the tone and color impact of filters, not defocus/ 

blur effects. 



Compensate Filters: Select this option if you want to compensate the 

shooting stop for the filter. The Stop Compensation field changes to reflect 

compensation. 

Stop Compensation: From the drop-down menu, change the 

compensation value if necessary. 

AutoBalance Timing: Select this option if you want the image to print to a 

normal 18% gray. This compensates for the push, pull, or other processing 

that you selected on other tabs. 

Flashing: Click to open a window where you can apply flashing and a 

flashing filter. 

1) Click Flashing. 

A flashing window opens. 

2) Use the slider bars to adjust the flashing. 

3) To apply a flashing filter, click Filter and from the drop-down menus 

select a family of filters and a specific filter in that family. 

NOTE 

Flashing through a filter generally reduces the amount of flashing density to be 

achieved. When a filter is used here, the dragged slider position sets the nominal 

flashing density, but the filter impact is added afterwards. As a result, the final 

flashing density setting may not exactly match where you positioned the slider. 

Consider setting a nominal flashing level first and then activating a specific filter. 

Skip Bleach %: Use the slider bar or type in the percentage if you want to 

apply a skip bleach. 



Master Positive and Dupe Negative Settings in Main 


Use these tabs to replicate the traditional film development process for Master 

Positive and Dupe Negative. 

NOTE 

These tabs are not available in the VISION2 HD System Edition. 

The same settings are available on both tabs. From these tabs you can 

emulate: 

Film Stock 

Processing 

Color Timing 

Laboratory LAD 

Skip Bleach 

Flashing 

Selecting the film stock is the only required selection on the Master Positive 

and Dupe Negative tab. The other settings are optional depending on the 

type of look you wish to create. 



Film Stock: From the drop-down menu, select the film stock that you want 

to emulate. 

Process: From the drop-down menu, choose the type of processing that 

will be used. Choose from Pull 1, Pull 2, Normal, Push 1, or Push 2. 

Color Timing: ; 

Use the slider bars to increase or decrease the amount of red, green, 

blue, or neutral printer lights. 

To move in large increments, click and drag the slider bar. 

To move in small increments, click in the slider bar area or use the arrow 

keys on your keyboard. 



Lock Timing (One Light): Select this option to maintain the manufacturer’s 

recommended settings for the film and processing. 

When you make adjustments to film and film processing on any tab, the 

timing lights automatically adjust so that a properly exposed 18% gray 

patch prints to the manufacturer’s recommendations for that film stock 

(One Light timing.) Selecting the Lock Timing option prevents this from 

happening. 

Laboratory LAD Position: Only adjust these values if you have data for a 

specific processing lab. 

Flashing: Click this to open a window where you can apply flashing and a 





3) To apply a flashing filter, click Filter. 

4) From the drop-down menus, select a family of filters and a specific 

filter in that family. 

NOTE 










Print Settings in Main View 

NOTE 

This tab is not available in the VISION2 HD System Edition. 

To accurately communicate a look to a lab, the Look Manager System printer 

lights must be in sync with the lab’s printer lights. You can set these values on 

the Print tab by adjusting the printer lights or by entering the Laboratory LAD 

Position. 

NOTE 

Changing the Laboratory LAD values does not change the look; this only adjusts 

the printer light offsets to match a specific lab’s printer. 

From this tab you can emulate: 

Film Stock 

Color Timing 

Laboratory LAD 

Skip Bleach 

Flashing 

Selecting the film stock is the only required selection on the Print tab. The 

other settings are optional depending on the type of look you wish to create. 



Film Stock: From the drop-down menu, select the film stock that you want 

to emulate. 

Color Timing: 

Use the slider bars to increase or decrease the amount of red, green, 

blue, or neutral printer lights. 

To move in large increments, click and drag the slider bar. 

To move in small increments, click in the slider bar area or use the arrow 

keys on your keyboard. 

Lock Timing (One Light): Select this option to maintain the manufacturer’s 

recommended settings for the film and processing. 



When you make adjustments to film and film processing on any tab, the 

timing lights automatically adjust so that a properly exposed 18% gray 

patch prints to the manufacturer’s recommendations for that film stock 

(One Light timing.) Selecting the Lock Timing option prevents this from 

happening. 

Laboratory LAD Position: Enter the values for the specific printer that the 

lab will use. 

NOTE 

After you apply the Labs LAD normal values, you can make note of the 

printer light settings and send that information to the lab. This is a quick 

method to communicate the information if you do not have time to create 

and share the look with the lab. 

Flashing: Click to open a window where you can apply flashing and a 





3) To apply a flashing filter, click Filter. 

4) From the drop-down menus, select a family of filters and a specific 

filter in that family. 

NOTE 










Color Corrector Settings in Main View 

Use this tab to emulate primary color corrections for lift, gamma, gain, 

saturation, and lamp intensity. 

Lift adjusts the colors primarily in the shadows 

Gamma adjusts the colors primarily in the midtones 

Gain adjusts the colors primarily in the highlights 

From the Color Corrector tab, you can memorize your settings and quickly 

apply them at a later time. 

You can also set your black and white points to quickly adjust lift and gain. 

Select Video Input to convert all incoming images to video color space for 

applying the color corrections. For most look templates, the image is 

converted back to an appropriate color space for display. For example, the 

image is converted back to DPX color space for appropriate emulations 

through a print film. 

Memorizing Color Corrector Adjustments 

You can memorize up to three sets of adjustments. 

To memorize your settings: 

Make your adjustments and click M+ next to the memory button where you 

want to save the settings. 

To apply memorized settings: 

Click MR by the appropriate memory button. 


Making Color Corrector Adjustments 


We recommend that you first set the black and white points, and then make 

your Color Corrector adjustments based on those settings. 

To use the Color Corrector node: 

1. Set your black point by clicking the Black Point icon and then clicking the 

blackest point in the image. Click OK to confirm. 

Lift and Gain settings are automatically adjusted. 

2. Set your white point by clicking the White Point icon and then clicking the 

whitest point in the image. Click OK to confirm. 

Lift and Gain settings are automatically adjusted. 

3. Click and drag in the color area that you want to adjust for either Lift, 

Gamma, or Gain. 

a) Use the keyboard arrows to move the point in small increments. 

b) Use the slider bar to set the density. 

If you decrease lift, shadows get darker. 

If you decrease gain, the highlights get darker. 

4. To adjust the overall amount of saturation, set the value in Saturation. 

5. To adjust the overall intensity, set the value in Lamp Intensity. 

Saving Looks in Main View 

To save a look in Look Builder: 

1. In the Look Builder toolbar, click the Save Look icon. 

OR 

On the Look Settings tab, click Save Look As. 


2. Type the look name and click OK. 

The new look appears on the Look Browser tab. 



Exporting an Image 

When you are ready to share an image with the look you created, you can 

export it and then electronically share the file. 

To export an image with a refined look: 

1. Go to Tools > Export Image. 


2. From the File Type drop-down menu, select the type of file that you want 

to export to. 

Select a file type of DPX or CIN if your images will be viewed by someone 

who has the KODAK Display Manager System or the KODAK Look 

Manager System. These formats provide the most accurate and consistent 

match between monitors because the monitor of the person receiving the 

images applies the profile. 

Select a file type of TIFF or JPEG if your images will be viewed by 

someone who does not have the Display Manager System or the Look 

Manager System. The KODAK Display Manager System look-up table for 

your monitor will be applied to the exported image. This process is not as 

accurate but provides an acceptable relative emulation. 

NOTE 

The KODAK Display Manager System LUT field is disabled if you are 

exporting as DPX or CIN. By default this field contains the path to the latest 

LUT that you created with the Display Manager System when you calibrated 

your monitor. We recommend you always use this default setting when 

exporting as a TIFF or JPEG. 

3. From the Export Type drop-down menu, select the images that you want 

to export—Selected Images or All Images. 

4. From the Resolution drop-down menu, select the resolution you want to 

apply to the exported files—No resize, HD, 1K, 640, or 320. The 

estimated size of the image is displayed when you make a selection. Use 

the lower resolutions to limit the size of your images. 



5. Autoname Files 

Check ✓ Autoname Files—the exported file is automatically named 

with its current name and saved in your project’s exportedImages 

folder. If there is already a file with the same name in that folder, it is 

overwritten. 

Uncheck Autoname Files—the window expands and lets you 

customize the names and destination of the exported files. 

Specify a Destination Folder—click Select and browse to the folder 

where you want to save the exported images. 

Specify a common Image prefix—uncheck Use original prefix and 

enter a file name for all the images. The images are named with that 

file name and a consecutive number (for example, Sunset1, Sunset2, 

Sunset3, etc.). 

Check ✓ 

Overwrite existing files—files with the same name(s) are 

overwritten. Uncheck Overwrite existing files—a window appears 

and asks if you want to overwrite existing files. 

6. Click Export. 

7. Click OK when prompted that the image has been exported. 

The image is saved in your project’s exportedImages folder or in the 

destination folder you specified. 

8. Click X to close the Export Images window. 



Comparing Looks in the Look Builder 

The Look Builder allows you to view 1, 2, or 4 images at a time so that you can 

compare: 

Different images with the same look 

The same image with different looks 

To view the before and after effects of a look on an image, you can: 

Swipe images with a look to compare the base look and the refined look. 

Press and hold the toggle look button. 

NOTE 

Press and hold F6 to view out-of-gamut colors. 

Displaying Multiple Images 

From the Display Mode drop-down menu, you can choose to view 1, 2, or 4 

images. 

To display multiple images: 

1. Click the Display Mode icon in the Look Builder toolbar. 

2. Select either Dual View or Quadrant View 

The single image is now displayed 2 or 4 times. 

3. Click an image to make it the active image. 

The active image has a gray marker in the upper-left corner. 

4. To load a different image in that location, use the Navigation tools in the 

toolbar. 

Next Image 

Previous Scene Next Scene 

Previous Image 

The active image is replaced by the image you select. 



5. If necessary, click another image and then navigate to the image that you 

want to load in that location. 

6. Repeat steps 3-5 until you have the desired images loaded. 

NOTE 

The adjustments you make on the tabs in the Look Control area are applied to 

only the active image. 

Comparing Different Images with the Same Look 

1. In Look Builder, display the desired images. See “Displaying Multiple 

Images” on page 88. 

2. From the Look Browser tab, click and drag the desired look onto each 

image. 

Comparing the Same Image with Different Looks 

1. In Scene Layout, create a new scene. 

2. Import the same image 2 or 4 times, depending if you are going to use 

dual view or quadrant view. 

3. In Look Builder, display the images. See “Displaying Multiple Images” on 

page 88. 

IMPORTANT 

Make sure you use different imported instances of the same image. If you 

don’t, the same look will be applied to all the images. 

4. From the Look Browser tab, click and drag a different look onto each 

image. 



Swiping Images to Compare Before and After 

Swiping allows you to move across the image revealing the base look and the 

refined look as you drag the cursor across the image. 

NOTE 

The feature only allows you to compare a refined look against the base look of 

the image. You cannot compare one refined look against another by swiping. 

Different patterns for swiping (compare modes) are available—horizontal, 

vertical and butterfly effect. 

To swipe an image: 

1. Click the Compare Mode icon in the Look Builder toolbar. 

2. Click the type of swipe that you want to apply. 

3. Click and drag in the image to swipe the look. 

Following is an example of a horizontal swipe. 


Toggling the Look On and Off 


Press and hold the Look Toggle icon to turn off the look you created and 

display the base look. 

When you release the icon, the look you created is redisplayed. 

You can also press F7 to momentarily turn off the look and display the base 

look. 


F LOWGRAPH VIEW BASICS 

Use the Flowgraph View for projects that require advanced digital 

intermediate processes or for pre-production use. The end result will be a 

recipe that you can share with others or import as a look into the Main View. 

To open the Flowgraph View: 

In Scene Layout, go to Tools > Flowgraph View. 

OR 

When you open the Look Manager System, select Create a look in 

Flowgraph when prompted. 

Flowgraph View Main Window 

The flowgraph view consists of: 

1. Menus—Contain many of the same 

features as the toolbars. 

2. Main Toolbar—Contains options 

for managing your recipe file. 

3. Edit Toolbar—Contains options for 

copying, pasting and deleting recipe 

nodes and links. It also contains the 

Render mode icon. 

4. Node Toolbar—Contains Input/ 

Output, Emulation, and Tool nodes. 

5. Workspace—Add, connect and set 

node options to create a recipe and 

add notes. 

6. Status Bar—Displays status 

messages. 

7. Indicator Lights—These lights 

indicate a condition that may require 

action. 


Flowgraph View Basics 

Toolbars in Flowgraph View 

The Look Manager System main window includes three toolbars—the Main, 

Editing and Node toolbars. 

To customize the main window you can: 

Click and drag the toolbars to new locations. 

In the toolbars menu, select which toolbars to display. 

Main Toolbar 

The Main toolbar contains features for managing recipe files. 

Create a new recipe— 

Close the current recipe 

and clear the workspace 

for a new recipe. 

Open—Browse for and 

open an existing recipe. 

Recipes contain a .lms 

file extension. 

Save—Save the current 

recipe. 

Recipe Information— 

Open a window where 

you can review the 

properties for the current 

recipe. 

Zoom In/Zoom Out— 

Enlarge the recipe or 

get a wider view of the 

recipe. 

Monitor Calibration— 

(Production Edition and 


Edition) Open the 

KODAK Display 

Manager System to 

calibrate your monitor. 

Viewer—Open or close 

ImageViewer 1. Click 

the drop-down menu to 

open or close up to 4 

viewers. 

What’s This—Click this 

button then click an item 

for which you need 

more information. 


Editing Toolbar 


The Editing toolbar contains editing features and the Batch Render Mode 

icon. 

Node Toolbar 

Set Batch Render 

Mode—Enable or 

disable the Batch 

Render Mode. When 

the Batch Render 

Mode is enabled, all of 

the images selected on 

the Image Controller 

tab are saved when 

using the save node, or 

they are all rendered 

when updating the 

viewer. 

Cut—Cut the selected 

workspace items and 

place them on the 

clipboard. 

Copy—Copy the 

selected workspace 

items to the clipboard. 

Paste—Paste items 

that you cut or copied 

to the clipboard. 

Delete—Delete 

selected nodes or links. 

Select All—Select all 

the workspace items. 

Use the Node toolbar to select nodes for your recipe. Nodes are grouped 

according to function. 

You can access the Node toolbar in three different ways: 

Select the Nodes menu at the top of the window. 

Click the Nodes toolbar. 

Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) the 

workspace and select Add Node. 



Node Descriptions for Flowgraph View 

Input Output Nodes Tool Nodes 

Input Roll/Image—Use this 

node to select images to use as 

the basis for your look creation. 

You can resize and crop 

images, select the type of film 

from which the image was 

scanned, and select the source 

type of the image. 

Save—Use this node to save 

multiple images with the same 

look or to save multiple images 

as a different file type. 

(Production Edition and 

VISION2 HD System Edition.) 

Emulation Nodes 

Negative—Use this node to 

emulate the creation and 

processing of a film negative. 

Master Positive—Use this 

node in conjunction with the 

Dupe Negative and Negative 

nodes to emulate the 

photochemical release printing 

development process. (Not 

available in the VISION2 HD 

System Edition.) 

Dupe Negative—Use this node 

in conjunction with the Master 

Positive and Negative nodes to 

emulate the photochemical 

release printing development 

process. (Not available in the 


Print Emulation—Use this 

node to emulate the printing 

process. (Not available in the 


Color Corrector—Use this 

node to emulate primary color 

corrections for lift, gamma, and 

gain. 

Timing—Use this node to 

apply a mathematical offset to 

the code values of an image. 

Matrix-Gamma—Use this 

node to apply matrix math or a 

gamma-curve to the image. 

Split—Use this node to split 

the colors of an image into 

separate channels. You can 

then perform unique 

operations on each individual 

channel. 

Merge—Use this node to 

merge color channels of a split 

image or to merge the look of 

different images. 

Apply 3DLut Node—Use this 

node to apply 3D look-up 

tables that have been created 

from Look Manager System or 

from an outside application. 

HD Standard Looks—Use 

this node to create a standard 

Kodak video look. (Only 

available in the VISION2 HD 


HD Custom Looks—Use this 

node to create a custom video 

look. (Only available in the 



Menus in Flowgraph View 


Access the menus at the top of the main window. The menus, as they appear 

in the Production Edition, consist of: 

File Menu 

Edit Menu 

Node Menu 

View Menu 

Toolbar Menu 

Help Menu 



Status Bar in Flowgraph View 

The status of the system is displayed in the bottom left of the main window. As 

a recipe is being processed, the status bar displays the progress. 

Indicator Lights in Flowgraph View 

At the lower-right corner of the main window are indicator lights. 

MONCAL—When this indicator is red, your monitor needs to be calibrated 

(Production Edition and VISION2 HD System Edition). Click the Monitor 

Calibration icon in the toolbar. When this indicator is green, your monitor is 

calibrated and your recipe look is accurate. When this indicator is yellow, your 

monitor is characterized but needs to be calibrated. 

READ-ONLY RECIPE —This light indicates that the recipe you are working 

with has been designated as read-only by the author. If the author has 

enabled a password, you must enter the password to save and overwrite the 

recipe. Or you can save the recipe with another name. 

AUTHENTICITY —This light indicates that the recipe's original creative intent 

has been altered by someone other than the original author. 

RECIPE INTEGRITY —This light indicates that the recipe has been altered 

outside the Look Manager System. The integrity of the original creative intent 

may have been compromised. 

Workspace Options in Flowgraph View 

Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) the 

workspace to display options. 

Using Notes 

You can insert notes in your workspace to provide information to anyone who 

uses the recipe. Notes are saved when you save the recipe. 



To add a note: 


workspace. 

2. Click Add Note. 

An empty text box opens. 

3. Double-click the text box. 

Blue handles appear around the box. 

4. Click inside the box and type your message. If necessary, drag the 

handles to resize the box. 

5. Click in the workspace when you are finished. 

6. To select note options: 

a) Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) 

the note. 


b) Click Note Color to select a background color for the note. 

c) Click Lower Note to send it behind other notes. 

d) Click Raise Note to bring it to the front of other notes. 

To add a node from the workspace: 


workspace. 

2. Move your cursor over Add Node to display the node groups. 

3. Click the desired node group to display the nodes in that group. 

4. Click the desired node and click in the workspace to add the node. 



Sample Recipes in Flowgraph View 

Creating a Look for a Commercial 

This sample recipe creates a look for a commercial — the Input Roll/Image 

Node, Negative Node and Color Corrector Node. 

In this example, the creator performed the following adjustments: 

From the Input Roll/Image Node: 

On the Image Controller tab, select an image to be used in the recipe. 

From the Negative Node: 

1. On the Films tab, select the film stock to be emulated. 

2. Double-click the blue output button to open the original image in the 

ImageViewer. 

From the Color Corrector Node, make the necessary color corrections: 

1. Click Quick Preview to immediately view a low-resolution image of the 

color corrections. 

2. Desaturate the image by setting the Saturation to 25%. 

3. Add cyan/blue to the Lift and Gamma, then push yellow into the Gain. 

4. Increase lamp intensity to 20 to compensate for the density that was 

added when the colors were added. 

5. Add intensity to the Gain (to 54) to blow out the highlights a little, then also 

add intensity to the Gamma (to 53) to bring up some detail in the 

midrange. 

6. Click Update to view a high-resolution image with the color corrections. 


Creating a Digital Intermediate for a Feature 


A digital intermediate can be added to the traditional film processing 

procedure, as shown here. 



1. On the Image Controller tab, select the image. 

2. Crop the image to 1:85 aspect ratio so that colors outside of 1:85 will not 

influence the color timing. 

From the Negative node: 

On the Films tab, select the stock with the tone scale that you want to 

emulate. You can choose the original stock (5246) or another stock. If you 

select a tungsten stock, you may want to add a correction filter to correct the 

color offset in the Negative node. 

From the Color Corrector node, make the necessary color corrections: 

1. Add yellow to the Lift, Gamma and Gain in the Color Corrector controls. 

2. Change the Lamp Intensity to 5 to compensate for the density that was 

added when the colors were added. 

3. Desaturate the image by setting the Saturation to 60%. 

From the Master Positive and Dupe Negative nodes: 

Select the film stock to accurately simulate any color, density, or contrast 

shifts the stocks may give in the process out to a film print. 

From the Print Emulation node: 

No changes are made to the Print Emulation node attributes. 



Creating the Traditional Feature Recipe 

To quickly create this recipe, use the template Neg-MP-DN-Print. 



1. On the Image Controller tab, select the image. 

2. Crop the image to 1:85 aspect ratio so that colors outside of 1:85 will not 

influence the color timing. 

From the Negative node: 

1. On the Films tab, select the film stock on which the image was shot. 5246 

was selected. 

2. On the Flashing tab, select a 0.2 density of Flashing to add light into the 

blacks in preparation for the Skip Bleach on the Dupe Negative node. 

3. On the Filters tab, select a Tiffen Antique Suede 2 filter for richer skin 

tones and to accent the scene. 

From the Master Positive node: 

Select the film stock that will be used to create the Master Positive. 

From the Dupe Negative node: 

1. Select the film stock that will be used to create the Dupe Negative. 

2. On the Films tab, execute 70% Skip Bleach in the Dupe Negative node. 

From the Print Emulation node: 

On the Color Timing tab, brighten the overall density to adjust for the Skip 

Bleach process. 


Setting Flowgraph Preferences 


From the Preferences window, you can set image directory paths, select your 

monitor type, change the icon size, select a startup template, and select a 

license. 

Setting Image Directory Paths 

Whenever you open a recipe, the Look Manager System looks for the image 

used in your recipe by searching the image folders listed on the Directories 

tab. 

To set the image directories preferences: 

1. Go to File > Preferences. 


2. To add a new directory: 

a) Click New. 

b) In the browse window, select the correct folder or click New to create a 

new folder. 

c) Click OK. 

3. To delete a directory, click the directory and click Del. 



4. To automatically direct the software to the correct image folder, select 

Remember paths when loading or saving images. 

5. To embed images in the recipe when you save the recipe, select Add 

source image to recipe. The option will now be automatically selected on 

all subsequent Image Controller tabs. 

This option is also available on the Image Controller tab of the 

Input Roll/Image node. But if you select there, the option is only enabled 

for that current Image Controller tab. 

Selecting Your Monitor Type in Flowgraph View 

(Production Edition and VISION2 HD System Edition) To accurately display an 

image, you must select the correct monitor type. The Look Manager System 

prompts you for this information each time you open the system. However, 

you can also select the correct monitor type after the system has been 

opened. You may need to do this if you connect a CRT monitor to your laptop 

while the system is open. 

To select your monitor type: 

1. Go to File > Preferences or press F10. 

2. Click the Monitor tab. 

3. Select the correct monitor type and click OK. 


Changing the Icon Size 


Using a smaller icon size gives you more room on your screen to work with 

images. 

To change the icon size: 


2. Click the Icon Size tab. 

3. From the drop-down menu, select the desired icon size and click OK. 

IMPORTANT 

You must restart the application for the icons to change size. 



Selecting a Startup Template 

You can configure the Look Manager System to display a list of templates at 

startup. 

To select a startup template: 


2. Click the Startup Template tab. 


3. Click the template that you want to be selected when you start the 

application. 

4. Click OK. 

To disable this feature, select Don’t show template selection dialog on 

startup. The application will open with the template that you select here. 


Selecting a License 


If you have multiple licenses for the Look Manager System on your computer, 

you can switch between the various editions as needed. 

To select a license: 


2. Click the License Selection tab. 


3. Click the appropriate license. 

4. Click OK and restart the application. 

Select Don’t show license selector on startup to disable that feature. 


RECIPES IN FLOWGRAPH VIEW 

The end result of the advanced look creation process in Flowgraph View is a 

recipe that consists of nodes and connectors representing the sequence and 

order of operations on an image. By setting different options in the nodes, you 

can create a unique look for your image. Save and share the recipe with other 

members of the production team to maintain a consistent look. (Production 

Edition and KODAK VISION2 HD System Edition) 

You can use a template as the basis for your recipe, or you can create a 

recipe by selecting the specific elements that you want. 

Create a recipe with these four basic steps: 

1. Input an image. See “Inputting an Image” on page 128. 

2. Add and connect nodes in the workspace. See “Adding and Connecting 

Nodes” on page 112. 

3. Set the node options. See the section for each of the nodes for more 

information. 

4. Save your recipe. See “Saving Recipes in Flowgraph View” on page 119. 

The sample recipe, shown here, emulates the traditional photochemical 

release printing steps. (Not available with the VISION2 HD System Edition.) 

Input an 

image. 

Create a 

negative. 

Create a 

master 

positive. 

Create a 

dupe 

negative. 

Create a 

print. 

When creating a recipe for the traditional photochemical process, you must 

select and add the nodes in the exact order that they would occur during 

actual lab processing. 

When creating a recipe for a digital intermediate or a Color Corrector transfer, 

you can use any combination of nodes. 


Recipes in Flowgraph View 

Managing Your Files in Flowgraph View 

Before you start creating recipes and saving images in Flowgraph View, you 

should determine how you will manage your files. 

NOTE 

These steps are only needed in Flowgraph View. The Main View automatically 

organizes your files for you. 

When working with large productions, you quickly acquire a large amount of 

images. It is essential to have a good plan for naming and storing all the files. 

You may want to create paths to your image folders so that your recipes can 

locate the correct image if you move an image from one folder to another. See 

“Setting Image Directory Paths” on page 103. 

We recommend that you place all your files in a folder on your desktop to 

make browsing for files faster. 

Following are some suggestions for organizing your files. 

When working on a motion picture: 

1. Create a folder for the project. 

2. Within the project folder, create a folder for each scene or shooting day. 

Keep all camera images, recipes, and color-corrected image files for that 

scene in that folder. It is important to use scene numbers rather than 

shooting days or text descriptions because dailies timers, colorists, and 

editors use scene numbers. 

3. If you have several recipes for each scene: 

a) Within each scene folder, create a folder for recipes and images. 

b) Name each recipe with the scene name, date, and distinctive text to 

identify the look. 



When working on a TV series: 

1. Create a folder for each season. 

2. Within the season folder, create a folder for each episode. 

3. In each episode folder, place the original images and name each image 

with the scene, take, and frame number. 

4. Create two sub-directories for each episode: one for recipes (.lms) and 

one for final color-corrected images. 

One recipe is used for all the images in a scene. 



Creating Recipes in Flowgraph View 

The first step in creating a recipe is to input an image using the Input Roll/ 

Image node. See “Inputting an Image” on page 128. 

After you input an image, continue to add and connect nodes. Then set the 

node options to create the look you want. 

End each recipe with the node that represents your final output. 

Adding and Connecting Nodes 

1. Click one of the node groups. 

The nodes in that group are displayed. 

Input/Output 

Nodes 

Emulation 

Nodes 

Tool Nodes 

2. Click the node that you want to add and click the workspace. 

The node appears in the workspace. 

3. Click the blue output button of the first node, and click the red input button 

of the second node. 

A line connecting the nodes appears. 

Blue output button 

Red input button 

To automatically connect a node when you add it to the workspace: 

1. Click the node that you want to add. 

2. Press Ctrl (WINDOWS OS) or Command (MACINTOSH OS) when you 

click the workspace. 

The new node appears in the workspace and is automatically connected to 

the last node that you added. 

NOTE 

You can have more than one output from a node. This is helpful when you 

want to compare different looks. See “Comparing Looks” on page 206. 


Setting Node Options 


Double-click a node to open its options window. Make your selections. 

Most nodes contain a Quick Preview option. To view the effect of your 

selections as you make them, click Quick Preview on the options window. A 

low-resolution image is displayed that updates automatically as you select 

options. 

The options for each node are discussed in detail in the chapter section for the 

node. 

Selecting Recipe Elements 

You can select a single recipe element or multiple recipe elements. When you 

select a node, it is outlined in red. When you select a connector, it turns white. 

You can copy, delete, or move selected items. 

To select recipe elements, do one of the following: 

Click a single node, connector or note to select it. 

Select multiple elements by: 

− Holding Ctrl (WINDOWS OS) or Command (MACINTOSH OS) and 

clicking each element that you want to select. 

− Clicking and dragging a selection box around the objects. 

Click the Select All icon in the toolbar. 

To copy and paste the selected items: 

1. Click the Copy icon in the toolbar to copy the selected item to the 

clipboard. 

2. Click in the workspace where you want to paste the copied items, and click 

the Paste icon in the toolbar. 



To delete the selected items: 

Click the Delete icon. 

To move the selected items: 

Click and drag the selected items. Connectors move as you drag nodes. 

Reversing an Image 

There may be times when you want to reverse an image from one of the 

intermediate nodes. For example, the image displayed from a master positive 

node typically appears as a negative. Reversing the image allows you to see a 

positive rendition. 

To reverse an image: 


blue output button of the desired node. 


2. Click Reverse. 

The reversed image appears in the ImageViewer. 



Opening and Closing Recipes in Flowgraph View 

To open an existing recipe: 

1. Click the Open Recipe icon. 


2. Browse for the appropriate recipe and double-click it. 

Recipes have a .lms file extension. 

The recipe appears in the workspace, and the recipe name and path 

appear in the title bar. 

To close a recipe: 

1. Click the New Recipe icon in the toolbar. 

2. You may be prompted to save the recipe. Click Yes or No. 

The recipe closes and the workspace is cleared for a new recipe. 



Working with Templates in Flowgraph View 

To quickly build a recipe, use one of the templates included with the Look 

Manager System. Or you can create and save your own customized template 

for processes that you perform regularly. 

The default templates do not contain any look information. You must enter the 

appropriate node options as necessary. However, your customized templates 

can include any look information that you choose. 

Default templates include: 

INPUTROLL-NEG-MP-DN-PRINT—Use to emulate traditional 

photochemical release printing. 

INPUTROLL-NEG-PRINT—Use if you are printing directly from negative. 

INPUTROLL-NEG-Color Corrector—Use if you are outputting directly to 

Color Corrector. 

INPUT-SAVE—Use to save large, digital, still-camera files as smaller .dpx 

files. 

Negative + KODAK VISION2 HD System Custom Looks—(VISION2 HD 

System Edition only) Use to create a custom video look. 

KODAK VISION2 HD System Standard Looks—(VISION2 HD System 

Edition only) Use to view your image with one of the standard Kodak video 

looks used in the KODAK VISION2 HD Digital Processor. 

Negative + KODAK VISION2 HD System Custom Looks + Color 

Corrector—(VISION2 HD System Edition only) Use to apply Color 

Corrector corrections to a custom video look. 

KODAK VISION2 HD System Standard Looks + Color Corrector— 

(VISION2 HD System Edition only) Use to apply Color Corrector corrections 

to a standard Kodak video look. 

NOTE 

If your system is configured to do so, a template selection window opens when 

you open the Look Manager System. To enable or disable this feature, press 

F10 and select the Startup Template tab. Check or uncheck the option Don’t 

Show Template Selection Dialog on Startup. 



To create a recipe based on a template: 

1. Go to File > Templates > Insert Template and select the appropriate 

template. 

The selected template appears in the workspace. 

2. Double-click the Input Roll/Image node. Browse to locate the desired 

image folder. 

All the images in the folder that are compatible with the Look Manager 

System are displayed in the upper display area on the Image Controller 

tab. 

3. Move the images that you want to work with into the lower display area by 

one of these methods: 

Double-click the image. 

Click and drag the image to the lower area. 

Click Select All and drag to the lower area. 

4. Add or delete nodes as necessary and set the node options. 

IMPORTANT 

You can insert more than one template into the workspace. However, the 

nodes may appear on top of each other. If this occurs, select and drag the 

nodes to a new position. 



To create a new template: 

1. Create a recipe with the nodes and options that you use regularly. All node 

options are saved when you save the template. 

2. Go to File > Save as Template. 


3. Enter the template name and click OK. You do not need to type a file 

name extension. 

The template name appears in the Insert Template list under the File 

menu. 

To delete a template: 

1. Go to File > Templates > Delete Templates. 

2. Click the template you want to delete. 

The template is permanently removed from the system. 

Viewing Your Recipe Results in Flowgraph View 

View your results from the: 

Quick Preview window to display a low-resolution image that automatically 

updates as you make changes to the node options or to previous nodes. To 

open, click Quick Preview on the node. See “Using Quick Preview” on 

page 199. 

ImageViewer to display a high-resolution image that you can print and 

save. (Production Edition and VISION2 HD System Edition) To open and 

update the ImageViewer, double-click the blue output button of a node or 

click Update on the node options window. See “Using the ImageViewer” on 

page 200. 


Saving Recipes in Flowgraph View 


The ability to save recipes depends upon which edition you have. 

Educational Edition—Recipes can be saved but cannot be shared with 

other users. 

Production Edition—Recipes can be saved and shared with other users. 

VISION2 HD System Edition—Recipes can be saved and shared with other 

VISION2 HD System Edition users. 

When you save a recipe, you can: 

Attach your name to it Password protect it 

Enable it as read-only Add a description 

IMPORTANT 

When saving recipes, remember that if you want to save the image with the 

recipe, you must select Add source image file to the recipe file from the Input 

Roll/Image - Image Controller tab. Otherwise, only the path to the source 

image is saved. See “Using the Image Controller Tab in Flowgraph View” on 

page 128. 

To save a recipe: 

1. Click the Save icon in the toolbar. 

If the recipe was not saved previously, the Save Recipe As window opens. 

2. Enter the name and location where you want to save the file. Click Save. 




3. Edit the author information if necessary. 

4. Select Read Only if you do not want anyone to edit and resave the recipe. 

5. Enter a password to require someone to enter a password before they can 

edit and resave the recipe. 

NOTE 

This option is only available if you selected Read Only. 

6. Enter any comments that you want to save with the file. 

7. Click OK. 

NOTE 

To save a recipe as a template, see “To create a new template:” on page 118. 

To resave a read-only recipe: 

(Production Edition and VISION2 HD System Edition) If the recipe author 

designated the recipe as read-only, you will not be able to edit and save it. 

You may, however, edit it and resave it with a different name. 

1. Go to File > Save As. 

2. Enter the name and location where you want to save the file. 

3. Click Save. 

The Recipe Information window opens and displays the information that 

you provided when installing the Look Manager System. 

4. Enter the appropriate information and click OK. 


Sharing Recipes 


(Production Edition and VISION2 HD System Edition) To share the look you 

create with others, you can send one of the following combinations: 

Original image (.crw, .cr2, .nef, .kdc, .c in, .dpx or .vid image file) plus the 

recipe (.lms file) 

Corrected image (.dpx, .cin, .kdx, or .v id image file) plus the recipe (.lms 

file) 

Corrected image only (.dpx, .cin, .kdx or .vid file) 

3D LUTS—Share a look by creating a 3D LUT that can be imported by the 

KODAK VISION2 HD Digital Processor. See “Exporting a 3D LUT in 

Flowgraph View” on page 191. 

You can export 3D LUTs in VISION2 HD System (native 3D LUT file format 

only, .xml) and Production Edition (see page 193 for file formats). 

You can send these files over the Internet or physically transfer them onto 

media. 

IMPORTANT 

It is essential that everyone who views your recipe or image uses a monitor that 

is calibrated to the same standards using the Display Manager System. See 

“Calibrating Your Monitor” on page 227. 

Using the Internet 

You can share looks over the Internet by using either email or an FTP site. 

This is the most inexpensive way to share information, and the physical 

distance is not a factor. However, high-speed access might not always be 

available and the Internet is more complicated than physically sharing the look 

on media. 

Method Pros Cons 

FTP Fast file-transfer 

Also works as an archive or 

backup 

Email Familiar to most users 

Can easily add extra 

comments 

FTP site must be set up by 

post-house/lab or 

production 

Need to use FTP-client 

software 

Limited attachment sizes 

Possibility of lost, 

corrupted, or returned mail 



Physical Transfer 

Physically sharing the look involves writing the files to media and delivering 

the media. 

This may be more reliable than using the Internet, but it requires physical 

transfer and time may be a factor. The cost of media must also be considered. 

Method Pros Cons 

CD-ROM Readable on most 

computers 

Plenty of storage space 

Also works as an archive 

or backup 

DVD Plenty of storage space 

Also works as an archive 

or backup 

Portable 

media, such 

as USB/ 

firewire 

device or 

flash card 

Paper print of 

the image 

Quick to write 

Can be reused 

Fewer technical issues 

Tangible 

Lots of CDs (1 per day over 

the course of production) 

Writing can be slow and 

complicated 

Security concerns 

Older computers might not 

have a DVD reader or writer 


Limited storage space 


Different lighting conditions 

change the look of the print 

Less color range than a 

CRT monitor 

Recipe is not 

communicated 

Match is not as accurate as 

calibrated electronic display 




Viewing Recipe Properties in Flowgraph View 

Whenever you save a recipe, certain properties are automatically saved with 

the recipe. This information gives the history of the recipe and identifies any 

issues with the recipe. 

To view the properties: 

1. Open the recipe. 

2. Click the Recipe Properties icon in the toolbar. 




3. Click the Recipes tab to view more properties. 


Recipe Description: Contains the note that the author added to the 

comment area when the recipe was saved. If you want to edit this 

description, resave the recipe using Save As and enter the new 

information under Note. 

Recipe Protection: Indicates if a password is required to save the recipe 

after you have made changes. 

Read Only: Indicates if the author selected Read Only when saving 

the recipe. 


Recipe Issue: 


Integrity—the recipe has been altered outside the Look Manager 

System. The integrity of the original creative intent has been 

compromised. 

Authenticity—the recipe's original creative intent has been altered by 

someone other than the original author. 

Monitor Calibrated: Indicates if the monitor, which was used to create the 

recipe, was calibrated when the recipe was created. 

IMPORTANT 

If the monitor was not calibrated when the recipe was created, the look may 

not be accurate. 

Last Calibration: The last time that the monitor, which was used to create 

the recipe, was calibrated before creating the recipe. 

Last Characterization: The last time that the monitor, which was used to 

create the recipe, was characterized before creating the recipe. 

Statistics: Contains a count of the recipe elements. 


INPUT/OUTPUT NODES IN 

F LOWGRAPH VIEW 

The Input and Output nodes are the nodes that you use to start and end 

your recipes. 

Begin each recipe with the Input Roll/Image node. 

If desired, you can end your recipe by using the Save node to save multiple 

images with the look that you create. (Production Edition and KODAK 

VISION2 HD System Edition) 

Input Roll/Image Node (Flowgraph) 

The Input Roll/Image node is the first node that you must place in each recipe. 

Use the node to: 

Browse for and select a folder of images to use with the recipe 

Switch to different images in your recipe 

Crop the image to different film aspect ratios 

Scale the image for faster processing 

Identify the film stock from which the image was scanned 

Identify the source of the digital stil l camera image (daylight or tungsten) 

Identify the source of a .tif image 

Add the image source file to the recipe file 

After you input an image, a thumbnail of that image is displayed on the Input 

Roll/Image node icon in the workspace. 


Input/Output Nodes in Flowgraph View 

Using the Image Controller Tab 

in Flowgraph View 

Use the Image Controller tab of the Input Roll/Image node to: 

Browse for and select images 

Scale images 

Crop images 

NOTE 

After you have selected an image to use in your recipe, go to the Scanning 

Media and Source Type tabs to provide the Look Manager System with 

additional information about the image. See “Scanning Media Tab in Flowgraph 

View” on page 133 and “Source Type Tab in Flowgraph View” on page 134. 

Inputting an Image 

To input an image: 

1. From the Input/Output node menu, click the Input Roll/Image node and 

click in the workspace. 

OR 

If working with a template, double-click the Input Roll/Image node and 

click Select on the Image Controller tab. 




2. Browse to and double-click the correct image folder. 

All the images in the folder that are compatible with your Look Manager 

System edition are displayed in the upper display area on the Image 

Controller tab. 

NOTE 

If you have more than one Input Roll/Image node in your recipe, you can 

drag images from one Image Controller tab to another. 







upper display area for additional selection options. 

The images that you place in the lower display area are the images that 

are available to the recipe you are creating. But the look you create in the 

recipe is only displayed on the last selected image. Selected images have 

a blue outline. 



Scaling Images 

IMPORTANT 

We recommend that you scale all images that are larger than 3 megapixels. 

Digital, still-camera images are automatically scaled to 25% and .dpx images 

are automatically scaled to 75%. 

To scale images: 

1. On the Image Controller tab of the Input Roll/Image node, select one or 

more images in the lower display area. 

2. From the Scale Factor drop-down menu, select a scale factor. 

NOTE 

To accurately print an image, resize the image to 100% before printing. 

Cropping Images 

You may need to crop images to get the correct aspect ratio for the image 

output type that you will use. This prevents the colors that are outside the 

frame from influencing color corrections that you make. 

To crop the image: 

1. On the Image Controller tab of the Input Roll/Image node, select one or 

more images in the lower display area and click Crop Image. 

The crop window opens. 



2. Select the Aspect Ratio from the drop-down menu, or click and drag to 

draw a crop box. 

3. To move the crop box, click the center circle and drag the box. 

4. Click Color to select a color for the area that will be cropped out of the 

image. 

5. Use the Opacity slider bar to select an opacity value for the masked area. 

NOTE 

The Color and Opacity options are for reference in this window only and 

do not affect the final image. 

6. Click OK. 

Changing Images in Your Flowgraph Recipe 

After you have created a look for an image in your recipe, you may want to 

view the look on other images from the same scene. 

To change images in your recipe: 

1. Double-click the Input Roll/Image node. 

2. On the Image Controller tab, click a single image in the lower display 

area. If necessary, drag the image from the top display area into the lower 

display area. 

This is now the image that you will be working with in the recipe. 

Selected images have a blue outline around them. If more than one image is 

selected, the last image selected is the image that appears in your recipe. 



Enabling the Spot Meter in Flowgraph View 

If you enable the spot meter, image color values are displayed from the 


To enable the spot meter: 

1. On the Image Controller tab of the Input Roll/Image node, select Enable 

Spot Meter. 

2. Click Spot Meter Prefs. 


3. Enter the Average pixel radius that you want to use to calculate the 

average of multiple pixel values. 

4. Select the type of data that you want to be displayed. 

5. Click OK. 

When you move your cursor over the image in the ImageViewer, the spot 

meter information is displayed. 


Saving Images with the Flowgraph Recipe 


In order to save the original, uncorrected image with your recipe, you must 

enable this feature on the Image Controller tab. 

You can set this option to always be enabled by selecting it on the Directories 

tab in the Preferences window. See “Setting Image Directory Paths” on 

page 103. 

You may want to save an image with a recipe if you plan to send the recipe 

and image together to other members of the production team. If you do not 

select this option, you must send the image file separately in order for other 

users to view the image in the recipe. 

IMPORTANT 

Adding the image file to the recipe file significantly increases the size of the 

recipe file. 

Scanning Media Tab in Flowgraph View 

Use the Scanning Media tab to identify the type of film that was scanned to 

generate the image, or the type of digital still camera image. The system uses 

this information to accurately emulate the process. 

If you want to emulate a film stock other than the one you actually shot the 

image with, the system needs to know what film stock was originally used. 



Once the system knows what the original light or scene exposure looks like, it 

can show you how the different film stocks react to that light when you select 

different stocks in the Negative node. 

To identify the scanning media: 

1. Click the Scanning Media tab on the Input Roll/Image node options 

window. 

2. Select the film stock that was used to shoot the scanned image. 

3. If the scanner that was used to scan the film needs corrections, use the 

input timing settings to make the known adjustments. 

IMPORTANT 

Input Timing should only be used by an experienced colorist. 

4. Click Close to return to the workspace and continue building your recipe. 

OR 

Click the Source Type tab if you need to make selections on that tab. 

Source Type Tab in Flowgraph View 

Use the Source Type tab to select the: 

Illuminant source of a digital still camera image 

Type of .tif image 

− Telecine frame grab 

− CGI— MACINTOSH OS 

− CGI— WINDOWS OS 

− CGI— SGI 

The options available in the Source Type tab depend on the type of image 

that you are using. 

To select the source type: 

1. Click the Source Type tab of the Input Roll/Image node options window. 

2. Click the source of your image. 

The illuminant source is automatically selected on the Scanning Media 

tab. 


Save Node (Flowgraph) 


This node is available in the Production Edition and the VISION2 HD System 

Edition. 

If you are using the Production Edition, you can save images as .jpeg, .dpx, 

.cin, and .tiff. 

If you are using the VISION2 HD System Edition, you can save images as .tiff 

or .vid. With this edition, the Save node only works when it is connected to a 

node that supports video color space—HD Standard Looks node, HD 

Custom Looks node, or Color Corrector node. 

Use the Save node with the Batch Render Mode. Enable batch render to save 

all the images included in the lower display area on the Image Controller tab 

of the Input Roll/Image node. 

NOTE 

To save only one image, use the Save Image option from the ImageViewer 

instead of the Save node. See “ImageViewer Options” on page 202. 

To save multiple images: 

1. Enable the Batch Render Mode by clicking the Batch Render Mode icon 

in the toolbar. 

2. Connect the Save node to the node in your recipe that represents the look 

that you want to save. 

3. Double-click the Save node. 


4. Click Select. Browse for and double-click the directory where you want to 

save the images. 



5. Enter the prefix name or select Use original prefix. 

NOTE 

It is helpful to use a prefix when naming images in a scene or episode. 

6. Select the format type for the saved image from the drop-down menu. 


The images are saved. 

NOTE 

You are prompted at every third image to click OK if you want to continue. 


E MULATION NODES IN 


The Emulation nodes represent operations that appear in traditional 

photochemical film processing. 

These nodes consist of: 

Negative: See page 137. 

Master Positive: See page 149. (Not available in the KODAK VISION2 HD 


Dupe Negative: See page 149. (Not available in the KODAK VISION2 HD 


Print Emulation: See page 154. (Not available in the KODAK VISION2 HD 


Color Corrector: See page 161. 

Negative Node (Flowgraph) 

This node emulates the negative film stock and process. 

From this node you can emulate: 

Films and Processing: See page 138. 

Filters: See page 140. 

Gels: See page 143. 

Flashing: See page 146. 

You can also use the Negative node to calculate filter factors. See page 148. 

IMPORTANT 

Always use a Negative node in your recipe if you use a digital, still-camera 

image. Never use a Negative node in your recipe if you use a .tif image. You 

may or may not choose to use a Negative node if you use a .dpx, .kdx, or .cin 

image. 


Emulation Nodes in Flowgraph View 

Negative Node - Films Tab 

From the Negative Node - Films tab, make your choices for film, processing, 

and exposure. As you make selections on this tab, the Current Gray Density 

and Normal Gray Density are displayed. 

IMPORTANT 

As you make film and process selections on this tab or the Print node, the color 

timing lights automatically update on the next node in your recipe. To turn off 

this feature, check the Lock Timing option on the Color Timing tabs for the 

Master Positive, Dupe Negative, or Print nodes. You may want to leave the 

color timing tabs open as you work with the Negative Node - Films tab. See 

“Master Positive/Dupe Negative Nodes - Color Timing Tab” on page 152. 



To use the Negative Node - Films tab: 

1. From the Negative node options window, click the Films tab. 

2. (Optional) Click Quick Preview to open a Quick Preview window. 

Use this window to immediately view the effects of the selections that you 

make. However, this is a low-resolution image and should not be used to 

make critical color decisions. Use the ImageViewer for critical color 

decisions. 

3. Click the film stock that you will use during actual production. 

The manufacturer’s recommended Exposure Index and Normal Gray 

Density are displayed. 

4. Click a film process. Choose from Pull 2, Pull 1, Normal, Push 1, or 

Push 2. 

The Normal Gray Density and Current Gray Density values change to 

reflect your choice. 

5. If desired, select a Stop Offset and Compensation value from the dropdown 

menu. 

The Stop Offset and Compensation value that you select here also 

appears on the Filters and Gels tabs. 

6. If desired, select Compensate Filters or Compensate Gels. This option 

is only available if you select a filter or gel on the Filters and Gels tabs. 

The Stop Offset and Compensation value changes to reflect 

compensation. 

7. If desired, select a different exposure index. 

The default Exposure Index (EI) is the manufacturer’s recommendation 

for the film stock you select. However, if you prefer to rate the film 

differently, you can set the EI that you prefer to shoot at. 

The Current Gray Density values change to reflect your choice. 

8. If desired, use the slider bar to select a Skip Bleach percentage. 

9. Leave Autobalance Timing lIghts selected if you want the image to print 

to a normal 18% gray. This compensates for the push or pull processing 

that you select. 

10. Click Update to update the image in the ImageViewer. 

11. Continue to adjust node options and update the ImageViewer until you 

achieve the desired look. 

12. If necessary, click Reset All to reset all of the tabs to the default values. 



Negative Node - Filters Tab 

From the Negative Node - Filters tab, you can: 

Select one or more filters to emulate 

Compensate for the filter 

View the resulting Stop Compensation and Effective EI 

Create a filters package of your mostly frequently used filters 

NOTE 

These filters only emulate the tone and color impact of filters, not defocus/blur 

effects. 



My Filters Package 

The list of filters is extensive. To quickly locate and select filters that you use 

on a regular basis, create a customized filter package. 

To create a Filters Package: 

1. From the Negative node options window, click the Filters tab. 

2. From the Filters list on the left, click the filter that you want to include in 

your package. If necessary, click the + in front of a family of filters to 

display the entire list. 

3. Click the upper arrow that points toward the My Filters Package list. 

The filter appears in the My Filters Package list. 

This filter remains in the list until you remove it by selecting it and clicking 

Remove. 

Applying Filters to a Recipe 

Select a filter to emulate from either the main Filters list to the left or from the 

My Filters Package that you created. 

To apply a filter: 

1. From the Negative node options window, click the Filters tab. 





decisions. 



3. Do one of the following: 

From the Filters list on the left, click the filter that you want to emulate. If 

necessary, click the + in front of a family of filters to display the entire 

list. Click the lower arrow that points toward the Selected Filters list. 

OR 

From the My Filters Package list, click the filter that you want to 

emulate. Click the down arrow to move the filter into the Selected 

Filters list. 


4. Check or uncheck the Compensate Filters option. 

The Stop Compensation value and Effective EI are automatically 

adjusted. 

You can also manually select a Stop Compensation from the drop-down 

menu. 



5. To remove a filter, click the filter and then click Remove. 





Negative Node - Gels Tab 

From the Negative Node - Gels tab you can: 

Select one or more gels to emulate 

Compensate for the gel 

View the resulting Stop Compensation and Effective EI 

Create a gels package of your most frequently used gels 



My Gels Package 

The list of gels is extensive. To quickly locate and select gels that you use on 

a regular basis, create a customized gels package. 

To create a Gels Package: 

1. From the Negative node options window, click the Gels tab. 

2. From the Gels list on the left, click the gel that you want to include in your 

package. If necessary, click the + in front of a family of gels to display the 

entire list. 

3. Click the upper arrow that points toward the My Gels Package list. 

The gel appears in the My Gels Package list. 

This gel remains in the list until you remove it by selecting it and clicking 

Remove. 

Applying Gels to a Recipe 

Select a gel to emulate from either the main Gels list to the left or from the My 

Gels Package that you created. 

To apply a gel: 

1. From the Negative node options window, click the Gels tab. 





decisions. 


3. Do one of the following: 


From the Gels list on the left, click the gel that you want to emulate. If 

necessary, click the + in front of a family of gels to display the entire list. 

Click the lower arrow that points toward the Selected Gels list. 

OR 

From the My Gels Package list, click the gel that you want to emulate. 

Click the down arrow to move the gel into the Selected Gels list. 


4. Check or uncheck the Compensate Gels option. 

The Stop Compensation value and Effective EI are automatically 

adjusted. 

You can also manually select a Stop Compensation from the drop-down 

menu. 

5. To remove a gel, click the gel and then click Remove. 







Negative Node - Flashing Tab 

Use the Negative Node - Flashing tab to select Flashing Filters and set 

their values. The flashing value is the density above D-min. Flashing exposes 

a small amount of light to film before or after the scene is photographed. This 

lowers the contrast of your shadows or highlights depending upon which 

process you apply it to. For example, Negative plus Dupe Negative flashing 

lifts blacks, while Print plus Master Positive flashing softens whites. 

NOTE 

You can also apply flashing during the Dupe Negative, Master Positive, and Print 

Emulation processes. 

To apply a Flashing Filter to a recipe: 

1. From the Negative node options window, click the Flashing tab. 





decisions. 

3. Click one or more flashing filters in the Flashing Filters list. If necessary, 

click the + in front of the family of filters to display the entire list. 

The filters appear in the Selected Flashing Filters list. 



4. Use the slider bars to separately increase or decrease the amount of red, 

green, blue, or neutral. To move in large increments, click and drag the 

slider bar. To move in small increments, click in the slider bar area or use 

the arrow keys on your keyboard. 


5. To remove one filter in the Selected Flashing Filters list: 

a) Click the filter. 

b) Click Remove all Flashing Filters. 

6. To remove all filters in the Selected Flashing Filters list, click Remove 

All Flashing Filters. 





NOTE 








Calculating Filter Factors 

From the Negative node you can automatically calculate filter factors for any 

combination of film, filters, and gels. 

To use the Negative Node to calculate filter factors: 

1. Double-click the Negative node to open the options window. 

2. On the Films tab, click a film stock. 

3. If desired, change the Exposure Index. 

4. Click the Filters tab: 

a) Select the desired filters. See “Negative Node - Filters Tab” on 

page 140. 

b) Check the option box for Compensate Filters. 

The Eff. EI and Stop Compensation values are displayed on this tab 

and also the Films and Gels tabs. 

5. If using gels, repeat Step 4 on the Gels tab. See “Negative Node - Gels 

Tab” on page 143. 



Master Positive and Dupe Negative Nodes 

(Flowgraph) 

NOTE 

These nodes are not available in the VISION2 HD System Edition. 

Use these nodes to emulate the photochemical film processing chain of: 

Shoot on Print to 

Negative Master 

Positive 

The option windows for Master Positive and Dupe Negative nodes are the 

same. 

From these nodes you can emulate: 

Film: See page 149. 


Color Timing: See page 152. 

Master Positive/Dupe Negative Nodes - Films Tab 

 

Print to 

Dupe 

Negative 

From this tab, select the type of film and film process that you will use to 

create the Master Positive or the Dupe Negative during actual processing. 

You can also apply a Skip Bleach if desired. 

KODAK Look Manager System User Guide V2.2 149 

 

Print the Final 

Release Print


To use the Master Positive/Dupe Negative Node - Films Tab: 

1. From the Master Positive or Dupe Negative node options window, click 

the Films tab. 





decisions. 

3. Click the film stock and the process that you want to emulate. 






Master Positive/Dupe Negative Nodes - Flashing Tab 

Use the Master Positive/Dupe Negative - Flashing tab to select Flashing 

Filters and set their values. 

NOTE 

You can also apply flashing during the Negative and Print Emulation processes. 



To use the Master Positive/Dupe Negative Node - Flashing Tab: 


the Flashing tab. 





decisions. 

3. Click one or more filters in the Flashing Filters list. If necessary, click the 

+ in front of the family of filters to display the entire list. 


4. Use the slider bars to separately increase or decrease the amount of red, 

green, blue, or neutral. To move in large increments, click and drag the 

slider bar. To move in small increments, click in the slider bar area or use 

the arrow keys on your keyboard. 

The density value is displayed. 

5. To remove one filter: 


b) Click Remove all Flashing Filters. 

6. To remove all filters, click Remove all Flashing Filters. 





NOTE 








Master Positive/Dupe Negative Nodes - 

Color Timing Tab 

Adjust the Master Positive and Dupe Negative color timing from the Color 

Timing tab. 

Lock Timing 

When you make adjustments to film processing on any node, the timing lights 

automatically adjust so that a properly exposed 18% gray patch prints to the 

manufacturer’s recommendations for that film stock. This is called One Light 

timing. 

Check the Lock Timing (One Light) option to maintain the manufacturer’s 

recommended settings for the film and processing that you selected on the 

Negative Node - Films tab. 

Also, check the Lock Timing (One Light) option to prevent the timing from 

changing on the opposite intermediate node. If the option is unchecked and 

you increase the timing on the Master Positive node, the timing decreases on 

the Dupe Negative node. 

Lab LAD Normal 

The Lab LAD Normal values are offset values specific to a lab. The default 

settings are 25-25-25. Use the default settings unless you are calibrating for a 

specific lab and know that particular lab’s settings. 

Adjusting these values adjusts the printer lights even if the Lock Timing (One 

Light) option is checked, but does not affect the image. 



Adjusting the Printer Lights 

The Lock Timing (One Light) option must be unchecked for you to use the 

color slider bars. 

When you adjust the printer lights, you are entering offsets to the one-light 

position. So, if you change the processing parameters from any node, the 

printer lights change according to the manufacturer’s recommendations but 

also keep your offset values. 

For instance, if your one light is 21-27-18 and you change the lights to 

25-27-18, the offset increments for each color are 4-0-0. Then, if you change 

the processing type and the auto-timing changes so that the new one light is 

20-26-16, the printer lights remember the 4-0-0 offset increments. The printer 

lights automatically change to 24-26-16. 

To adjust printer lights: 


the Color Timing tab. 





decisions. 

3. Uncheck Lock Timing (One Light). 

4. Select the appropriate Timing Range from the drop-down menu. 

5. If you know the lab’s specific settings, adjust the Lab LAD Normal values. 

If not, use the default settings. 

6. Use the slider bars to adjust the lights. To move in large increments, click 

and drag the slider bar. To move in small increments, click in the slider bar 

area or on the colored boxes. Or, use the arrow keys on your keyboard. 

The Gray Density values change to reflect your choices. 

7. Click Reset Color Timing if you need to return to the manufacturer’s 

recommended settings. 







Print Emulation Node (Flowgraph) 

NOTE 

This node is not available in the VISION2 HD System Edition. 

Use this node to set up how the film will be printed. You can also use this node 

to get the print film look in video. You must select the film that you are 

emulating (Print Film) and the film that you will print to (Printing Media.) 

From this node you can emulate: 

Print Films: See page 154. 

Color Timing: See page 155. 

Printing Media: See page 157. 


Print Emulation - Print Films Tab 

Use the Print Films tab to select the print film stock that you want your print to 

look like, regardless of the actual print media that you will print on. 

IMPORTANT 

When printing to film with the standard lab procedure, the Print Film and Printing 

Media must be the same. When printing a digitally recorded negative, they can 

be different. 



To select the Print Films and process: 

1. From the Print Emulation node options window, click the Print Films tab. 





decisions. 

3. Click the film stock and the process you want to emulate. 






Print Emulation - Color Timing Tab 

To accurately communicate a look to a lab, the Look Manager System printer 

lights must be in sync with the lab’s printer lights. You can set these values on 

the Color Timing tab by adjusting the printer lights or by entering the Lab LAD 

Normal values. 

NOTE 

Changing the Lab LAD values does not change the look; it only adjusts the 

printer light offsets to match a specific lab’s printer. 



Lock Timing 

When you make adjustments to film processing on any node, the timing lights 

automatically adjust so that a properly exposed 18% gray patch prints to the 

manufacturer’s recommendations for that film stock. This is called One Light 

timing. 

Check the Lock Timing (One Light) option to maintain the manufacturer’s 

recommended settings for the film and processing that you selected on the 

Negative Node - Films tab. 

Lab LAD Normal 

The Labs LAD Normal values are offset values specific to a lab. The default 

settings are 25-25-25. Use the default settings unless you are calibrating for a 

specific lab and know that particular lab’s settings. 

Adjusting these values adjusts the printer lights numbers even if the Lock 

Timing (One Light) option is checked, but does not affect the image. 

NOTE 

After you apply the Labs LAD Normal values, you can make note of the printer 

light settings and send that information to the lab. This is a quick method to 

communicate the information if you don’t have time to create and share the 

recipe and image with the lab. 

Adjusting the Printer Lights 

The Lock Timing (One Light) option must be unchecked for you to use the 

color slider bars. 

When you adjust the printer lights, you are entering offsets to the one-light 

position. So, if you change the processing parameters from any node, the 

printer lights change according to the manufacturer’s recommendations but 

also keep your offset values. 

For instance, if your one light is 21-27-18 and you change the lights to 

25-27-18, the offset increments for each color are 4-0-0. Then, if you change 

the processing type and the auto-timing changes so that the new one light is 

20-26-16, the printer lights remember the 4-0-0 offset increments. The printer 

lights automatically change to 24-26-16. 

To adjust printer lights: 

1. From the Print Emulation node options window, click the Color Timing 

tab. 





decisions. 

3. Uncheck Lock Timing (One Light). 

4. Select the appropriate Timing Range from the drop-down menu. 



5. If you know the lab’s specific settings, adjust the Lab LAD Normal values. 

If not, use the default settings. 



area or on the colored boxes, or use the arrow keys on your keyboard. 

The Gray Density values change to reflect your choices. 

7. Click Reset Color Timing if you need to return to the manufacturer’s 

recommended settings. 





Print Emulation - Printing Media Tab 

Printing media is the film that your laser or CRT recorded negative will print to. 



To select the Printing Media: 

1. From the Print Emulation node options window, click the Printing Media 

tab. 





decisions. 

3. Click the film stock that you will be printing to. 

IMPORTANT 

When printing to film with the standard lab procedure, the Print Film and 

Printing Media must be the same. When printing a digitally recorded 

negative, they can be different. 

4. If necessary, adjust the output timing. 

IMPORTANT 

Only use the output timing if you have to adjust for known deficiencies in a 

film recorder. 





NOTE 

You can also select Printing Media by right-clicking (WINDOWS OS) or 

Control + Click (MACINTOSH OS) in the ImageViewer and selecting Printing 

Media. 


Print Emulation - Flashing Tab 


Use the Print Emulation Node - Flashing tab to select Flashing Filters and 

set flashing densities. 

NOTE 

You can also apply flashing during the Negative, Dupe Negative, and Master 

Positive processes. 

To use the Print Emulation - Flashing Tab: 

1. From the Print Emulation node options window, click the Flashing tab. 





decisions. 



3. Click one or more flashing filters in the Flashing Filters list. Click the + in 

front of the family of filters to display the entire list. 




area or use the arrow keys on your keyboard. 

The density value is displayed. 

5. To remove one filter: 


b) Click Remove All the Flashing Filters. 

6. To remove all filters, click Remove all the Flashing Filters. 





NOTE 







Color Corrector Node (Flowgraph) 


Use this node to emulate primary color corrections for lift, gamma, gain, 

saturation, and lamp intensity. 

Lift adjusts the colors primarily in the shadows. 

Gamma adjusts the colors primarily in the midtones. 

Gain adjusts the colors primarily in the highlights. 

To use the Color Corrector node: 

1. Connect the Color Corrector node into your recipe and double-click it to 

open the options window. 





decisions. 

3. Click in the color area that you want to adjust for either Lift, Gamma, or 

Gain. 

4. Use the keyboard arrows to move the point in small increments. 

5. (Optional) Select Video Input to convert all incoming images to video 

color space for applying the color corrections. For most recipes, the image 

is converted back to an appropriate color space for display. For example, 

the image is converted back to DPX color space for appropriate 

emulations through a print film. 

6. Use the slider bar to set the density. 

If you decrease lift, shadows get darker. 

If you decrease gain, the highlights get darker. 

7. For finer control, select a Zoom value. 

8. To adjust the overall amount of saturation, set the value in Saturation. 



9. To adjust the overall lamp intensity, set the value in Lamp Intensity. 



11. If necessary, click Reset All to reset all the tabs to the default values. 


Timing Node 

TOOL NODES IN 


The Tool nodes allow you to apply special procedures to the film processing 

workflow. Some of these procedures are not an emulation of real-world digital 

processes. Use these tools if you are outputting to Color Corrector or digital 

intermediate in Flowgraph View. 

Tools include: 

Timing 

Matrix Gamma 

Split 

Merge 

Apply 3DLut 

HD Standard Looks (KODAK VISION2 HD System Edition only) 

HD Custom Looks (KODAK VISION2 HD System Edition only) 

Use this node to apply a mathematical offset to the code values of an image. 

IMPORTANT 

This node is only recommended for advanced colorists. 


Tool Nodes in Flowgraph View 

To set Timing: 

1. Connect the Timing node into your recipe, and double-click it to open its 

options window. 





decisions. 

3. From the Input-Timing Mode drop-down menu, select either Addition or 

Multiplication for the correction mode. 

4. If desired, click Link Channels to enable the sliders to move at the same 

time. 

5. Adjust the values by: 

Dragging the slider bar 

Clicking the slider bar to move the slider in increments of 10 

Typing a value in the coefficient field 




8. If necessary, click Reset to reset to the default values. 


Matrix Gamma Node 


Use this node to apply a color correction matrix or to apply a gamma curve to 

an image. 

IMPORTANT 

This node is only recommended for advanced colorists. 

Gamma affects the overall tonal quality of colors and also controls contrast. 

Normal values are 1, 1, 1. Click the blue arrows to move all three gamma 

values in equal increments; or highlight a value and type a new value. 

Values in the matrix determine the red, green, and blue coefficients. Normal 

values, with no color correction applied, are shown here: 

The example below shows a sample 3 x 3 matrix, which completely 

desaturates an image. 



To use the Matrix Gamma node: 

1. Connect the Matrix Gamma node into your recipe, and double-click it to 

open its options window. 





decisions. 

3. Click in a cell and type the desired value. Note that the sum of the values 

in each row cannot exceed 1. 

4. Click Identity to set the matrix values to 1, 1, 1. 

5. Select Auto Fill to automatically adjust the first three values in each row to 

make the sum equal 1. 




8. If necessary, click Reset All to reset to the default values. 


Split Node 


Use this node to output a look at different intensities. If you do a split of 

100,0,0; 0,100,0; and 0,0,100, you can do Color Corrector or other operations 

on the red, green, and blue channels individually. You can then recombine the 

images with a Merge node with the same settings. 

Set the percentages for each color channel image that you want to split. The 

most common type of split is shown here. 

IMPORTANT 

Recipes that use the Split node cannot be imported into the Main View. 

To use the Split node: 

1. Connect the Split node into your recipe, and double-click it to open its 






decisions. 

3. Enter the values for each color channel. 

The numbers for each color channel represent the percentage of red, 

green, and blue that goes into that channel. 

4. Click to update the image in the ImageViewer. 



Sample Recipe with a Split Image 



Merge Node 

Use this node to combine two or three looks or to recombine a single image 

that was split into color channels. 

IMPORTANT 

Recipes that use the merge node cannot be imported into the Main View. 

To use the Merge node: 

1. Connect the Merge node into your recipe, and double-click it to open its 






decisions. 

3. Enter the values for each color channel. 

The numbers for each color channel represent the percentage of red, 

green, and blue that goes into that channel. 





Sample Recipes Using the Merge Node 

Merging Looks 


If you want to do a 50-50 blend of two looks, you would enter the following 

values for Image Input 1 and Image Input 2: 

Merging a Split Image 

After an image has been split so that operations can be performed on 

individual channels, you will probably want to merge it. 

It is possible to perform a split and merge where you leave the values 

unchanged in the split and make the changes in the Merge node. By doing 

this, you are developing looks on a full copy of the original look. The Merge 

node only selects information from the channels that it needs. 



Apply 3DLut Node 

Use this node to apply a 3D LUT to an image. For more information about 3D 

LUTs, see “3D LUTs—Exporting, Importing, and Applying” on page 191 . 

IMPORTANT 

This node is intended to be used by advanced users. 

To use the Apply 3DLut node: 

1. Connect the Apply 3DLut node into your recipe, and double-click it to 


2. Click Select to browse to a 3D LUT file. 

Production Edition—LUTs from outside sources in the .3dl format are 

acceptable. Make sure the 3D LUTs you use are in the DPX color space. 

VISION2 HD Edition—LUTs from outside sources in the .3dl format are 

acceptable. Make sure the 3D LUTs you use are in the VIDEO709 color 

space. However, under the following conditions, you can apply a 3D LUT 

node with DPX color space: 

- 3D LUT shall not be the last node of the chain 

- can be inserted after a Negative node 

- can be inserted after a Color Corrector node 





decisions. 



HD Standard Looks Node 


This node is only available in the VISION2 HD System Edition. 

Use this node to create a standard Kodak video look. 

You can customize a standard look by adding a Color Corrector node to the 

recipe. You can export the look in a 3D LUT to be used by the KODAK 

VISION2 HD Digital Processor. 

NOTE 

For more information on using this node, see “Using the HD Standard Looks 

Node in Flowgraph View” on page 179. 



HD Custom Looks Node 

This node is only available in the VISION2 HD System Edition. 

Always use this node with a Negative node to create a custom video look. 

You can export the look in a 3D LUT to be used by the KODAK VISION2 HD 

Digital Processor. 

NOTE 

For more information on using this node, see “Using the HD Custom Looks Node 

in Flowgraph View” on page 184. 


U SING THE VISION2 HD 

S YSTEM EDITION 

You can use the KODAK VISION2 HD System Edition in both Main View and 

Flowgraph View. 

During pre-production, use the VISION2 HD System Edition to: 

View a digital, still-camera image of your set with one of the standard Kodak 

video looks applied. These are the same looks that you can create after 

shooting on VISION2 HD Film and then applying a look with the KODAK 

VISION2 HD Digital Processor. See “Using the HD Standard Looks Tab in 

Main View” on page 174 and “Using the HD Standard Looks Node in 

Flowgraph View” on page 179 

IMPORTANT 

If any on-camera lens filtration is to be used during actual filming, use the 

same filter on the digital-still camera when taking a still preview image. This 

ensures the most accurate match between the digital preview and the 

captured film image. Be sure to use the appropriate filter factor for the filter 

on both the film camera and the digital camera. 

Customize one of the standard Kodak video looks. You can customize a 

look by using the HD Standard Looks node and adding Color Corrector 

corrections. Or, use the HD Custom Looks node with the negative node 

and add Color Corrector corrections, if desired. After creating the look, 

export an encrypted LUT containing that look for use with the VISION2 HD 

Digital Processor. See “Using the HD Custom Looks Tab in Main View” on 

page 176 and “Using the HD Custom Looks Node in Flowgraph View” on 

page 184 

NOTE 

The VISION2 HD System Edition only recognizes supported digital, still-camera 

images and VISION2 HD 5299/7299 Film scanned image files with a .vid 

extension. 


Using the VISION2 HD System Edition 

Creating VISION2 HD System Looks in Main View 

The Main View contains templates designed specifically for use with the 

VISION2 HD Digital Processor. All looks that you create for the VISION2 HD 

System Edition are based on these templates. The templates are located on 

the Look Browser tab inside the Templates directory. 

HD Standard—Use this to view one of the standard 

video looks available in the VISION2 HD Digital 

Processor. You can create the same looks that are in 

the KODAK VISION2 HD Digital Processor. 

HD StandardColorCorrector—Use this to add color 

corrections to one of the standard looks. 

NegCustom—Use this to create a custom look that can 

be exported as a 3D LUT. The LUT can be imported into 

the VISION2 HD Digital Processor. 

NegCustomColorCorrector—Use this to add color 

corrections to a custom look that can be exported as a 

3D LUT. The LUT can be imported into the VISION2 HD 

Digital Processor. 

To apply a template: 

From the Look Browser tab, in either Scene Layout or Look Builder, click and 

drag the template onto selected images. See “Applying a template or look” on 

page 75. 

Using the HD Standard Looks Tab in Main View 

Use the HD Standard Looks tab to view one of the standard looks available 

in the VISION2 HD Digital Processor. 

To use the HD Standard Looks tab in a recipe: 

1. Drag and drop one of the Standard Look templates from the Look 

Browser tab onto the image that you want to work with. 

NOTE 

This can be done from either Scene Layout or Look Builder. 

2. In Look Builder, click the HD Standard Looks tab at the bottom of the 

window. 


The following options are available. 

3. Make the appropriate selections. 


Camera Film Stock—Select the type of film stock that you want to 

emulate. 

Alternate—Alternate Looks are outside of the typical color negative film 

choices offered for television post-production. Some of the looks 

included are: EKTACHROME, black-and-white, skip-bleach processing, 

and reversal cross-processing. 

5299 Rated Exposure Index—Select either 500 or 320 speed. The 

choice you make here should match how the 5299/7299 film will be shot 

on set. 

5299 Exposure Compensation—Use this feature to automatically 

correct for misexposure on the set under known conditions or for 

accidental misexposure. 

5299 Daylight Compensation—Disable this option if the image was 

captured under tungsten illumination. Enable this option if the image 

was captured under daylight or HMI lighting (any light source with a 

color temperature of around 5500K) and no color correcting filtration 

(such as WRATTEN Filter, No. 85) is used. When enabled, this option 

corrects for the blue cast that normally results for any tungsten film shot 

under daylight source. Because VISION2 HD film is tungsten balanced, 

daylight compensation is required. When shooting under tungsten 

illumination, VISION2 HD images should already appear neutrally 

balanced and compensation is not needed. 

IMPORTANT 

If on-camera filters are used during filming, the same filter must be used on 

the digital-still camera when capturing the preview image. Be sure to use 

the appropriate filter factor for the filter on both the film camera and the digital 

camera. 

Highlight Enhancement—Enable this option to allow the user to see all 

the highlight detail that might otherwise be clipped by a normal rendition. 

The image becomes darker and lower in contrast so that the highest 

highlights can be seen more easily. When this option is disabled, the 

image is rendered with normal preferred contrast, and the very extreme 

highlights may be clipped. 



NOTE 

When using this option with a digital, still-camera image as your source, you 

may not see extra highlight detail on your image because the digital camera 

cannot capture the extra highlight latitude that 5299/7299 can. 

4. Continue to adjust the options until you achieve the desired look. 

5. (Optional) Click the save icon in the toolbar to save as a base look. 

6. (Optional) If you are using the HD Standard Color Corrector template, 

from the Color Corrector tab you can further customize the standard look. 

See “Color Corrector Settings in Main View” on page 84. 

7. (Optional) To export a 3D LUT for use with the VISION2 HD Digital 

Processor, in Scene Layout, go to Tools > Export 3D LUT. See “3D 

LUTs—Exporting, Importing, and Applying” on page 191. 

NOTE 

If you are not making Color Corrector adjustments, you do not need to export 

a LUT if you use this template. 

Using the HD Custom Looks Tab in Main View 

Use the HD Custom Looks tab to create a custom video look above and 

beyond the standard VISION2 HD System looks. You can emulate various 

negative film options like on-camera filters or creative lighting effects. Further 

customize the look by using the Color Corrector tab to add Color Corrector 

corrections. 

After you have created your customized look, you can export a 3D LUT that 

can be used by the VISION2 HD system. 

To use the HD Custom Looks tab: 

1. Drag and drop one of the Custom Look templates from the Look Browser 

tab onto the image that you want to work with. 

NOTE 

This can be done from either Scene Layout or Look Builder. 

2. In Look Builder, click the HD Custom Looks tab at the bottom of the 

window. 

The following options are available. 






on set. 


correct for misexposure on set under known conditions or for accidental 

misexposure. 

5299 Daylight Compensation —Turn on Daylight Compensation when 

no on-camera compensation is used in daylight filming. Turn off Daylight 

Compensation when shooting in normal tungsten lighting and if oncamera 

daylight compensating filters will be used (WRATTEN Filter, No. 

85, etc.) during daylight filming. 

IMPORTANT 


the digital, still camera when capturing the preview image. Be sure to use 


camera. 

Highlight Enhancement—Click and drag the slider bar to select the 

desired amount of highlight enhancement. 

Chroma Adjustment—The default Chroma Adjustment in all of the 

Kodak standard looks on the VISION2 HD Digital Processor is 95%. To 

enter a custom amount, deselect TCS Default and use the slider bar to 

set any value from 0% to 200%. 

4. Continue to adjust the options until you achieve the desired look. 

5. (Optional) Click the save icon in the toolbar to save this look as a base 

look. 

6. (Optional) If you are using the HD Custom Looks template, use the Color 

Corrector tab to further customize the custom look. See “Color Corrector 

Settings in Main View” on page 84. 

7. (Optional) To export a 3D LUT for use with the VISION2 HD Digital 

Processor, in Scene Layout go to Tools > Export 3D LUT. See “3D 

LUTs—Exporting, Importing, and Applying” on page 191. 



Creating VISION2 HD System Recipes in 


The Flowgraph View contains templates for recipes designed specifically for 

use with the VISION2 HD System. All recipes for the VISION2 HD System 

Edition should be based on these templates. 

Advanced users can modify these templates using the Look Manager System 

tool nodes. See “Tool Nodes in Flowgraph View” on page 163. 

There are two methods to insert a template: 

At startup, when the Template Selection window opens, click the 

appropriate template and click OK. The template appears in the workspace. 

From within the application go to File > Templates > Insert Template. 

Click the desired template. The template appears in the workspace. 

Choose one of the following templates: 

KODAK VISION2 HD System Standard Looks: Use this template to view 

one of the standard video looks available in the VISION2 HD Digital 

Processor. 

NOTE 

With this template you can create the same looks that are in the KODAK 

VISION2 HD Digital Processor. You do not need to export a LUT if you use 

this template. 

KODAK VISION2 HD System Standard Looks + Color Corrector: Use 

this template to add Color Corrector corrections to one of the standard 

looks. 

Negative + KODAK VISION2 HD System Custom Looks: Use this 

template to create a basic custom look. 



Negative + KODAK VISION2 HD System Custom Looks + Color 

Corrector: Use this template to add Color Corrector corrections to a basic 

custom look. 

Using the HD Standard Looks Node in 


Use the HD Standard Looks node to view one of the standard looks available 

in the VISION2 HD Digital Processor. 

IMPORTANT 

Do not use the Negative node in an HD Standard Looks recipe. 

To use the HD Standard Looks node in a recipe: 

1. Insert one of the standard look templates into the workspace—KODAK 

VISION2 HD System Standard Looks or KODAK VISION2 HD System 

Standard Looks + Color Corrector. 





3. Click Select on the Image Controller tab. 


4. Double-click the correct image folder. 

All the images in the folder that are compatible with the VISION2 HD 

System Edition are displayed in the upper display area. 








NOTE 

The images that you place in the lower display area are the images that are 

available to the recipe you are creating. But the look you create in the recipe 

is only displayed on the last selected image. Selected images have a blue 

outline. 

6. Click the Source Type tab. 

The options that appear depend on the type of image you input. 

7. Click the appropriate standard looks option based on how you plan to 

shoot the 5299/7299 film on set. 

If you are using an image from a digital-still camera, you can choose from 

an EI of 100, 320, or 500. When using a VID image, there is only one 

standard option. 

IMPORTANT 

If you do not select one of the standard options, you will receive an error 

message when you render the look from the recipe. 

8. Close the option window. 

NOTE 

It is not necessary to make any selections on the Scanning Media tab when 

using the HD Standard Looks node. The tab is blank. Do not adjust timing 

from the Scanning Media tab. 

9. Double-click the HD Standard Looks node. 





Camera Film Stock—Select the type of film stock that you want to 

emulate. 

Alternate—Alternate Looks are outside of the typical color negative film 

choices offered for television post-production. Some of the looks 

included are: EKTACHROME, black-and-white, skip-bleach processing, 

and reversal cross-processing. 



on set. 


correct for misexposure on the set under known conditions or for 

accidental misexposure. 

5299 Daylight Compensation—Disable this option if the image was 

captured under tungsten illumination. Enable this option if the image 

was captured under daylight or HMI lighting (any light source with a 

color temperature of around 5500K.) When enabled, this option corrects 

for the blue cast that normally results for any tungsten film shot under 

daylight source. Because VISION2 HD Film is tungsten balanced, 

daylight compensation is required. When shooting under tungsten 

illumination, VISION2 HD images should already appear neutrally 

balanced and compensation is not needed. 

IMPORTANT 


the digital-still camera when capturing the preview image. Be sure to use 


camera. 

Highlight Enhancement—Enable this option to allow the user to see all 

the highlight detail that might otherwise be clipped by a normal rendition. 

The image becomes darker and lower in contrast so that the highest 

highlights can be seen more easily. When this option is disabled, the 

image is rendered with normal preferred contrast, and the very extreme 

highlights may be clipped. 

11. Click Update. 

The ImageViewer opens and displays your image with the look applied. 

For information on using the ImageViewer, see “Using the ImageViewer” 

on page 200. 

If you are using the Color Corrector node to customize the standard look, 

continue to the next step. 


12. Double-click the Color Corrector node. 



13. Make any necessary adjustments. See “Color Corrector Node 

(Flowgraph)” on page 161. 

14. Click Update on the Color Corrector node to update the image in the 




IMPORTANT 

When viewing video images, always open the ImageViewer from one of the 

three nodes that support video color space—Standard Looks node, 

Custom Looks node, and the Color Corrector node. 


blue output button on the Color Corrector node to export a 3D LUT with 

the look you just created. See “Exporting a 3D LUT in Flowgraph View” on 

page 191. 

NOTE 

If you only want to view the look in the Look Manager System, you do not 

need to export a LUT. 

17. If desired, save the recipe. See “Saving Recipes in Flowgraph View” on 

page 119. 



Using the HD Custom Looks Node in 


Use the HD Custom Looks node to create a custom video look above and 

beyond the standard VISION2 HD System looks. You can emulate various 

negative film options like on-camera filters or creative lighting effects. Further 

customize the look by using the Color Corrector node to add Color Corrector 

corrections. 

To use the HD Custom Looks node in a recipe: 

1. Insert one of the custom look templates into the workspace—Negative + 

KODAK VISION2 HD System Custom Looks or Negative + KODAK 

VISION2 HD System Custom Looks + Color Corrector 




3. Click Select on the Image Controller tab. 



4. Double-click the correct image folder. 

All the images in the folder that are compatible with the VISION2 HD 

System Edition are displayed in the upper display area. 








NOTE 

The images that you place in the lower display area are the images that are 

available to the recipe you are creating. But the look you create in the recipe 

is only displayed on the last selected image. Selected images have a blue 

outline. 

6. Click the Source Type tab. 

The options that appear depend on the type of image you input. 

7. Click the custom source type that contains the correct speed (100, 320, or 

500) and the correct scene lighting (tungsten or daylight). 

NOTE 

Unlike Standard Looks recipes, Custom Looks recipes require that you 

select the film speed rating and color balance. Be sure to use only designated 

Custom Looks source types in the Input Image Source Type tab. 

The choice that you make here should be based on what speed the 5299/ 

7299 film will be rated on set and whether daylight compensation is 

needed. Choosing D turns on the digital daylight compensation. For 

normal tungsten lighting, selecting T produces properly balanced images. 

If on-camera daylight compensating filters will be used (WRATTEN 85, 

etc.) during daylight filming, select T because daylight compensation is not 

needed. 

Only select D when no on-camera compensation is used in daylight 

filming. 

IMPORTANT 

If on-camera lens filters are used during filming, the same filter must be used 

on the digital-still camera when capturing the preview image. Be sure to use 


camera. 



8. Click the Scanning Media tab to verify that the correct lighting source was 

selected. 

NOTE 

The selection is automatically made on the Scanning Media tab based on 

the selection you made on the Source Type tab. 

IMPORTANT 

Do not adjust the Input Timing on the Scanning Media tab. 

9. Close the option window. 

10. Double-click the Negative node. 


11. Make your choices for film, processing and exposure. For more 

information, see “Negative Node (Flowgraph)” on page 137. 



12. Double-click the HD Custom Looks node. 




correct for misexposure on set under known conditions or for accidental 

misexposure. 

Highlight Enhancement—Click and drag the slider bar to select the 

desired amount of highlight enhancement. 

Chroma Adjustment—The default Chroma Adjustment in all of the 

Kodak standard looks on the VISION2 HD Digital Processor is 95%. To 

enter a custom amount, deselect TCS Default and use the slider bar to 

set any value from 0% to 200%. 


The ImageViewer opens and displays your image with the look applied. 

For information on using the ImageViewer, see “Using the ImageViewer” 

on page 200. 

15. To export a 3D LUT with the look created at this point, right-click 

(WINDOWS OS) or Control + Click (MACINTOSH OS) the blue output 

button on the Custom Look node. See “Exporting a 3D LUT in Flowgraph 

View” on page 191. 

If you are using the Color Corrector node to further customize the custom 

look, continue to the next step. 

16. Double-click the Color Corrector node. 




17. Make any necessary adjustments. See “Color Corrector Node 

(Flowgraph)” on page 161. 


IMPORTANT 

When viewing video images, always open the ImageViewer from one of the 

three nodes that support video color space—Standard Looks node, 

Custom Looks node, and the Color Corrector node. 




blue output button on the Color Corrector node to export a 3D LUT with 

the look you just created. See “Exporting a 3D LUT in Flowgraph View” on 

page 191. 

NOTE 

If you only want to view the look in the Look Manager System, you do not 

need to export a LUT. 

21. If desired, save the recipe. See “Saving Recipes in Flowgraph View” on 

page 119. 


3D LUTS—EXPORTING, 

I MPORTING, AND APPLYING 

The Look Manager System allows you to import 3D LUTs for use in Look 

Manager System and to export and apply 3D LUTs from the Flowgraph View 

and the Main View. 

These LUTS can be imported and used by other imaging systems to maintain 

a consistent look. 

Production Edition—export 3D LUTs for use with DPX images only. 

VISION2 HD Edition—export 3D LUTs for use with VID images, or with the 

VISION2 HD Digital Processor. 

IMPORTANT 

If visually comparing images created in the Look Manager System to 3D LUTs 

applied in the VISION2 HD Processor, make sure that your display has been 

properly calibrated and characterized with the KODAK Display Manager System. 

See “Calibrating Your Monitor” on page 227. Post-houses should consult a 

Kodak representative about system calibration before attempting to use 

3D LUTs on systems other than the VISION2 HD Processor. 

Exporting a 3D LUT in Flowgraph View 

To export a 3D LUT: 

1. Create your recipe. 


blue output button. 

Production Edition—click from any node. 

VISION2 HD Edition—click from the Standard Looks, Custom Look, or 

Telecine nodes only. 


3. Click Export 3DLut. 


3D LUTs—Exporting, Importing, and Applying 


NOTE 

Production Edition—save 3D LUTs as 3DL, 3DE, LUT, CMS, or MGA files. 

VISION2 HD Edition—save 3D LUTs as XML files. 

4. Browse to the appropriate directory from the Look in drop-down menu. 

5. Type the file name in the File name field. 


NOTE 

VISION2 HD Edition—Refer to the VISION2 HD Digital Processor User Guide 

for information on how to import the LUT into the digital processor. 


Exporting a 3D LUT in Main View 


In the Main View Production Edition, you can export 3D LUTs as follows: 

3DL format for use with other hardware or software systems 

3DE format for use with KOD AK Telecine Calibration System 

LUT format for use with DISCREET LUSTRE Color Grading System 

MGA format for use with PANDO RA MEGAMOORE DEF Color System 

CMS format for use with NUCODA Color System 

In the Main View VISION2 HD Edition, you can export 3D LUTs only in XML 

format for use with the VISION2 HD Processor and scans of only VISION2 HD 

Film. 

To export a 3D LUT: 

1. In Scene Layout, go to Tools > Export 3D LUT. 


2. (Production Edition only) From the File Type drop-down menu, select a 

file type. 

3. From the Export Type drop-down menu, select Selected Images or All 

Images. 

4. (3DL format only) From the Input Bits Depth drop-down menu, select 

either 8, 10, 12, or 16 for the bit depth of image data into the LUT. 

5. (3DL format only) From the Output Bits Depth drop-down menu, select 

either 10, 12, or 16 for the bit depth of image data out of the LUT. 

6. Click Export. 

The Exported LUT is saved in the exported3dLut folder in the project 

main folder. 



Applying a 3D LUT in Flowgraph View 

If you receive a 3D LUT from another Look Manager System user, you can 

apply that look by using the Flowgraph chain. 

1. Place the Input Roll node in the Flowgraph view and select an image. 

For Production Edition, use a DPX image. For VISION2 HD Edition, use a 

VID image or digital still camera RAW file. 

2. Connect the Apply 3DLut node into your recipe, and double-click it to 


3D LUTs exported by Look Manager System can be selected in the Apply 

3DLut node as follows: 

Production Edition—LUTs from outside sources in the 3DL format are 

acceptable. Make sure the 3D LUTs you use are in the DPX color space. 

VISION2 HD Edition—LUTs from outside sources in the 3DL format are 

acceptable. Make sure the 3D LUTs you use are in the VIDEO709 color 

space. However, under the following conditions, you can apply a 3D LUT 

node with DPX color space: 

- 3D LUT shall not be the last node of the chain 

- can be inserted after a Negative node 

- can be inserted after a Color Corrector node 

See “Apply 3DLut Node” on page 170 for further information on applying 

the 3D LUT. 

Applying a 3D LUT in Main View 

1. In Flowgraph view, build the chain as described above in “Applying a 3D 

LUT in Flowgraph View”. 

2. Save the recipe (.lms) file. See “Saving Recipes in Flowgraph View” on 

page 119. 

3. Go to Main view and import the look. See “Importing Looks” on page 76. 

4. Assign the imported look to your images. 


3DL File Format—Overview 


3DL files that are exported by Look Manager System have tags that are used 

to define the Input and Output colorspaces of the exported 3D LUT. The tags 

are INPUT CS and OUTPUT CS. 

By default, the entries are DPX for the Production Edition. For the XML 3D 

LUT files exported from the VISION2 HD Edition, the colorspaces are locked 

to VIDEO709 for use with the VISION2 HD Digital Processor. 

When importing 3D LUT files, the Apply 3DLut node uses these entries to 

determine if colorspace conversion is required when applying the specific 3DL 

file. 

For example, you might apply a video colorspace 3D LUT in the VISION2 HD 

Edition by including VIDEO709 for INPUT CS and OUTPUT CS. If INPUT CS 

and OUTPUT CS are not defined in the header, Apply 3DLut node assumes 

that both the Input and Output colorspaces are DPX in the Production and 

VISION2 HD Editions. 

However, other colorspaces are also available. Consult with your Kodak 

representative for more detail or for information on more advanced operation. 

Header Information—3DL File Format 

# Eastman Kodak, Entertainment Imaging (C) 1999-2007 

# 

# IDENTIFICATION: Kodak Look Manager - 3DLUT 

# CREATOR: Kodak Look Manager V2.2 

# USER: Your Name Here 

# DATA: 2007-02-05T14:30:44 

# 

# NUMBER OF COLUMNS: 3 

# NUMBER OF ROWS: 4913 

# NUMBER OF NODES: 17 

# INPUT RANGE: 10 

# OUTPUT RANGE: 10 

# INPUT CS: DPX 

# OUTPUT CS: DPX 

# 

# TITLE : NegTelecine_Tungsten_2634.lms 

# DESCRIPTION : 

# ******NEGATIVE_NODE parameter****** 

# Film:5218 Vision2 500T 

# EI:500 

# Skip Bleach:57% 

# ******COLOR_CORRECTOR_NODE parameter****** 

# Lift:0 , 0 , 50 

# Gamma:-0.04 , -0.06 , 50 

# Gain:-0.27 , -0.06 , 50 

# Saturation:73% 

# Intensity:10 



0 64 128 192 256 320 384 448 512 576 640 704 768 832 896 960 1023 

28 0 0 

28 0 0 

28 0 0 

28 0 0 

34 0 0 

41 0 20 

46 0 68 

52 0 137 

56 0 209 

62 0 286 

69 1 361 

75 3 442 

81 8 532 

88 17 628 

92 21 691 

96 26 736 

99 29 759 

28 0 0 

28 0 0 

28 0 0 

28 0 0 

34 0 0 

41 0 20 

46 0 68 

52 0 137 

56 0 209 

62 0 286 

69 1 361 

75 3 442 

81 8 532 

88 17 628 

92 21 691 

96 26 736 

99 29 759 

28 0 0 

28 0 0 

etc. 

3D LUT—Overview 

3D LUT—Advantages and Disadvantages 

Advantages—speed, portability, and encapsulation. 

Hardware can apply a 3D LUT in real-time. 

3D LUTs are platform-independent (format and definition layout). 

End-to-end math is encapsulated in a 3D LUT. 

The Look up operation (precalculat ed table) is faster than actual 

calculation for each pixel. RGB =>RGB’. 

Format description 

The node list describes the input space: bit depth and definition (number 

of nodes) 

The body represents the resulting mapped values (R,G,B). 



There are node^3 possibilities/combi nations; there are (node^3) lines of 

RGB values in the body of the file. 

Interpolations for inter-node values may introduce some inaccuracy. 

Large number of nodes—as the number of nodes increases: 

Definition and accuracy are higher 

More memory is required 

Less hardware compatibility 

3D LUT —Description 



3D LUT—Description, continued 

(64, 192, 640) 

(64, 192, 576) 

(64, 128, 640) 

(64, 128, 576) 

If an explicit look up table is not available for a pixel’s RGB values, 

interpolation is required to calculate the output R’G’B’ values. 

In the example shown, there is no look up table entry for RGB = 100, 150, 600. 

However, RGB is bounded by a small cube with 8 corners that do have look 

up table entries available. Using the output values at these 8 positions, R’G’B’ 

output values can be calculated via interpolation. 

(128, 192, 640) 

(128, 192, 576) 

(128, 128, 640) 

(128, 128, 576) 

(RB = 100, 150, 600) 

(value 8) 

(value 4) 

(value 7) 

(value 3) 

(value 5) (value 6) 

(value 1) (value 2) 

(R’G’B’ = ?, ?, ?) 

Look up available for the 8 corners: values 1-8 

R’G’B is then calculated based on its spatial position within the cube defined by 

the known 8 corners. This calculation is achieved by interpolation. There are 

different interpolation methods. Look Manager System/Display Manager use 

tetrahedral interpolation. 

3D LUT Line counting : line# = indexB + indexG*17 + indexR*17*17 + 1 

(values1)->line# in .3DL = 9 + 2*17 + 1*17*17 + 1 = 25 





(values6)->line# in .3DL = 10 + 2*17 + 2*17*17 + 1 =35 




V IEWING YOUR RESULTS IN 


The Flowgraph View offers two methods for viewing your results as you create 

your look. 

The Quick Preview window displays a low-resolution image that 

automatically updates as you make changes to the node options. See 

“Using Quick Preview” on page 199. 

The ImageViewer displays a high-resolution image that you can print and 

save. To view results, you must manually update the ImageViewer after you 

make changes to the node options. In addition to viewing the adjusted 

image, you can also view a histogram of the image or the out-of-gamut 

colors for an image. See “Using the ImageViewer” on page 200. 

Open multiple Quick Preview windows and ImageViewers to compare looks. 

Using Quick Preview 

IMPORTANT 

Quick Preview should only be used for getting a general idea of how the image 

looks. For an accurate view of the image, you must use the ImageViewer. See 

“Using the ImageViewer” on page 200. 

Quick Preview displays a thumbnail image that updates automatically as you 

make changes to the node options or previous nodes. If you open a Quick 

Preview window for every node in your recipe, you can immediately see how 

changes to one node impact the image throughout the entire recipe. 

To open or close a Quick Preview window: 

Click Quick Preview on a node options window. 

The Quick Preview window title bar contains the name of the node that 

generated the quick preview. 

Click and drag the title bar of the 

Quick Preview window to position the 

window near the associated node. 


Viewing Your Results in Flowgraph View 

Using the ImageViewer 

In the Flowgraph View, you can open an ImageViewer from any node by 

double-clicking the blue output button or by clicking Update on the node 

options window. The ImageViewer displays the image as it appears at a 

certain point in the recipe. 

IMPORTANT 

If you are using the VISION2 HD System Edition, only open an ImageViewer 

from one of the following nodes—HD Standard Looks node, HD Custom 

Looks node, and Color Corrector node. These are the only nodes that support 

video color space. Opening an ImageViewer from any other node may lead to 

an error. 

If you open more than one ImageViewer, you can compare images by 

assigning one of the four ImageViewers to different nodes. 

An image stays in the ImageViewer until you do one of the following: 

Close the ImageViewer 

Close the Look Manager System 

Replace the image by double-clicking the blue output button of a different 

node assigned to that viewer 

Clear the ImageViewer 

The ImageViewer does not automatically update the image as you make 

changes to the node options. To view the new image adjustments, doubleclick 

the blue output button of a node or click Update on the node options 

window. 


ImageViewer to display a list of ImageViewer options. See “ImageViewer 

Options” on page 202. 

NOTE 

If the ImageViewer does not open, it may already be opened but might be 

minimized at the bottom of your screen. Click the minimized ImageViewer to 

restore it. 

If the message “Unable to load current image” appears, you need to input an 

image into the recipe. See “Inputting an Image” on page 128. 


Assigning an ImageViewer to a Node 


The default ImageViewer for all nodes is ImageViewer 1. If you want to 

compare images from different nodes or different recipes, you must assign 

different ImageViewers to the nodes. 

To assign an ImageViewer to a node: 


blue output button of the node and move your cursor to Display to. 


2. Click the ImageViewer that you want to assign to the node. 

RGB Values 

The selected ImageViewer opens and displays the image as it appears at 

that point in the recipe. 

IMPORTANT 

Be sure you are viewing the correct ImageViewer by comparing the 

ImageViewer number to the number over the node in the workspace. 

At the bottom of the ImageViewer, you can view color values as you move 

your cursor around the image. 

(X;Y)—These are the relative coordinates for the cursor position in the resized 

image. 

NOTE 

The image being viewed might have been resized by the import scale factor 

(see “Scaling Images” on page 130). 

The original size of the selected image is displayed in the Image Controller 

tab of the Input Roll node (see page 129). For most image types, the scale of 

the resized image is original_size * scale factor / 100. However, if the original 

image is from a digital still camera, the scale of the resized image is 

original_size * scale factor / 200. 

RGB—These are the red, green and blue values as measured before the 

monitor characterization profile is applied to the image. 

rgb—These are the red, green and blue values as measured after the monitor 

characterization profile is applied to the image and the color is converted to 

display color space. 



Average Radius—This is the average radius in pixels used to calculate the 

RGB and rgb values. Highlight the current value and type a new value, if 

necessary. 

Reproduction Warnings 

A reproduction warning may appear on the ImageViewer if one or more of the 

following conditions is present: 

r-emul (Relative emulation): The image is a .tif file type or an unknown 

source type. This image may not be truly representative of real-world 

processes. 

moncal (User monitor calibration): The current monitor is not calibrated. 

Use the Display Manager System to calibrate your monitor. You may then 

need to make corrections to your look. 

c-moncal (Creator monitor calibration): The recipe creator did not use a 

calibrated monitor. The look may not be accurate. Verify the look with the 

recipe creator. 

filmdata: The recipe creator modified the data file; the recipe user may not 

have the same data on the current computer. 

IMPORTANT 

You should correct these warnings before you print the image or save the final 

recipe. 

ImageViewer Options 

With an image displayed in the ImageViewer, right-click (WINDOWS OS) or 

Control + Click (MACINTOSH OS) in the ImageViewer to display the viewer 

options. 



Clear—Removes the image but leaves the ImageViewer open. 

Scale To Fit—If selected, the image always fills the display when you resize 

the ImageViewer window. 

Keep Aspect Ratio—If selected, the image always maintains its original 

aspect ratio when you resize the ImageViewer window. 

NOTE 

“Scale to Fit” and “Keep Aspect Ratio” only affect how the image is viewed. They 

do not affect the actual image resolution. You can also adjust the scale factor 

on the Input Roll/Image node (See “Using the Image Controller Tab in 

Flowgraph View” on page 128). 

Background Color—Opens a window where you can change the background 

color for that particular ImageViewer. 

Show Histogram—Displays a histogram for the image. See “Viewing the 

Histogram” on page 204. 

Use Thermal Printer—Sets the correct color profile for printing to one of the 

supported KODAK Printers. 

Adjust Printer Offsets—Allows you to enter offsets that are specific to your 

printer. See “Determining Your Printer Offsets” on page 224. 

Print Image—Opens a print options window from which you can print a still 

image. See “How to Print a Still Image from the Main View” on page 218. 

Full Screen—Displays the image to fill the screen. To return to your desktop 

from full-screen mode, right-click (WINDOWS OS) or Control + Click 

(MACINTOSH OS) and deselect Full Screen. We recommend that you view 

your image in full screen mode before you finalize your recipe. 

Printing Media—Allows you to select the printed film stock to emulate 

printing. 

Out of Gamut—Changes the ImageViewer display so that only the colors 

displayed are those that are out of gamut. This means colors that your current 

display cannot properly render will look slightly different on film. The rest of the 

image is neutral. 

Save Image—Opens a Save As window for saving the image as it appears at 

that point in the recipe. 



Viewing the Histogram 

When comparing images, you may also want to compare their histograms to 

see how the highlights, midtones and shadows are distributed. 

To display the histogram: 


ImageViewer to display a list of options. 

2. From the pop-up menu, select Show Histogram. 


3. Move the sliders to expand or compress the axis. 

4. Select color channels from the Channels drop-down menu to view 

individual color channels. 

NOTE 

If you leave the histogram window open as you change node options, the 

histogram updates whenever you update the ImageViewer. 


Selecting Different Images in a Recipe 


A recipe applies image adjustments to the currently selected image. After you 

have corrected one image from a scene, you may want to verify how this look 

works with each camera angle in the scene. 

Use the Image Controller tab in the Input Roll/Image node to select different 

images. 

To select different images in a recipe: 


2. Click the Image Controller tab. 


3. If necessary, click and drag an image from the Folder Images display 

area to the lower display area. 



4. Click the desired image in the lower display area. The highlighted image 

has a blue border. 

This is now the image that appears in the recipe. 

NOTE 

If you have more than one Image Controller tab open, you can drag images 

from one to the other. 

5. To display the new image in the ImageViewer, double-click the blue output 

button on the node from which you want to view the image. Or, click 

Update in a node options window. 

Comparing Looks 

IMPORTANT 

When comparing looks, it is best to use the full screen view. 

In Flowgraph View, you compare looks by opening more than one 

ImageViewer. You can: 

Compare different looks on the same image 

Compare the same look on different images 

To compare different looks on the same image: 

1. Create a recipe or open an existing recipe. 

2. Add two identical nodes to use for the comparison. 

For example, you may want to compare images with two different print 

settings. Connect a second print node. 

3. Double-click the blue output button of the first node. 

The image is displayed in the ImageViewer. 


blue output button on the second node, and assign the second 

ImageViewer to the node. 

5. Double-click the second print node, and make your alternate settings in 

the options window. 




The second ImageViewer displays the updated image. 

7. Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in 

each ImageViewer and select Full Screen. Press Alt + [the imageViewer 

number] to toggle between the two different ImageViewers. 

To compare the same look on different images: 

1. Create your look in a recipe. 

2. Click and drag to select the entire recipe. 

3. Click Ctrl + C (WINDOWS OS) or Command + C (MACINTOSH OS) to 

copy the recipe and all its settings. 

4. Click Ctrl + V (WINDOWS OS) or Command + V (MACINTOSH OS) to 

paste a copy of the recipe onto the workspace. 

5. Double-click the Input Roll/Image node in the second recipe. 




6. Click the desired image in the lower display area. If necessary, click and 

drag an image from the upper display area to the lower display area. 

NOTE 

If you have more than one Input Roll/Image node open, you can drag 

images from one Image Controller tab to another. 

The highlighted image is the image that appears in the recipe. 

7. Close the Input Roll/Image options window. 


blue output button of the desired node in the second recipe, and assign a 

different ImageViewer to the node. 

The image appears in the assigned viewer. 

9. Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in 

each ImageViewer and select Full Screen. Press Alt + [the number of 

the ImageViewer] to toggle between the two different ImageViewers. 


D IGITAL STILL CAMERAS 

Using a digital still camera to capture images can help you while location 

scouting, on set during production, and even in post-production. Your 

digital-still images allow you to experiment with various film stocks, filters, 

exposure ratings, and photochemical and digital processes. 

Also, if you are using a KODAK VISION2 HD System Edition, you can use a 

digital, still-camera image to preview the standard looks available with the 

VISION2 HD Film. 

The following digital-still cameras are calibrated for use with the KODAK Look 

Manager System: 

KODAK EASYSHARE P850 CANON EOS 20D 

KODAK EASYSHARE P880 CANON EOS 30D 

CANON EOS Digital Rebel* CANON EOS 1D Mark II 

CANON EOS 350D 

(Digital Rebel XT) 

CANON EOS 400D 

(Digital Rebel XTi) 

CANON EOS 1DS Mark I 

CANON EOS 1DS Mark II 

NIKON D1X 

CANON EOS 5D 

CANON EOS 10D * 

NIKON D2H 

* These models have been discontinued by the manufacturer but are still 

compatible with the Look Manager System. 

For a current list of profiled cameras, go to www.kodak.com/go/lm. 

IMPORTANT 

You can import images from other digital-still cameras. However, only the 

cameras listed above are profiled and approved for use with the Look Manager 

System. Images from other cameras can be opened in the Look Manager 

System but may not produce a true emulation. 

Working with Digital Still Images 

NIKON D2X 

NIKON D50 

NIKON D70 

NIKON D70s 

NIKON D80 

NIKON D100 * 

NIKON D200 

Before capturing digital-still images, you must properly set up your camera. 

Set the exposure settings on the digital-still camera to match the motion 

picture camera as closely as possible. Digital-still cameras can be set to either 

1/2 or 1/3 stop increments of exposure. We recommend the 1/3 stop 

increment to optimize the image capture. 


Digital Still Cameras 

If the image highlights begin to lose detail, underexpose the images by up to 

one stop. You must then compensate for the underexposure in the Look 


Setting Up the KODAK EASYSHARE Cameras 

Refer to your camera owner’s manual when making the following settings: 

Capture Mode—Manual 

Capture format—RAW 

Flash—Disable 

Disabling the flash allows you to capture images in their normal lighting 

(daylight or artificial), similar to a film camera. 

ISO—Set the ISO to be similar to the EI rating of the film stock that will be 

used in the motion picture camera. 

For example, if the DP is shooting 5218 500T, 180-degree shutter, t/2.8, set 

the digital still camera to ISO 400, 1/40 second, and f/2.8 aperture. 

If the DP is shooting 5218 500 T but wants to rate it at 320, expose as in the 

previous example. But in the Look Manager System, use the Negative 

options to compensate for exposing at 320. 

IMPORTANT 

Always use the lowest ISO/ASA possible. Make adjustments with the shutter 

speed and/or the lens aperture continuing to allow the same amount of light 

into both the motion picture camera and the digital still camera. 

For exact exposure matching refer to the following table. 

MP Film Stock rating 

(MP camera at 1/48" - 

180 o shutter) 

KODAK 

Digital Still 

Camera ISO 

KODAK Digital 

Still Camera 

Shutter Speed 

50 50 1/50 second 

100 100 1/50 second 

200 200 1/50 second 

250 200 1/40 second 

320 400 1/60 second 

500 400 1/40 second 

IMPORTANT 

Do not exceed an ISO of 800. The sensor of a digital-still camera uses 

mathematical formulas to compensate for higher sensitivity, which can 

produce artifacts and noise when using an ISO above 800. 


Setting Up the CANON Cameras 


Refer to your camera owner’s manual to make these settings: 

Capture mode—Set to one of the following: 

Manual—Use when matching the exposure to the motion picture camera. 

Using other settings in this situation could lead to inconsistent results that 

would differ from that of the motion picture camera. 

AV, TV, P or A-DEP—Use to quickly get a properly exposed reference 

image such as when on a location scout. 

Capture format—Set the capture format to RAW to save the images as 

.crw files for the REBEL and 10D models or .cr2 files for other models. 



(daylight or artificial), similar to a film camera. While in the Manual capture 

mode, the flash of the CANON Digital Still Cameras is automatically turned 

off. However, you must turn off the flash when in the AV, TV, P or A-DEP 

capture modes. 








IMPORTANT 










IMPORTANT 




Setting Up the NIKON Cameras 

CANON 

Digital Still 

Camera ISO 

CANON Digital 

Still Camera 

Shutter Speed 

50 100 1/100 second 

100 100 1/50 second 

200 200 1/50 second 

250 200 1/40 second 

320 400 1/60 second 

500 400 1/40 second 

Refer to your camera owner’s manual when making the following settings. 

Capture Mode—Set to one of the following: 

M (Manual)—Use when matching the exposure to the motion picture 

camera. Using other settings in this situation could lead to inconsistent 

results that would differ from that of the motion picture camera. 

A (Aperture), S (Shutter), or P (Program)—Use to quickly get a properly 

exposed reference image such as when on a location scout. 



(daylight or artificial), similar to a film camera. While in the Manual capture 

mode, the flash of the NIKON Digital Still Cameras is automatically turned 

off. However, you must turn off the flash when in the A, S, or P capture 

modes. 

Optimize Image—Normal 

Image Quality—Set to Raw NEF 

White Balance—Set to any setting. This information is discarded when the 

raw image is imported into the Look Manager System. 










IMPORTANT 








NIKON Digital 

Still Camera 

ISO 

NIKON Digital Still 

Camera Shutter 

Speed 

50 200 1/200 second 

100 200 1/100 second 

200 200 1/50 second 

250 250 1/50 second 

320 320 1/50 second 

500 500 1/50 second 

IMPORTANT 






Transferring Images to the Computer 

Loading images from the camera to the computer can be done with a PCMCIA 

card reader, a USB card reader (purchased separately), or by connecting the 

camera directly to the computer with the USB cable that comes with the 

camera. Follow the manufacturer’s instructions to transfer the images. 

Most camera card readers connect to a USB port and are ready to use as 

soon as they are connected. 

The card reader appears as a separate drive on your computer directory. 

Refer to your card reader installation instructions. 

NOTE 

You might find that the Look Manager System can more quickly access the 

images if you save them to your hard drive rather than accessing them directly 

from the camera card. 


PRINTING STILL IMAGES 

The Look Manager System allows you to print still images. Use the printed 

images to make color decisions and communicate your look to others. 

The recommended printers for the KODAK Look Manager System are: 

KODAK PROFESSIONAL 8500 Digital Photo Printer 

KODAK PROFESSIONAL 1400 Digital Photo Printer (Contact your 

customer service representative for setup instructions.) 

KODAK Photo Printer 6800 series 

KODAK EASYSHARE Printer Dock Plus 

KODAK EASYSHARE Printer Dock 4000 

KODAK EASYSHARE Printer Dock 6000 

KODAK EASYSHARE Printer Dock Plus Series 3 

KODAK EASYSHARE Printer Dock Series 3 

KODAK EASYSHARE Printer Dock 

NOTE 

Supported printers provide a visual reference of the desired look. The intent is 

to provide a calibrated look on a controlled reference printer; however, every 

printer and its media have variability. You have the option to manually adjust the 

overall balance (for the printer you use) to match what is viewed on the calibrated 

display. 

Setting up the Printers 

Setting Up the 8500 Printer 

Refer to your printer user guide for detailed instructions for setting up the 

printer. 

IMPORTANT 

Always connect the printer to the same USB port or you will get multiple 

instances of the printer installed on your system. 

From the printer driver properties window, make sure the following items are 

selected: 

Manual color management 

Glossy ribbon 


Printing Still Images 

NOTE 

Use only glossy media with the 8500 printer. 

KLMS_8500 profile 

NOTE 

This profile is available to Look Manager System users only and is not 

mentioned in the 8500 user guide. 

XTRALIFE laminate 

Landscape orientation 

Normal or High sharpness 

Setting Up the 6800 Printer Docks 

Refer to your printer user guide for detailed instructions on setting up the 

printer. 

IMPORTANT 

Always connect the printer to the same USB port or you will get multiple 

instances of the printer installed on your system. 

From the printer driver properties window, make sure these options are set as 

follows: 

None for the Kodak color profile 

None for Color Correction 

Disabled for the ICM method 

Enabled for the Advanced Printing Features option 



Setting Up the EASYSHARE Printers 

If you do not already have a cable for your EASYSHARE Printer Dock, you 

can order one from Kodak. You will need a mini-USB cable, part number 

8539249. Go to www.kodak.com/eknec/PageQuerier.jhtml?pq-path=474&pqlocale=en 

US. 

Refer to your printer user guide for detailed directions on setting up the printer 

dock. 

IMPORTANT 

Always connect the printer dock to the same USB port or you will get multiple 

instances of the printer dock installed on your system. 

Never use the Auto-enhance button on the printer dock as this may override the 

correct color settings generated by the Look Manager System. 


Installing the EASYSHARE Software 


IMPORTANT 

If you already have a printer dock, uninstall the old software before installing the 

new. 

When installing the software, make sure to select Install for the KODAK 

EASYSHARE Printer Dock option. 

Select Not Installed for the Kodak software updater option. 

Setting the EASYSHARE Options 

From the printer driver properties window, make sure these options are set as 

follows: 

None for the KODAK Color Profile 

None for Color Correction 

Disabled for the ICM method 

Enabled for the Advanced Printing Features option 





How to Print a Still Image from the Main View 

The Print Wizard allows you to set printer offsets to compensate for 

inconsistencies in printers. You can print multiple and single images from the 

Scene Layout or single images from the Look Builder. 

To print images: 

1. Launch the Print Image Wizard by one of the following methods: 

In Look Builder, click an image to select it. Click the Print icon in the 

toolbar. Proceed to step 2. 

OR 

In Scene Layout: 

a) Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) to 

select the images that you want to print. 

b) Click Print Images from the pop-up menu. 


c) Select one of the options. 

− One to print the first image you selected. 

− Selected to print all of the images that you selected. 

− All to print all of the images in the scene. 




2. From the drop-down menu in the Print Image Wizard, select the printer 

that you want to use. 

3. Select Add Look Summary if you want to save the look information with 

the image. 

NOTE 

If this option is selected, the look summary is added in the annotation field 

and is printed in the lower-left corner of the image. 

4. If necessary, adjust the RGB offset values of your printer. 

NOTE 

To determine your printer offsets, see “Determining Your Printer Offsets” on 

page 224. 

5. Click OK. 


6. Click Print. 



7. For MACINTOSH OS users only, make sure None is selected on the 

following window. 

8. For all users, select the appropriate printer. 

9. Set any additional printer options (number of copies, etc.). 



11. (Optional) Add an annotation by typing in the text field. Select the color 

and font for the text field. 

This text appears at the bottom of the printed image. 

12. Click OK to print the image. 



How to Print a Still Image from the Flowgraph View 

To print an image in Flowgraph View you must first display the image in the 


IMPORTANT 

Be sure to update the image before printing it by double-clicking the blue output 

button of the node or by clicking Update on the node options window. 

NOTE 

For the highest quality printed image, be sure that scaling is set to 100%. See 

“Scaling Images” on page 130. 

To print an image: 

1. Double-click the blue output button of the node in the recipe from which 

you want to print the image. 

An ImageViewer opens. 

2. Right-click (WINDOWS OS) or Control + click (MACINTOSH OS) in the 


The following menu opens. 

3. Click Use Thermal Printer. 

A list of printers is displayed. 



4. Click the appropriate printer. 

NOTE 

This selection is saved as your default printer until you decide to change it. 

You do not need to repeat this step each time that you print. 

5. If necessary, adjust the RGB values of your printer. 

NOTE 

You do not need to set these values each time you print. Once you set them, 

they remain set until you change them. 

a) Right-click (WINDOWS OS) or Control + Click (MACINTOSH OS) in 

the ImageViewer to display the ImageViewer options menu. 

b) Click Adjust Printer Offsets. 


c) Click the type of printer that you have. 


d) Enter any offset values that you have determined. See “Determining 

Your Printer Offsets” on page 224. 

e) Click OK. 


ImageViewer to display the ImageViewer options menu. 

7. Click Print Image. 



8. For MACINTOSH OS users only, make sure None is selected on the 

following window. 

9. For all users, select the appropriate printer. 

10. Set any additional printer options (number of copies, etc.). 


The following window opens with the name of the recipe displayed in the 

text box. 

12. (Optional) Add an annotation by typing in the text field. Select the color 

and font for the text field. 

This text appears at the bottom of the printed image. 

13. Click OK to print the image. 



Determining Your Printer Offsets 

You can establish printer offset values that are specific to your printer using 

the Q60 chart that came with the Look Manager System. 

You only need to perform this procedure once, but you may change it, if 

necessary. The values that you enter into the Adjust Printer Offsets window 

remain there until you change them. 

NOTE 

Keep in mind that a print viewed under daylight will look different when viewed 

under fluorescent light. 

To determine your printer offsets in Main View: 

1. Print the image q60_Printer_Reference.kdx. The image is located at: 

(WINDOWS OS): C:\Program Files\Kodak\KODAK Look Manager 

System\Images 

(MACINTOSH OS): Applications/KODAK Look Manager System/Images 

2. Compare your printed Q60 chart to the Q60 chart displayed on your 

calibrated monitor. 

3. If the color match is not suitable, display the test image again in Look 

Builder. 

4. Click the Print icon. 

5. Type new values or use the slider bars. 

6. Click OK. 

7. Print the image again and compare it to the image on the calibrated 

monitor. 

8. Repeat steps 1-7 until the match is satisfactory. 

To determine your printer offsets in Flowgraph View: 

1. Print the image q60_Printer_Reference.kdx. The image is located at: 


System/Images 

(MACINTOSH OS): Applications/KODAK Look Manager System\Images 

2. Compare your printed Q60 chart to the Q60 chart displayed on your 

calibrated monitor. 

3. If the color match is not suitable, display the test image again in an 



ImageViewer to display the options menu. 



5. Click Adjust Printer Offsets in the ImageViewer pop-up menu. 


6. Select the type of printer that you have. 


7. Type new values or use the slider bars. 

8. Click OK. 

9. Print the image again and compare it to the image on the calibrated 

monitor. 

10. Repeat steps 1-9 until the match is satisfactory. 


How it Works 

C ALIBRATING YOUR MONITOR 

This feature is only available in the Production Edition and VISION2 HD 

System Edition. 

The KODAK Display Manager System is a monitor calibration utility within the 

Look Manager System that allows you to maintain a consistent look across all 

monitors. Everyone who views the looks you create should use a monitor that 

has been calibrated to the same specifications. 

We recommend that you use the Display Manager System to calibrate and 

characterize your display: 

Before the start of a new project 

If the computer goes into sleep mode or screen saver mode 

Whenever you turn on the computer or monitor 

If the monitor has been jarred or moved 

(CRT/LCD monitors) Roughly every 6 to 8 hours; a minimum of once per 

day 

(HD/SD video) Once a day 

(Digital projectors) Once a week 

IMPORTANT 

Before calibrating, press F4 and click the Monitor tab to make sure you have 

selected the correct type of monitor. 

The Display Manager System uses an enable cable to transfer data to and 

from the computer and monitor. A sensor, which you attach to your monitor, 

reads color and gray patches. Run a calibration and then a characterization 

using the sensor. To ensure accuracy, run a verification to measure the quality 

of your system setup and the print film match. 

Calibration 

During automatic calibration, information gathered from the sensor is 

transferred to the monitor via the enable cable. Adjustments are automatically 

made to the monitor contrast, brightness, and individual RGB biases and 

gains via the enable cable, based on information gathered by the sensor. 

The first time you initiate automatic calibration, the system prompts you to 

perform a monitor evaluation to determine if your monitor is capable of being 

calibrated. 


Calibrating Your Monitor 

Manually calibrate your monitor to SMPTE standards if: 

The enable cable does not recognize your monitor. 

You were unable to successfully cali brate your monitor using automatic 

calibration. 

NOTE 

Laptops and other LCD screens can only be characterized. 

Characterization 

After you calibrate your monitor, you must characterize (profile) it to determine 

the gamma response of the calibrated monitor and to track the monitor 

primaries. 

Verification 

Perform a verification to measure the quality of the monitor setup and to 

measure closeness of the print film match in CIElab colorspace. 

NOTE 

Print film verification is not available in the VISION2 HD System Edition. 

Opening the Display Manager System 

You can open the Display Manager System by one of the following methods: 

When you open the Look Manager System, you may see the following 

message. 

Click Yes to open the Display Manager System. If you click No, the Look 

Manager System opens. 

You can also open the Display Manager System from within the Look 

Manager System by going to Tools > Monitor Calibration. 

In Flowgraph View, click the Monitor Calibration icon in the toolbar. 


The Display Manager System Main Window 


The Display Manager System main window contains a selection box for the 

Display Mode and an icon for each step in the process. 

Display Mode: Use Auto if you have a 

supported monitor and will be using the enable 

cable. If not, use Manual. 

Calibrate: Opens the Calibration window 

where you attach a sensor to measure the 

luminance and chromaticity of a series of color 

patches. 

Characterize: Opens the Characterization 

window where you attach a sensor to measure 

the luminance and chromaticity of a series of 

color patches. Choose Manual 

Characterization Assistant to characterize 

alternate display devices, such as HD/SD 

displays and digital projectors. 

Verify: Opens the Verification window where 

you attach a sensor and verify the quality of 

the monitor setup and the print simulation. 

Exit: Closes the application. 

From the File menu, load your settings, save your settings, or reset to the 

factory default settings. See “Saving and Loading Settings” on page 239. 

From the Options menu, select Setup to set the parameters and configure 

the system. See “Setting the Calibration Options” on page 233. 



Supported Hardware 

The following hardware is recommended for use with the Display Manager 

System. 

Generic Monitor Support 

The Display Manager System supports many different monitors, but not all 

monitors can be calibrated by the system. Most high-quality, 

professional-grade monitors can be calibrated. 

The first time that you initiate an automatic calibration, you are prompted to 

attach a sensor to the monitor so that the system can assess if the monitor 

can be calibrated. 

NOTE 

Before running this evaluation, set your monitor to Expert mode and turn off the 

Super Bright mode if applicable. 

You are then notified if the monitor can be calibrated. If it cannot, you can 

manually adjust your monitor using SMPTE standard procedures and the 

supplied colorbars chart. For more information, see “Manual Calibration” on 

page 244. 

The system runs this evaluation whenever you attach a different monitor and 

then initiate automatic calibration. 

Enable Cable (USB Cable ECC 1) 

An enable cable is required to transfer data from your monitor to your 

computer. Obtain this cable from outside suppliers. 


Supported Sensors 


The following sensors are supported by the Display Manager System: 

X-RITE Monitor Optimizer DTP94+EK (also known as MonacoOPTIX) - 

USB connection for LCD or CRT monitors 

X-RITE Monitor Optimizer DTP92+EK - serial connection for CRT monitors 

SEQUEL Chroma 4/C USB - USB connection for CRT monitors 

SEQUEL Chroma 4/C USB with USB cable - for CRT monitors 

SEQUEL Chroma 4/C Serial - Serial connection for CRT monitors 

SEQUEL Chroma 4/L - USB connection for LCD monitors 

USB Cable for VESA compliant CRT monitors 

PHOTO RESEARCH PR-650 - Serial connection for digital projection 

MINOLTA CS-100A - Serial c onnection for digital projection 

To purchase the X-RITE, PHOTO RESEARCH, or MINOLTA sensors, contact 

the manufacturer. 

Refer to the following table when deciding which sensor is best for your 

system. 

CRT Monitors and 

HD/SD Displays 

WINDOWS OS MACINTOSH OS 

X-RITE DTP94+EK 


SEQUEL Chroma 4/C USB 

SEQUEL Chroma 4/C Serial 

LCD Monitors X-RITE DTP94+EK 

SEQUEL Chroma 4/L USB 

Digital Projectors PHOTO RESEARCH 

PR-650 

MINOLTA CS-100A 


SEQUEL Chroma 4/C USB 


SEQUEL Chroma 4/L USB 

NOTE 

USB sensors are recommended for all systems that are USB enabled. 



Before Calibrating 

Before you calibrate, make sure that you: 

Prepare the monitor and viewing environment. 

Set up the system options for calibration, sensors, tolerances, display, 

timing, and directories. 

Load specific settings, if previously saved. 

NOTE 

You do not need to set up the system options each time you calibrate. When 

the system opens, it automatically loads the settings that you save in the kdm.ini 

file. Or you can create and load a customized .ini file. See “Saving and Loading 

Settings” on page 239. 

Preparing the Viewing Environment and Monitor 

Let the CRT monitor warm up for at least one hour. LCD monitors take 10 to 

15 minutes to warm up. 

Set your power save mode to Never. 

Disable your screen saver. 

(CRT monitors) Set your screen resolution to at least 1280 x 1024. 

Dim the room lights or cover the screen with a dark cloth. There should be 

no light shining on the screen or on objects that might reflect on the screen. 

(CRT monitors) Set the monitor in Expert mode, if available. 

a) From the panel at the front of the monitor, select COLOR. 

b) Use the left and right arrow buttons on the panel to highlight the 

Expert tab, where you see the bias and gain settings. 

NOTE 

For some monitors, the Expert mode is already selected as the default. 

If you have a newer SONY Monitor that has a Picture effect button on the 

panel at the front of the monitor, press this button repeatedly until the 

message DYNAMIC appears on screen. 

If using a laptop, be sure the brightness is set at the highest level. Be sure 

the level is the same whether on battery or AC power. However, if 

characterization fails, dim the screen brightness by one level at each 

attempt until characterization is successful. 

Set the monitor color quality to the highest possible value (at least 16 bits). 

If your display supports Super Bright mode, turn off the Super Bright mode 

by pressing the SB button on the front of the monitor until the screen reads 

“Super Bright Mode Off”. 


Setting the Calibration Options 


Go to Options > Setup to open the Setup window. From this window you can: 

Set the calibration parameters. 

Identify the sensor you are using. 

Set tolerances. 

Select which display to calibrate if dual-head support is available. 

Control the calibration timing. 

Set the paths for saving .chr files and LUTs. 

After you have made all of your selections, click Save Settings to save all the 

settings in a .ini file. By default, settings are saved to the kdm.ini file. When 

the system opens, it automatically loads the settings that you save in the 

kdm.ini file. Save your settings with a different file name to create a 

customized .ini file. See “Saving and Loading Settings” on page 239. 



Print Film Calibration Setup 

The Print Film Calibration tab on the Setup window contains information that 

is required to obtain an accurate print film match. 

Projector Aim: 

Projector aim values specify the intended film projector open gate settings. 

Enter the values for the film projector you are emulating. If you have not 

characterized a specific projector, use the default values. 

White Luminance (Y) - Open gate luminance can be measured by a 

colorimeter or spectrophotometer. Enter the value in ft-lamberts. 

White Chromaticity (xy) - Open gate chromaticity can be measured by a 

colorimeter or spectrophotometer. Enter values in CIE xy. 

Projector SPD (Spectral Power Distribution) - Click this button to open a 

browse window where you can load a file that was created when 

measuring your projector with a spectroradiometer. This file should be a 

single column of values corresponding to measurements from 

340 to 970 nm in 10 nm increments. Comment lines may be included in 

the file preceded by a # sign. 



Select Projector Aim Luminance Adjust to bring the brightness of the 

display down to the projector aim when simulating the print look. Deselect 

this option to keep the brightness at the Display Aim. 

Display Aim: 

Enter the desired White Luminance for the monitor in ft-lamberts. Setting 

your monitor to the projector aim (typically 16 ft-lamberts) would make it too 

dark for other work. The display aim lets you set a higher display aim 

luminance. 

Display - Automatic Calibration: 

NOTE 

The automatic calibration process tries to match all the values that you enter in 

this section. 

From the Preset Target drop-down list (becomes active after you check 

Override Projector Aim for Dark Patch), select your monitor preset 

target that you want to overwrite during calibration. 

Set the Dark (code value). We recommend using the default settings. If 

using a KODAK Video Tape, change the Dark (code value) settings to 512. 

To override the projector Luminance and Chromaticity aim, check 

Override Projector Aim for Dark Patch. The value fields become active 

and you can enter new values for Dark Luminance (Y) and Dark 

Chromaticity (x,y). We recommend using the default settings. 

NOTE 

The Use Print Film Calibration Settings check box is available in the Display 

Manager System Print Film Edition. Use this check box to select the Print Film 

target values for use in calibration. 

Video Calibration Setup 

The Video Calibration tab on the Setup window contains information that is 

required to obtain an accurate video match. 



Aim Settings 

Enter the values for the video space you want to calibrate to (CCIR 709, 

SMPTE RP145, or User Defined. 

The default values represent a typical HD display. These values can be 

altered for a user defined video space. 

White Point Chromaticity (xy) - Desir ed white chromaticity. Enter values in 

CIE xy. 

White Patch 

White Luminance (Y) - Maximum neutral code value luminance can be 

measured by a colorimeter or spectrophotometer. Enter the value in ftlamberts. 

NOTE 

Recommended practices for HD/SD video monitors place video legal whites at 

a luminance of approximately 30 ftL. Translating video 100% legal white (code 

value of 940) to a maximum monitor drive code value of 1023 (10-bit) yields an 

absolute monitor white luminance recommendation of approximately 34 ftL. This 

high luminance setting may degrade the useful lifetime of some monitors. 

Dark Patch 

To override the video Dark (code value), check Override Calculated Aims 

for Dark Patch. The value fields become active and you can enter new 

values for Dark Luminance (Y). We recommend using the default setting. If 

using a KODAK Video Tape, change the Dark (code value) settings to 512. 

Use Video Calibration Settings 

Select this check box to determine which target values to use for 

calibration. 

NOTE 

If using the KODAK VISION2 HD System, use the default values when working 

with typical NTSC, PAL, or HD displays. 


Sensor Setup 


From the Sensor tab on the Setup window, use the drop-down menus to 

select the type of sensor and the type of connection. 

IMPORTANT 

If you do not select the correct sensor and connection, the sensor will fail to 

initialize. 

Tolerances Setup 

From the Tolerance tab on the Setup window, you can set the plus or minus 

calibration tolerances that you want to allow for your aim values. We 

recommend using the default settings. 

Display Setup 

If your system is configured for dual-head support, you must select the display 

that you want to view images on. 

From the Display tab on the Setup window, use the Display to Operate On 

drop-down menu to select the display where you want to view the images. 

This display will be calibrated and characterized. 



Timing Setup 

Adjusting the time between the appearance of color sets and individual color 

patches affects the total time to calibrate and characterize your display. 

IMPORTANT 

You may receive calibration and characterization errors if the timing is set too 

fast. We recommend leaving the values set at the default. Never set the timing 

slower than the defaults. 

From the Times tab of the Setup window, use the arrows to set the values. 

Directories Setup 

On the Directories tab of the Setup window, click the CHR Directory and 

LUT Directory buttons to select the directories where you want to save those 

files. 


Saving and Loading Settings 


If you are working on several projects at one time, you can save all of the 

settings for each project in a customized .ini file. Load the appropriate file to 

quickly change all your settings when you change projects. 

By default, settings are saved to the kdm.ini file. This is the file that is used 

each time the system opens. 

To create a customized .ini file: 

1. Go to Options > Setup. Enter the appropriate values. 

2. Click Save Settings. Name the file appropriately. 

To load a customized .ini file: 

1. Go to File > Load Settings. 

2. Browse for and double-click the .ini file that you want to use. 

To save all settings at once: 

Go to File > Save Settings. 

NOTE 

On a WINDOWS Operating System, the default kdm.ini file is located in 

C:\Program Files\Kodak\EKCommon\KDM\kdm.ini 



Calibration 

From the Display Mode drop-down menu on the main window, select either 

Auto or Manual calibration. 

Automatic calibration uses the enable cable to transfer data from the computer 

to a CRT monitor. Adjustments based on this data are automatically made to 

your monitor. See Automatic Calibration below. 

Manual calibration requires that you manually adjust your monitor to SMPTE 

standards if: 

You are displaying your images on an HD/SD device or digital projector. 


You were unable to successfully cali brate your monitor using automatic 

calibration. 

See “Manual Calibration” on page 244. 

Automatic Calibration 

Use this calibration method if you are using an enable cable to transfer data 

from your monitor to your computer. The system performs an evaluation to 

determine if your monitor can be automatically calibrated. 

IMPORTANT 

You may need to repeat the calibration process more than once to reach aim. 

See “Calibration Failure” on page 266. 

Calibration Process 

To automatically calibrate your monitor: 

1. Go to Tools > Monitor Calibration. 

2. Select Auto from the drop-down Display Mode menu, if it is not already 

selected. 

NOTE 

Auto mode is only available if you have connected the enable cable to your 

computer. 

3. From the main window, click the Calibrate icon. 

If this is the first time that you have calibrated your current monitor, follow 

the on-screen prompts to run a monitor evaluation. See “Monitor 

Evaluation” on page 243. 



Either the Calibration window opens or you are prompted to perform a 

Dark Gain Correction to reset the sensor. 

If you are prompted to perform a Dark Gain Correction: 

a) Place the sensor on a dark surface and be sure that no light can reach 

it. Do not attach the sensor to the monitor for this correction. 

b) Click OK. 

IMPORTANT 

If the Dark Gain Correction fails, see “Dark Gain Correction Failure” on 

page 268. 

The Calibration window opens when the correction is complete. 

4. Position the sensor in the center of the color patch. 

5. Select Detailed if you want a detailed log to be written. (Recommended) 

6. Cover the monitor and sensor with a dark cloth if you are not able to turn 

off the room lights. 



7. Click Start. 

The sensor measures the color values of a series of patches. A log is 

written, target values are displayed, and points are plotted on a 

chromaticity diagram. 

The process may take several minutes. You can click Pause, if necessary. 

NOTE 

During the final stage of the calibration process, the gamut and log 

information is hidden on the screen. 

If automatic calibration is successful, automatic characterization begins 

immediately after calibration is complete. 

If automatic calibration was not successful, you may need to calibrate one or 

more times. See “Calibration Failure” on page 266. 



Monitor Evaluation 

The first time that you initiate an automatic calibration, the system performs an 

evaluation of your monitor to determine if it can be automatically calibrated. If 

you change monitors, the system runs the evaluation again when you initiate 

automatic calibration. 

If the Display Manager System is properly communicating with the monitor 

during the evaluation, the monitor will turn bright, then dark, and then red, 

yellow, etc. 

To evaluate your monitor: 

1. With an enable cable and sensor connected to your system and the Auto 

mode enabled, click Calibrate. 


2. Click Yes. 

IMPORTANT 

You must select Yes and perform this evaluation in order to automatically 

calibrate your monitor. 


3. Attach the sensor and click OK. 

The system reads a series of patches and displays the results. 



If your monitor can be calibrated, the following message appears. Click OK. 

If your monitor cannot be calibrated, the following message appears. Click 

Yes to retry. 

The evaluation may fail if your tolerances are too tight. Loosen the tolerances 

by increasing the values on the Tolerance tab in the Display Manager setup 

window. See “Tolerances Setup” on page 237. 

You must switch to Manual display mode and manually calibrate your monitor 

if it cannot be automatically calibrated. See “Manual Calibration” on page 244. 

Manual Calibration 

You can manually calibrate your monitor by adjusting the white and black 

points from your monitor controls. 

Use this method to manually calibrate your monitor if: 

You are displaying your images on an HD/SD display or a digital projector. 


You were unable to successfully cali brate your monitor automatically. 

You have an LCD monitor. 

Use the color patches generated by your Display Manager System to assist 

you in making these adjustments in most situations. 

For calibrating an HD/SD monitor or digital projector, use the color bar target 

at the front of the KODAK Color Patch Set Video Tapes. Using these color bar 

targets provides the proper color patch references described in this procedure. 

If you are using a digital projector, set the projector to the manufacturer’s 

defaults before you begin. 



To manually calibrate your monitor or HD/SD display: 

1. Go to Tools > Monitor Calibration. 

The Monitor Calibration application opens. 

2. Select Manual from the drop-down Display Mode menu, if it isn’t already 

selected. 

3. From your imaging product: 

a) Display the colorbars target that came with the Display Manager 

System. 

b) Adjust the display brightness and contrast until the pluge target blends 

into the background. 

The colorbars target file is located at: 


System\Images\ColorBar.dpx 

(MACINTOSH OS): Applications/KODAK Look Manager System/ 

Images/ColorBar.dpx 

IMPORTANT 

The gray patch of this image has values of 512 - 512 - 512. 

This target is also available on the KODAK Color Patch Set Video Tapes, which 

can be used to characterize digital projectors and HD/SD broadcast video 

monitors. 



4. In the Display Manager System, click the Calibrate icon. 

Either the Calibration window opens or you are prompted to perform a 



a) Place the sensor on a dark surface and be sure that no light can reach 

it. Do not attach the sensor to the monitor for this correction. 

b) Click OK. 

IMPORTANT 


page 268. 

The Calibration window opens when the correction is complete. 


5. Click Measure Primaries. 



NOTE 

For HD/SD monitors or digital projectors, these steps do not apply; continue 

to use the colorbar target or KODAK Color Patch Set Video Tapes as 

described on page 245. 

6. Place the sensor over the red patch. Click OK to measure. 

7. Repeat step 6 for the green and blue patches. 

8. Measure white luminance: 

a) Place the sensor on the white patch. 

b) Click Measure Once or Measure Continuous. 

c) Examine the results and follow the instructions on the screen. 

d) If you clicked Measure Once in step b, repeat steps b and c until a 

pop-up informs you that white luminance is within tolerance. 

NOTE 

Leave the sensor attached. 

9. Measure white chromaticity by repeating steps 8b - 8d until the white 

chromaticity is within tolerance. 

10. Measure dark luminance by repeating steps 8b - 8d until the dark 

luminance is within tolerance. 



11. Measure dark chromaticity by repeating steps 8b - 8d until the dark 

chromaticity is within tolerance. 

12. Repeat steps 8 - 11 to verify that all values are within tolerance. 

NOTE 

The plot indicates where you are versus aim. Use the magnify buttons to 

zoom in and out on the plot. 

13. Click Close. 

Characterization 

14. Proceed to “Characterization” on page 248. 

Characterization determines the gamma response of the calibrated monitor 

and tracks monitor primary colors. Perform a characterization after each 

calibration. 

The system uses the .chr file written during characterization to create a 3D 

LUT that can be exported to any supported imaging products. 

From the Characterize drop-down menu on the main window, choose either 

Automatic Characterization or Manual Characterization Assistant. 

Use Automatic Characterization if you performed an automatic calibration or 

for devices such as LCD or CRT displays that were not auto calibrated. 

Automatic Characterization 

NOTE 

If you successfully completed an automatic calibration, automatic 

characterization will automatically run. In this case, you will not need to continue 

with this procedure. 

To automatically characterize your monitor: 

1. From the Characterize drop-down menu, click Automatic 

Characterization. 



Either the Characterization window opens or you are prompted to 

perform a Dark Gain Correction to reset the sensor. 


a) Place the sensor on a dark surface and make sure that no light can 

reach it. Do not attach the sensor to the monitor for this correction. 

b) Click OK. 

IMPORTANT 


page 268. 

The Automatic Characterization window opens when the correction is 

complete. 



Verify 

2. If the sensor is not already positioned, place it in the center of the screen. 



4. Click Start. 

The application reads a series of patches. This process may take several 

minutes. 

5. Click OK when you are notified that the characterization has finished. 

If you want more information on the quality of the calibration and 

characterization, see “Verifying the Monitor Setup” on page 250. 

If characterization failed, see “Characterization Failure” on page 267. 

The Verify feature allows you to view additional information on the success of 

the monitor setup and print simulation. Verification provides a means for 

tracking trends in the data, such as sensor or monitor degradations. 

IMPORTANT 

You should perform a verification whenever your images do not look right. 

If the verification fails, you may need to replace the sensor or the monitor. 

The verification process may take several minutes. 

NOTE 

Verification does not apply to HD/SD monitors or digital projectors. 

Verifying the Monitor Setup 

To verify monitor setup: 

1. From the main window, click the Verify icon. 



Either the Verification window opens or you are prompted to perform a 





b) Click OK. 

IMPORTANT 


page 268. 

The Verification window opens when the correction is complete. 

2. If the sensor is not already in place, position it to the center of the screen. 





4. Click Verify Monitor Setup on the Verification window. 

The Display Manager System projects and measures colored patches. 

When verification is complete, the Verify Monitor Setup button changes 

to read Monitor Setup Results, and you are notified if verification was 

successful. 

5. To view the results, click Monitor Setup Results. 

Three graphs are displayed. 

Correlated Color Temperature: This graph shows the tracking of the 

grayscale CCTs across the range of code values that were measured. 

The red lines indicate the tolerance levels that you entered on the setup 

window. These lines appear if the scale warrants. See “Tolerances 

Setup” on page 237. 

Chromaticity xy Chart: This diagram shows the tolerance you defined. 

The Xs indicate the chromaticities over a range of gray patches and 

indicate how well your neutrals track. 

Gamma Verification Chart: This chart shows the gamma response of 

the monitor for each R, G, B, N series. Ideally the values fall in a straight 

line. Click the color channel that you want to view. 

If the values are out of tolerance, you can continue to use your monitor as long 

as the colors are acceptable to you. 

The system writes a verification results file containing the xyY and color 

temperature data for each of the measured patches. The file is time and date 

stamped so that you can plot trends over time, if desired. To view the 

verification files, in the Display Manager system main directory go to data > 

verify. 


Verifying the Print Film Look 


Verify the print film look to measure the quality of the print film simulation. 

NOTE 

This feature is not available in the KODAK VISION2 HD System Edition. Also 

you cannot verify a print film look created for a digital projector or HD/SD display. 

To verify the print film look: 

1. From the main window, click the Verify icon. 

Either the Verification window opens or you are prompted to perform a 

Dark Gain Correction. This correction resets the sensor. 




b) Click OK. 

IMPORTANT 


page 268. 

The following window opens when the correction is complete. 



2. If the sensor is not already in place, position it in the center of the screen. 



4. Click Verify Print Film Look on the Verification window. 

The Display Manager System projects and measures 125 patches. 

When verification is complete, the Verify Print Film Look button changes 

to read Print Film Look Results, and you are notified if verification was 

successful. 

5. To view the results, click Print Film Look Results. 

A graph is displayed. 

The graph shows a CIELab a* b* plot. If there is a perfect match, the X and dot 

are on top of each other. The longer the distance between the X and the dot, 

the further apart the match is. 

Click the color group buttons at the bottom to view only the data for that color 

group. 

NOTE 

Out-of-gamut colors have longer lines. A normal pattern for most monitors is a 

star-burst pattern with colors in the center on aim. The colors at the extremes 

are further and further off aim in a direction that points to the center. 


Verification Logs 


Verification logs are date and time stamped. All files are named 

VerifySetup_Results or VerifyPrintFilm_Results. 

To view the verification files, in the Display Manager system main directory go 

to data > verify. 

You can view these text files with applications such as WordPad or Excel. To 

identify trends in data, view the log files over a period of time. Open earlier 

versions of the log file and compare the data points to determine when values 

began to fail. 

If verification results slowly degrade over time, the sensor or monitor may be 

failing due to age. 

If verification suddenly fails, the sensor may be damaged or might have fallen 

off during verification. 

Print Film Look Verification Log File 



Monitor Setup Verification Log 


TROUBLESHOOTING THE LOOK 

M ANAGER SYSTEM 

Please refer to the following topics if you need help with the KODAK Look 


“There is Banding Across my Image” on page 258 

“My Image Doesn’t Look Right” on page 258 

“My Video Card Needs to be Updated” on page 259 

“Failed to Apply Refined Look to Image” on page 259 

“The Image Does Not Appear in Look Builder” on page 259 

“Image Does Not Appear in the ImageViewer (Flowgraph View)” on 

page 259 

“DPX and CIN Images Cannot be Viewed” on page 260 

“Quick Preview/ImageViewer Do Not Display Images (Flowgraph View)” on 

page 260 

“Changes Do Not Appear in the ImageViewer (Flowgraph View)” on 

page 262 

“Images Do Not Refresh with the New Look (Main View)” on page 262 

“The System Does Not Recognize my Image” on page 262 

“Look Builder Does Not Open” on page 263 

“USB Device Is Not Recognized” on page 263 

“Recipe Issue Displayed in Recipe Information (Flowgraph View)” on 

page 263 

“Indicator Light is On (Flowgraph View)” on page 264 

“The System Does Not Recognize my License” on page 264 

NOTE 

For help with the Display Manager System, see “Troubleshooting Monitor 

Calibration” on page 265. For help with the Flowgraph View, refer to the 

Troubleshooting information in the Flowgraph View online Help. 


Troubleshooting the Look Manager System 

There is Banding Across my Image 

Be sure that your monitor Color Quality is set to the highest value possible 

(32-bit is recommended). 

In WINDOWS OS: 

1. Right-click the desktop and select Properties from the pop-up menu. 

2. Click the Settings tab. 

3. Under Color Quality, select the highest setting possible. 

In MACINTOSH OS: 

1. Click the Apple icon at the top left of your screen. 

2. Click System Preferences. 

3. Click Displays and select the highest possible brightness setting. 

My Image Doesn’t Look Right 

Check the Options You Selected 

1. Did you select the correct film stock? 

From the Negative, Master Positive, and Dupe Negative options, be 

sure that you selected the correct film stock. 

2. If you used filters, did you select Compensate Filters in the Negative 

options? 

3. Did you select the correct source type? See “Selecting the Input Source” 

on page 65. 

4. Check the remaining options to be sure you have selected the correct 

options. 

5. In Flowgraph View, did you: 

Select the correct source type? See “Source Type Tab in Flowgraph 

View” on page 134. 

Select the correct scanning media? See “Scanning Media Tab in 

Flowgraph View” on page 133. 

Update the Image (Flowgraph View) 

You might have generated the image from an intermediate process. 

Update the image by double-clicking the blue output button of the correct node 

or by clicking Update on the node options window. 


Check Your Viewing Environment 


For critical adjustments, you should view images in a dim environment on a 

calibrated monitor. The LCD monitors of laptop computers are not a reliable 

viewing method for making critical adjustments. Plug a CRT monitor into your 

laptop to view the images. Make sure to properly calibrate and characterize 

the CRT monitor using the KODAK Display Manager System. 

Check Your Monitor Calibration 

We recommend that you regularly calibrate your monitor. See “Calibrating 

Your Monitor” on page 227. 

To begin, go to Tools > Monitor Calibration. 

My Video Card Needs to be Updated 

You may receive a message that your video card needs to be updated. You 

can continue to use the Look Manager System, but the results may not be 

accurate. 

Failed to Apply Refined Look to Image 

If you receive this message as you are attempting to open an image in Look 

Builder, apply a different look to the image in Scene Layout. Double-click the 

image to open it in Look Builder. 

The Image Does Not Appear in Look Builder 

This might occur if there is no base look applied to an image. In Scene Layout, 

drag and drop a look or template onto the image. Then double-click the image 

to have it appear in Look Builder. 

Image Does Not Appear in the ImageViewer 

(Flowgraph View) 

Be sure that you have assigned the correct ImageViewer to the node. 


blue output button. 

2. Click Display to and select the appropriate viewer. 



DPX and CIN Images Cannot be Viewed 

If you are using the VISION2 HD System Edition, you may have opened an 

ImageViewer from a node that does not support video color space. To view 

video images, open the ImageViewer from the HD Standard Looks node, the 

HD Custom Looks node, or the Color Corrector node. These are the only 

three nodes that support video color space. 

Quick Preview/ImageViewer Do Not 

Display Images (Flowgraph View) 

The image in the Quick Preview window and the ImageViewer is 

transparent, all-black, all-white, or jumbled. 

This is an issue with your graphics card. You should update your graphics 

card driver. 

(WINDOWS OS only) 

Verify that you have the latest driver for your graphics card. 

1. Right-click in the desktop. 

2. From the pop-up menu, click Properties. 

3. On the Settings tab, click Advanced. 

4. Click the Adapter tab to view information about your graphics card. 

5. Go to the manufacturer’s Web site and be sure you have the latest driver. 

To work around the issue in WINDOWS OS: 

1. Close the Look Manager System. 

2. Right-click in the desktop. 

3. From the pop-up window, click Properties and click the Settings tab. 



4. At the bottom of the window, click Advanced and then click the 

Troubleshoot tab. 

5. Move the hardware acceleration back one stop to a slower setting. The 

default setting is full. 

IMPORTANT 

Do not use the lowest setting. Your computer may become unusably slow. 

Purchase a new video card if the next-to-the-slowest setting does not work. 

6. Click OK. 

7. Open the Look Manager System and open a Quick Preview window to 

see if the viewers are working properly. 

8. If the problem was not corrected, close the Look Manager System and 

repeat steps 2-7 until the problem is corrected. Keep the acceleration 

indicator as far to the right as possible and still get the viewers to work. 

NOTE 

(WINDOWS XP OS only) If slowing the acceleration does not solve the problem, 

deselect Enable write combining. 



Changes Do Not Appear in the ImageViewer 


Changes will not appear in the ImageViewer until you update the image by 

double-clicking the node’s blue output button or by clicking Update in the 

node options window. 

Be sure you are viewing the correct ImageViewer. The ImageViewer 

number appears over the node. 

The changes might be very subtle. Display the image in the full screen 

mode. 

Images Do Not Refresh with the New Look 

(Main View) 

Some images take a few seconds to refresh. Please be patient. 

The changes might be very subtle. Display the image in the full screen 

mode. 

The System Does Not Recognize my Image 

The Look Manager system only accepts still images with the following 

extensions: 

.dpx—A professional motion-picture film scan. A .dpx or .cin file is the best 

type of input for judging a look. 

.kdx—A proprietary image file format used in Version 1.1 of the Look Manager 

System. Existing .kdx images can still be used but cannot be created in 

Version 2. 

.cin—A professional motion-picture film scan. A .cin or .dpx file is the best 

type of input for judging a look. 

.kdc—A raw file from a KODAK Digital Still Camera. 

.crw—A raw file from a CANON Camera such as a 10D or Digital Rebel 

Camera. 

.cr2—A raw file from a CANON Camera such as a 20D, 1D Mark II or 1DS 

Mark II. 

.nef—A raw file from a NIKON Camera. 

.tif—A still image created by a Telecine frame grab or computer-generated 

interface that can be either 8 bit or 16 bit. 

.jpg—A compressed image that can come from any source. It is not calibrated 

and should not be used to generate a 3D LUT or to precisely emulate realworld 

lab processes. 

.vid—A 10-bit dpx-based still image created by scanning video. A proprietary 

image file format. (Used only with the KODAK VISION2 HD System Edition.) 


Look Builder Does Not Open 


Look Builder might be minimized at the bottom of your window. Click the 

minimized Look Builder and click Restore. 

USB Device Is Not Recognized 

This can happen with a WINDOWS OS when you restart your computer and 

the device is connected. 

With your computer running, unplug the device and plug it back in. 

ImageViewer Does Not Open 


The ImageViewer might be minimized at the bottom of your window. Click the 

minimized ImageViewer to restore it to full size. 

Recipe Issue Displayed in Recipe Information 


When you view the recipe information, you may find a recipe issue listed. We 

recommend that you correct these conditions before finalizing the recipe. 

Integrity—the recipe has been altered outside the KODAK Look Manager 

System. The integrity of the original creative intent may have been 

compromised. 

Authenticity—the recipe has been altered by someone other than the 

original author. 

Relative Emulation—a compressed .tif image was used. The look may not 

be an accurate match to real-world processes. Use only .tif images created 

by a Telecine frame grab or from a computer-generated image. 



Indicator Light is On (Flowgraph View) 

At the lower-right corner of the window are indicator lights. 

MONCAL—When this indicator is red, your monitor needs to be calibrated 

(Production and VISION2 HD Editions). Click the Monitor Calibration icon in 

the toolbar. When this indicator is green, your monitor is calibrated and your 

recipe look is accurate. When this indicator is yellow, your monitor is 

characterized but needs to be calibrated. 

READ-ONLY RECIPE—This light indicates that the recipe you are working 

with has been designated as read-only by the author. If the author has 

enabled a password, you must enter the password to save and overwrite the 

recipe. Or you can save the recipe with another name. 

AUTHENTICITY—This light indicates that the recipe's original creative intent 

has been altered by someone other than the original author. 

RECIPE INTEGRITY—This light indicates that the recipe has been altered 

outside the Look Manager System. The integrity of the original creative intent 

may have been compromised. 

The System Does Not Recognize my License 

When you receive the email that contains your license file, detach the license 

file and save it on your computer in the following location: 



Licenses 

MACINTOSH OS users need to change the file’s Ownership and 

Permissions to Read and Write. 


TROUBLESHOOTING 

M ONITOR CALIBRATION 

Refer to the following topics for help with the KODAK Display Manager 

System. 

“Calibration Failure” on page 266 

“Characterization Failure” on page 267 

“Verification Failure” on page 267 

“Dark Gain Correction Failure” on page 268 

“Sensor Does Not Adhere to Screen” on page 268 

“Sensor Needs to be Replaced” on page 269 

“Sensor is Not Recognized” on page 269 

“Enable Cable Does Not Recognize the Monitor” on page 270 

“Calibrate Icon is Not Available” on page 270 

“Problem with the .ini File” on page 270 

“The Results are Not as Expected” on page 271 

“Super Bright Capable Display will Not Calibrate” on page 271 


Troubleshooting Monitor Calibration 

Calibration Failure 

Make sure that you are using a VGA m onitor cable and that all the pins are 

present. 

If the monitor settings need a lot of adjustment to reach aim, you may need 

to repeat the calibration process several times to bring the monitor into 

tolerances. To more quickly bring the monitor settings closer to aim, reset 

the monitor to factory defaults as described in your monitor user manual. 

Track the progress of each calibration by observing the Current and Target 

Values displayed on the Calibration window. Repeat the calibration process 

as many times as necessary as long as the calibration points are continuing 

to move toward aim. If the points stop moving or they oscillate above and 

below aim, you may need to replace your monitor. Contact your support 

representative. 

When repeating a failed calibration, make sure that the: 

− Room is dimly lit or a dark cloth is placed over the monitor 

− Sensor is securely attached to the monitor if the sensor has suction cups 

− Enable cable and sensor connections are properly made 

− Dark Gain Correction of the sensor is performed correctly 

− Monitor is warmed up properly 

− Monitor is a type that is supported for auto-calibration 

− Monitor is in Expert mode, if available 

− Timing for reading patches is set properly. We recommend that you use 

the default settings. If you have shortened the timing to increase 

calibration speed, the readings from the sensor may have some 

erroneous points. Go to Options > Preferences, and set Colors to 4 

and Patches to 1. 

Make sure to uninstall any other monitor calibration software that you might 

have on your system. 


Characterization Failure 


Repeat the characterization making sure that the: 



− Enable cable and the sensor connections are properly made 



The monitor brightness may be set too low. Use the factory default setting. 

If that fails, increase the brightness. 

If characterization fails on your l aptop, dim the screen brightness one level 

and try again. If characterization still fails, keep lowering the screen 

brightness one level until characterization is successful. 

Repeated characterization failures may be caused by a failed sensor. 

Verification Failure 

Repeat the calibration and characte rization making sure that the: 



− Enable cable and sensor connections are properly made 



Refer to the Verification logs. See “Verifying the Print Film Look” on 

page 253. 



Dark Gain Correction Failure 

Dark Gain Correction may fail if light enters the sensor. 

If Dark Gain Correction fails: 

1. Click OK on this message and also on the initialization message that 

appears next. 

2. Restart the process that you were running when you were prompted to 

perform the Dark Gain Correction - either Calibrate, Characterize, or 

Verify. 

3. When prompted for the Dark Gain Correction, place the sensor on a dark 

surface where light cannot reach it. 

Do not attach it to the monitor. 

Cover it with a dark cloth, if necessary. 

4. Repeat the Dark Gain Correction. 

Sensor Does Not Adhere to Screen 

SEQUEL Sensor 

When attaching the sensor, press firmly but not too hard. 

Clean the sensor. Use alcohol and a lint-free cloth to clean the suction cups 

and sensor face. 

Clean the monitor. Use a monitor cleaning kit or a soft cloth with a solution 

designed to clean monitors. 

If the sensor continues to fall off, wet the suction cups with alcohol before 

attaching to the monitor. 

X-RITE DTP92+EK Sensor 

Firmly push on the sides of the sensor so that the spring-loaded suction cup 

slides forward onto the screen. When the suction cup is firmly in place, 

release the sensor. 

You may need to moisten the suction cup by wiping it with a tissue lightly 

dampened with water, or to fog the suction cup by breathing on it. 

You may need to clean the monitor and su ction cup, if the sensor does not 

firmly attach. Clean the suction cup with a clean, dry cloth. 

IMPORTANT 

Do not apply a cleanser to the suction cup. 

To clean the monitor, use a soft, lint-free paper or cloth lightly dampened 

with a mild glass cleaner. 


Sensor Needs to be Replaced 

SEQUEL Sensors 


If you are prompted to replace the sensor, contact your service representative. 

X-RITE Sensors 

Contact X-Rite if your sensor fails. 

Sensor is Not Recognized 

If you get a message that the sensor failed to initialize: 

Go to Options > System Configuration to make sure that you have 

selected the appropriate sensor and connection type. 

Check the connection. 

Make sure that the USB or serial port is live and functional. 

It is possible that your USB hub is no t compatible with the sensor. Connect 

the sensor directly to the computer to verify. 

If you extended the length of the cabl e, make sure that you have used no 

more than five repeaters. Repeaters can be placed every 5 m (16.4 ft) for a 

total length of 30 m (98.4 ft). 

(WINDOWS OS only) Check your hardware devices. 

From the WINDOWS Start button, click Settings > Control Panel > 

System > General tab > Device Manager. Make sure the sensor is 

installed and does not have an orange flag next to its name in the directory. 

If so, reinstall the software from the installation CD. Your license key will 

continue to work if you reinstall the software. 



Enable Cable Does Not Recognize the Monitor 

Check the connection. 

Make sure that the USB port is live and functional. 

(WINDOWS OS only) Check your hardware devices. 

From the WINDOWS Start button, click Settings > Control Panel > 

System > General tab > Device Manager. Make sure the enable cable is 

installed and does not have an orange flag next to its name in the directory. 

If so, reinstall the software from the installation CD. Your license key will 

continue to work if you reinstall the software. 

Make sure that you are using a VGA m onitor cable and that all the pins are 

in place. 

If your monitor still does not recogni ze the enable cable, you may have a 

monitor that is not supported by the Display Manager System. You must 

perform a manual calibration instead of an automatic calibration. See 

“Manual Calibration” on page 244. 

Calibrate Icon is Not Available 

The Calibrate icon is only available if you have attached an enable cable. 

Problem with the .ini File 

If you get a message that there is a problem with the .ini file: 

1. Click OK. 

The system opens using the factory defaults for any unknown values. 

2. Reset and save your system parameters. See “Setting the Calibration 

Options” on page 233. 


The Results are Not as Expected 


To make use of all the Display Manager System features, make sure that 

you are using a VGA monitor cable with all the pins in position. 

The environment might not have been dark enough. Repeat the calibration 

and characterization with a dark cloth covering the monitor. 

The sensor, if it has suction cups, mi ght have fallen off during the process. 

Repeat the process making sure that the sensor is firmly attached. 

Make sure that the Dark Gain Correction of the sensor is performed 

correctly. 

Make sure that your monitor color qualit y is set to the highest possible value 

(at least 24 bits). 

Make sure to warm up the monitor for a least one hour before using the 

Display Manager System. 

Make sure that the screen saver and power save mode do not come on 

during the process. 

Set your screen resolution to at least 1280 x 1024. 

Input all data available for y our specific process. See “Setting the 

Calibration Options” on page 233. 

Your scanner or recorder might be out of calibration. 

Super Bright Capable Display will Not Calibrate 

You must turn off the Super Bright mode by pressing the SB button on the 

front of the monitor until the screen reads “Super Bright Mode Off”. 


A PPENDIX A 

S HORTCUT KEYS IN MAIN VIEW 

Scene Layout Shortcut Keys 

Task WINDOWS OS MACINTOSH OS 

New Scene Ctrl + n + n 

Open Project Ctrl + o + o 

Open the Display 

Manager System 

Ctrl + Shift + c + Shift + c 

Save Project Ctrl + s + s 

Customize Toolbars Ctrl + Shift + t + Shift + t 

Export 3D LUT Ctrl + Shift + x + Shift + x 

Export Images Ctrl + Shift + i + Shift + i 

Synchronize a Project Ctrl + Shift + s + Shift + s 

Select All Images Ctrl + a + a 

Deselect Images Ctrl + d + d 

Add Images Ctrl + + + + 

Display Scene 

Information 

Ctrl + i + i 

Change Image Source Ctrl + Shift + u + Shift + u 

Change Projection 

Mask 

Ctrl + Shift + m + Shift + m 

Print Images Ctrl + Shift + m + Shift + m 


Appendix A Shortcut Keys in Main View 


Hide or Delete an 

Image 

Ctrl + h + h 

Show All Images Ctrl + Shift + a + Shift + a 

Show Hidden Images/ 

Hide Hidden Images 

Delete a Selected 

Scene or Image 

Ctrl + Shift + v + Shift + v 

Del Delete 

Open the Help System F1 F1* 

Enable What’s This Shift + F1 Not available 

Preferences options F4 F4 

Toggle Image Box F3 F3 

Toggle Flowgraph 


F2 F2 

Undo Ctrl + z + z 

Redo Ctrl + y + y 

Copy Ctrl + c + c 

Paste Ctrl + v + v 

Cut Ctrl + x + x 

Quit Ctrl + q + q 

* If you are using a MACINTOSH OS laptop, press the function key and then 

press the correct F key. 


Look Builder Shortcut Keys 

Appendix A Shortcut Keys in Main View 


Single Image Display Ctrl + 1 + 1 

Dual Image Display Ctrl + 2 + 2 

Quadrant Image Display Ctrl + 4 + 4 

Print Image Ctrl + p + p 

Undo Ctrl + z + z 

Redo Ctrl + y + y 

Enable What’s This Shift + F1 Not available 

Full Screen View F5 F5* 

Show out-of-Gamut 

Colors 

F6 F6 

Toggle Look On and Off F7 F7 

Save the Look F8 F8 

Toggle Info Tabs On and 

Off 

Ctrl + F5 + F5 

Previous Scene Ctrl + up arrow + up arrow 

Previous Image Ctrl + left arrow + left arrow 

Next Scene Ctrl + down arrow + down arrow 

Next Image Ctrl + right arrow + right arrow 

Hide/Delete Images Ctrl + Shift + h + Shift + h 

Crop the image Ctrl + Shift + m + Shift + m 




System Shortcut Keys 

A PPENDIX B 

SHORTCUT KEYS IN 



New Recipe Ctrl + n + n 

Open Recipe Ctrl + o + o 

Save Recipe Ctrl + s + s 

Save As Ctrl + Shift + s + Shift + s 




Select all Ctrl + a + a 


Display recipe 

properties 

Open the Display 

Manager System 

Toggle Batch Render 

Mode On and Off 

Ctrl + p + p 

Ctrl + Shift + c + Shift + c 

Ctrl + Shift + r + Shift + r 

Delete Del Delete 

Zoom in Ctrl and + and + 

Zoom out Ctrl and - and - 


Appendix B Shortcut Keys in Flowgraph View 

Open the Help system F1 F1* 

Enable What’s This Shift F1 Shift F1 

Close an Options 

Window 


Automatically Link 

Nodes 

Esc Esc 

Hold Ctrl when you 

insert the new node. 

Change Options F10 F10 

Highlight the node that 

you want to connect to. 

Hold Ctrl when you 

insert the new node. 




Image Controller Shortcut Keys 

ImageViewer Shortcut Keys 

Appendix B Shortcut Keys in Flowgraph View 


Select All Ctrl + a + a 

Clear Selection Ctrl + Shift +a + Shift + a 

Inverse Selection Ctrl + i + i 

Remove Image Del Delete 

Crop Image Ctrl + Shift + c + Shift + c 

Switch from one 

ImageViewer to 

another 

Close the 

ImageViewer 


ALT + [the number of 

the ImageViewer] 

Esc Esc 

ALT + [the number of 

the ImageViewer] 


A PPENDIX C 

SHORTCUT KEYS IN 

D ISPLAY MANAGER SYSTEM 

Display Manager System Shortcut Keys 


Save As Ctrl + Shift + s + Shift + s 




Select All Ctrl + a + a 


Open Viewer Ctrl + Shift + c + Shift + c 

Delete Del Delete 

Open Help F1 F1* 

Enable What’s This Shift + F1 

(WINDOWS OS only) 

Not available 




A PPENDIX D 

IMAGE TYPES 

The Look Manager System recognizes the following types of images. 

.dpx—A professional motion-picture film scan. A .dpx or .cin file is the 

best type of input for judging a look. 

.kdx—A proprietary image file format used in Version 1.1 of the Look 

Manager System. Existing .kdx images can still be used but cannot be 

created in Version 2. 

.cin—A professional motion-picture film scan. A .cin or .dpx file is the 

best type of input for judging a look. 

.kdc—A raw file from a KODAK EASYSHARE P850 or P880 Digital 

Camera. 

.crw—A raw file from the CANON EOS cameras supported by Look 

Manager System (see page 209). 

.cr2—A raw file from a CANON EOS 5D, 20D, 30D, 350D, 400D, 1DS 

Mark II, 1D Mark II camera. 

.nef—A raw file from the NIKON cameras supported by Look Manager 

System (see page 209). 

.tif—A still image created by a Telecine frame grab or computergenerated 

interface that can be either 8 bit or 16 bit. Or a file from a 

CANON EOS 1DS Mark I camera. 

.jpg—A compressed image that can come from any source. It is not 

calibrated and should not be used to generate a 3D LUT or to precisely 

emulate real-world lab processes. 

.vid—A 10-bit, dpx-based still image created by scanning video. A 

proprietary image file format. 

KODAK Look Manager System User Guide V2.2 283 

Educational 

Production 

X X 

X X 

X X 

VISION2 HD 

System 

X X X 

X X X 

X X X 

X X X 

X 

X X 

X

A PPENDIX E 

R EGULATORY INFORMATION 

This is a class A product. In a domestic environment this product may cause 

radio interference in which case the user may be required to take adequate 

measures. 

NOTE: This equipment has been tested and found to comply with the limits for 

a Class A digital device, pursuant to part 15 of the FCC rules. These limits are 

designed to provide reasonable protection against harmful interference when 

the equipment is operated in a commercial environment. This equipment 

generates, uses and can radiate radio frequency energy and, if not installed 

and used in accordance with the instruction manual, may cause harmful 

interference to radio communications. Operation of this equipment in a 

residential area is likely to cause harmful interference in which case users will 

be required to correct the interference at their own expense. 

This class A digital apparatus complies with Canadian ICES-003. 

Cet appareil numérique de la classe A est conforme à la norme NMB-003 du 

Canada. 

This is a Class A product based on the standard of the Voluntary Control 

Council for Interference by Information Technology Equipment (VCCI). If this 

equipment is used in a domestic environment, radio disturbance may arise. 

When such trouble occurs, the user may be required to take corrective 

actions. 


Minimum Requirements 

WINDOWS OS 

A PPENDIX F 

S YSTEM REQUIREMENTS 

Operating System: WINDOWS XP 

Processor: Minimum PENTIUM 3; PENTIUM 4 or equivalent is 

recommended 

RAM: Minimum 512 MB of RAM is recommended 

Hard Drive space: 450 MB of available space on hard drive for the 

application; additional space as needed for storing images 

Video Card: 24-bit video/graphic card, 3D acceleration capability with at least 

256 MB of RAM; OpenGL compliant 

Monitor Resolution: 1280 x 1024 recommended 

Drives: CD-ROM drive 

I/O: 2 available USB ports 

MACINTOSH OS 

Operating System: 10.4 or greater 

Processor: G4 or higher, INTEL based 

RAM: Minimum 512 MB of RAM is recommended 

Hard Drive space: 450 MB of available space on hard drive; additional space 

as needed for storing images 

Video Card: 24-bit video/graphic card, 3D acceleration capability with at least 

256 MB of RAM; OpenGL compliant 

Monitor Resolution: 1280 x 1024 recommended 

Drives: CD-ROM drive 

I/O: 2 available USB ports 


Appendix F System Requirements 

Additional Software 

Internet Browser: 

WINDOWS OS: INTERNET EXPLORER Version 6.0 or higher 

MACINTOSH OS: INTERNET EXPLORER Version 5.2 or higher 

ADOBE ACROBAT Reader: Needed to view and print the User Guide and 

Quick Start Guide 

Required and Optional Hardware 

Educational Edition 

Optional: 

Approved digital-still camera 

Digital, still-camera card reader or PCMCIA card: Use to load digital still 

images from a camera to your computer 





Four Port Unpowered USB Hub: Use to accommodate the enable cable, 

sensor connections, printer, mouse, and card reader 

Production/KODAK VISION2 HD System Editions 

Required: 

Sensor (for calibration) 

CRT monitors only—USB ECC 1 Cable (Enable cable) 

CRT monitors only—VGA cable: (from the display to the enable cable) To 

take advantage of all the Display Manager System features 

Optional: 

Approved digital-still camera 





Four Port Unpowered USB Hub: Use to accommodate the enable cable, 

sensor connections, printer, mouse, and card reader 


G LOSSARY 

3D LUT (3 dimensional look up table) A mathematical description of colors with 

red, green, and blue on the x, y, and z axis, respectively, forming a cube. 

The Display Manager System creates 3D LUTs based on the 

characterization of your display. You can export 3D LUTs for use by 

supported imaging products. 

absolute 

emulation 

The system process of creating a look in the recipe that is most accurate 

as compared to the actual production look. 

aim The desired value for black point, white point, and chromaticity 

coordinates when calibrating your monitor. 

ASA Exposure Index or speed rating that denotes the film sensitivity, defined by 

the American National Standards Institution. 

aspect ratio A comparison of the image width to height, expressed as a proportion 

(4:3), a ratio (4/3), or a decimal (1.33). 

Common film aspect ratios are Academy Flat 1.851; Anamorphic Scope 

2.351; Academy Standard 1.331. 

The television aspect ratio is 1.331 and HDTV is 1.78:1. 

authenticity The property of a recipe that identifies if someone other than the author 

has made changes to the recipe. 

base look A resusable look, having the creation intent (i.e. Skip Bleach) that can be 

applied to a series of images. 

batch render 

mode 

A setting that, when enabled, applies an operation to all of the images in a 

sequence instead of the single current image. 

bias A monitor setting that controls the current to the monitor affecting the color 

and intensity of the display. 

black point A value that represents the darkest point in an image or the darkest point 

that a monitor can display. This is not necessarily pure black. 

calibration The process of adjusting a monitor’s black and white points as close as 

possible to aim points. 

characteristic 

curve 

A graphical representation of a neutral series. For film it is the film's 

response to light that shows the relationship between density and 

exposure. Also called the D-LogE curve. For video it is the gamma 

response of the video system and/or display. 


Glossary 

characterization 

chromaticity 

coordinates 

color 

correction 

matrix 

The measurement of the color characteristics of a monitor. This results in 

the automatic creation of a .chr file, which controls how the monitor 

interprets colors. 

Vector settings used to define the color temperature of the LAD gray patch 

during monitor calibration. 

A set of coefficients that defines the amount of color information that is 

transferred from one color channel to another color channel. 

color gamut The range of colors that a device or film can display. 

color timing A laboratory printing process where the image is adjusted for color and 

density. The amount of red, green, and blue light, shown through one 

piece of film to make an exposure onto another piece, is adjusted to 

modify the color of the scene when it is finally projected. In the Look 

Manager System you can adjust color timing from the Dupe Negative, 

Master Positive and Print options. 

compare 

modes 

Options accessed in the Look Builder that control how before and after 

looks are compared on an image. These options consist of horizontal 

swipe, vertical swipe, horizontal butterfly, or vertical butterfly. 

cropping Changing the aspect ratio of an image to that or another media. For 

example, when you shoot with a digital-still camera in a 1.33:1 ratio, but 

you want to see only the 1.85:1 area that you will shoot with your motion 

picture camera. 

CRT Cathode Ray Tube (monitor) 

curve See “characteristic curve.” 

D-LogE Density with respect to the logarithm of exposure for the film. This is 

represented by the film characteristic curve. 

dark gain 

correction 

An adjustment to the sensor that eliminates inherent noise during monitor 

calibration. 

density The measurement of how much light a film transmits. 

digital 

intermediate 

The process of using digital tools instead of photochemical tools between 

the acquisition and display of your images. 

display aim In the Display Manager System, the desired values that you want 

calibration to match for your display device. Set these values from the 

Options > Setup window. 


Glossary 

display mode An option in the Display Manager System, where you select either 

automatic or manual calibration mode. Also an option in the Look Builder, 

where you select how many images are displayed. 

dual head 

mode 

dupe 

negative 

A system capable of handling two displays. They can be separate 

desktops or designed to work as one. 

An intermediate copy of a film, made on fine-grained stock, and used to 

make release prints. 

EI See “exposure index.” 

enable cable A cable used to interface between a CRT monitor and a computer during 

automatic monitor calibration. (USB ECC 1 Cable) 

exposure 

index 

(EI) A measurement of film sensitivity to light. EI is used in determining 

correct exposure. 

film recorder A device that records digital images onto film. 

film roll A digital file that contains sequences of frames. 

filter A translucent material that is placed in front of a camera to modify the 

color that is transmitted, or to introduce artifacts, such as diffusion, flares, 

etc. 

filter factor The amount of increase in exposure needed to compensate for filters. 

filter trays A group of similar filters that are listed together to facilitate selecting the 

appropriate filter. 

flashing The process of exposing a small amount of light to film before or after the 

scene is photographed. Flashing will lower the contrast of your shadows or 

highlights depending on which stage you do it in. Negative + Dupe 

Negative node flashing lifts blacks, and Print + Master Positive node 

flashing softens whites. 

flashing filter A filter that is applied during the flashing process. See “filter” and 

“flashing.” 

flowgraph 

view 

A GUI (Graphical User Interface) designed to show workflow steps (also 

known as nodes) of the imaging and/or photochemical process. 

frame grab A device that can capture a single still frame in .tif format from a Telecine. 

gain Color Corrector Node: A Color Corrector control that adjusts the shoulder 

of a color curve. 

Monitor Calibration: The percent of increase between the input signal and 

the output signal. 

gamma A Color Corrector control that adjusts the midtones in an image. 


Glossary 

gelatin filter (Gel) A flexible colored optical material placed in front of lights to modify 

the color that is transmitted. 

hero An option in the image information. Flag an image with this option to 

indicate that it is ready to use in production. 

histogram A graphical representation in Flowgraph View of how the pixels in an 

image are distributed at each color intensity level. Lowlights are 

represented by the left end, mid-tones are represented by the middle 

portion, and highlights are represented by the right end. 

image 

controller 

A Flowgraph View utility that allows you to select, crop, and resize an 

image. 

ImageViewer A Flowgraph View utility that allows you to view and print images. More 

than one ImageViewer can be open at the same time to compare image 

results. 

input profile A 3D LUT created by Kodak based on the characteristics of your film 

scanner. 

integrity A recipe property that indicates if the author’s original creative intent has 

been changed. 

LAD gray 

patch 

LAD (Laboratory Aim Density) The manufacturer-recommended film density 

settings. Use these settings to aid in color timing and curve placement. 

The value of gray as determined by the Lab Aim Density for a specific 

display or film. 

lambert A unit of brightness equal to a perfectly diffusing surface that reflects 1 

lumen per square cm. 

lamp 

intensity 

The strength of a light source. 

LCD Liquid Crystal Display (monitor) 

lift The shadow portion of a color curve. Represented by the toe of the color 

curve. 

Also, a primary Color Corrector color correction that adjusts the shadows 

in an image. 

log-E range Log of Exposure. See “characteristic curve.” 

look An aesthetic quality of film or video that conveys a subjective feeling about 

the scene. Factors that contribute to the look are color tones, filters, film 

stock, lighting, sharpness, etc. 

look browser The area of the software from where you select looks and templates. 

luminance The measured value or amount of light from a motion picture screen. 


Glossary 

LUT (Look Up Table) A method for converting colors by mapping input colors to 

output colors. 

master 

positive 

A positive image created from a negative on fine-grained stock as an 

intermediate step to making a dupe negative. Not suitable for projection. 

matrix See “color correction matrix.” 

monitor 

primaries 

The primary colors as shown on the monitor determined by its phosphors. 

nodes Image processing operations represented by an icon in a recipe. In the 

Flowgraph View, nodes are connected in sequence to emulate a 

production process and to create the desired look for an image. Doubleclick 

a node to display options for that node. 

options 

window 

A Flowgraph View window that contains values for a node that affect the 

look applied to the image. 

output profile A 3D LUT created by the KODAK Scanner Recorder Profiling service 

based on your specifications for your output device, such as a digital 

projector or HD/SD display. 

padding A number of digits in the file name for a frame giving an indication of where 

that image falls in the image sequence. 

patches Individual color squares that the Display Manager System reads during 

calibration, characterization, and verification. 

postproduction 

preproduction 

The point of the production process when the filming is complete. Post- 

production activities consist of editing, sound mixing, compositing, image 

manipulation, image creation, or any other alteration to the media. 

The point of the production process when work is done prior to filming. 

Pre-production tasks consist of scouting locations, and selecting stock and 

other shooting conditions. 

print film The type of film that you want your printed image to emulate regardless of 

the printing media that it will actually be printed to. Make this selection in 

the Print Emulation node - Print Films tab. When printing to film with the 

traditional photochemical process, the Print Film and Printing Media have 

to be the same. When printing a digitally recorded negative, they can be 

different. 

printing 

media 

The print film stock that you will use to print the negative during actual 

processing. When printing to film with the traditional photochemical 

process, the Print Film and Printing Media have to be the same. When 

printing a digitally recorded negative, they can be different. 

project A group of scenes usually formed to tell a story (e.g., film). 


Glossary 

projection 

mask 

quadrant 

view 

Quick 

Preview 

Aspect ratio (width x height) of projected or display images. 

A view of four images. Designed to make comparisons between different 

parameters and images. 

A Flowgraph View utility that lets you view a low resolution preview of the 

recipe adjustments as they are made. 

recipe A sequence of operations on an image with a specific order execution and 

specific settings to create a look. 

refined look Also called color timed look, or color corrected look. It is the basic look 

plus additional tweaking and timing. 

relative 

emulation 

reproduction 

warning 

The process of creating a look in the recipe that is not completely accurate 

as compared to the actual production look (absolute emulation). This may 

occur if a .tif image is used to create the look. 

A message that appears on the ImageViewer if the monitor is not 

calibrated, if you have used a .tif image, or if the recipe is referencing film 

data that does not exist on the current computer. 

To accurately print an image or produce a look, you should correct these 

conditions. 

resize Changing an image size by specifying a new resolution. Resizing an 

image to a smaller size will increase the processing speed. You can resize 

an image by selecting a scale factor on the Image Controller tab of the 

Input Roll/Image node. 

saturation The brilliance or purity of a given color. As a color gets less saturated, it 

becomes more pastel. 

scanning 

media 

The type of film that was scanned to create a digital image. The Look 

Manager System needs to know which film stock was scanned in order to 

make accurate adjustments to the digital image. 

scene A group of images. Usually grouped together to form a concept (e.g., a 

passage in a movie script). 

sensor A colorimeter used to measure luminance and chromaticities of patches 

during monitor calibration, characterization and verification. 

shoulder The curved region of the characteristic curve above the straight line 

portion. It represents the highlights in the image. This gradually decreases 

as exposure increases. See “characteristic curve.” 


Glossary 

skip bleach The process of leaving some or all of the image silver on the film along 

with the image dyes. This silver is normally removed during the bleaching 

process. Skip bleach increases contrast, darkens shadows, and reduces 

the color saturation of images. 

You can emulate skip bleach from: Negative, Master Positive, Dupe 

Negative, and Print Emulation. 

SMPTE Society of Motion Picture and Television Engineers 

source type A description of how the original image was created. The Look Manager 

System needs this information in order to correctly emulate a look. In 

Flowgraph View, make this selection on the Source Type tab of the Input 

Roll/Image node option window. In Main View, make this selection when 

you are prompted. 

spot meter A Look Manager System tool that displays exposure information about an 

image. 

straight line The straight line portion of the characteristic curve. It represents the 

midtones in the image. 

target A data file that contains preset calibration values. The Display Manager 

System provides three default targets that can be used as starting points 

for setting your calibration values. 

Telecine A machine that scans motion picture film at video resolution for transfer to 

videotape. 

template In Flowgraph View, a pre-defined recipe which you can use as a starting 

point for your recipe. You can create your own template or use the default 

templates. 

In Main View, a base look containing certain processes which you can 

adjust to create a refined look. 

timer The person at the lab who works with the cinematographer to select the 

timing lights for each shot. 

timing lights The lamps of a film printer. Their brightness controls the printed color. You 

can emulate changes to timing lights on the Color Timing tabs of the 

Master Positive, Dupe Negative and Print Emulation node options. 

toe The curved region of a film characteristic curve below the straight line 

portion. It represents the shadows in the image and gradually increases 

with exposure. See “characteristic curve.” 

tolerances The acceptable value above or below aim values when calibrating your 

monitor. 

t-stop A motion picture camera setting that controls exposure and depth of field. 


Glossary 

unity matrix A color matrix with colors in a 1 to 1 relationship so that no color 

corrections are made. 

verification In the Display Manager System, the process of checking the overall 

response of the system to determine the quality of the calibration and 

characterization. 

white point A value that represents the brightest part in an image or the brightest point 

that a monitor can display. 

workspace The large gray area in the Flowgraph View where you add and connect 

nodes and set node options to create a recipe. 


Numerics 

3D LUT 

applying from flowgraph 194 

applying main view 194 

defined 289 

directory to (Display Manager) 238 

exporting from flowgraph 191 

exporting main view 193 

overview/description 196 

3DL file format 195 

6800 printer, setting up 216 

8500 printer, setting up 215 

A 

absolute emulation, definition 289 

adding 

images (flowgraph) 128 

images (main view) 58 

licenses 20 

nodes (flowgraph) 112 

nodes from workspace (flowgraph) 99 

notes to workspace (flowgraph) 98 

adjusting 

black point in Color Corrector(main 

view) 85 

gamma (flowgraph) 165 

lift, gamma, gain (flowgraph) 161 

lift, gamma, gain (main view) 84 

printer offsets (flowgraph) 203, 224 

printer offsets (main view) 224 

white point in Color Corrector (main 

view) 85 

aim 

definition 289 

setting projector 234 

apply 

3D LUT from flowgraph 170, 194 

INDEX 

3D LUT in main view 194 

filters (flowgraph) 140 

filters (main view) 78 

flashing (flowgraph) 146 

flashing (main view) 79 

looks (main view) 75 

ASA 

defined 289 

selecting 78 

aspect ratio 

defined 289 

flowgraph 203 

main view 45 

assigning ImageViewer (flowgraph) 201 

authenticity 


indicator (flowgraph) 98, 125 

autobalance timing 

flowgraph 139 

main view 79 

automatic calibration 

not available 270 

performing 240 

automatically connect nodes (flowgraph) 112 

B 

banding in images 258 

base look (main view) 

applying 75 

defined 289 

saving 32, 85 

batch render mode (flowgraph) 


using with Save node 135 

bias 

adjusting 227 



Index 

black point 

adjusting in Display Manager 244 


setting in Color Corrector(main view) 85 

brightness, adjusting on monitor 227 

C 

calculating filter factors (flowgraph) 148 

calibration 

automatic 240 


described 227 

fails 266 

how often 227 

main steps 227 

manual 244 

preparing monitor/environment 232 

timing 238 

video setup 235 

cameras 

digital still 211 

loading images from 214 

setting up CANON 211 

setting up KODAK 210 

setting up NIKON 212 

CANON cameras 211 

capture mode 

CANON 211 

KODAK 210 

NIKON 212 

CGI images (flowgraph) 134 

changing 

input source (flowgraph) 134 

input source (main view) 65 

output media (flowgraph) 157 

output media (main view) 68 

projection mask 67 

scene information (main view) 72 

characteristic curve, definition 289 

characterization 

automatic 248 


described 228 

fails 267 

how often 227 

how to 248 

chr file, directory to 238 

chromaticity 

chart 252 

dark 235 

diagram 242 

setting 234 

chromaticity coordinates, definition 290 

CIELab, plot 254 

closing a recipe (flowgraph) 115 

c-moncal warning (flowgraph) 202 

color 

channels (flowgraph) 167 

correction matrix (flowgraph) 165 

correction matrix, definition 290 

gamut (flowgraph) 203 

gamut (main view) 32 

gamut, definition 290 

primary correction (flowgraph) 161 

primary correction (main view) 84 

quality on monitor 7 

Color Corrector 

creating recipe for (flowgraph) 100, 109 

flowgraph view 161 

main view 84 

template for outputting (flowgraph) 116 

color timing 


flowgraph 152, 155 

main view 80, 82 

colorimeter 234 

communicating your look 2 

compare modes (main view) 

defined 290 

selecting 90 

comparing looks 

flowgraph 206 

main view 88 

compensate filters 

flowgraph 139, 258 

main view 79 


connecting 

enable cable 12 

nodes (flowgraph) 112 

SEQUEL sensors 15 

X-RITE sensors 13 

correlated color temperature graph 252 

creating 

new project (main view) 42 

recipe for traditional processing (flowgraph) 

109 

recipe from template (flowgraph) 117 

recipes (flowgraph) 112 

scene (main view) 55 

templates (flowgraph) 118 

cropping 



main view 32, 67 

CRT, definition 290 

curve, definition 289 

Custom Looks 

flowgraph 184 

main view 176 

customizing 

flowgraph window 94 

toolbars (main view) 28 

D 

D Log E, definition 290 

dailies 2 

dark code value 235 

dark gain correction (Display Manager) 


fails 268 

procedure 241 

default templates 

flowgraph 116 

main view 75 

delete 

images (main view) 70 

recipe items (flowgraph) 113 



density, definition 290 

Index 

digital intermediate 

creating recipe for (flowgraph) 101, 109 


digital still cameras 209 

directories (Display Manager) 238 

directory paths (flowgraph) 103 

display aim 


setting 235 

Display Manager 

calibration 240 

characterization 248 

how it works 227 

main window 229 

opening 228 

setup 233 

shortcut keys 281 

display mode 


selecting (main view) 33 

displaying 

images from a flowgraph 199 

multiple images (main view) 88 

pixel/look information 31 

DPX viewer 74 

DTP92+EK 14 

DTP94+EK 13 

dual head 

defined 291 

support (Display Manager) 237 

Dupe Negative 

color timing tab (flowgraph) 152 


described (flowgraph) 96 

films tab (flowgraph) 149 

flashing tab (flowgraph) 150 

using in flowgraph 149 

using in main view 80 

E 

EasyShare 

cameras 210 

printers 216 

edit toolbar (flowgraph view) 95 


Index 

editions 

adding 20 

features 5 

emulation nodes (flowgraph) 137 

enable cable 

connecting 12 


not recognized 270 

export 

3D LUT from flowgraph 191 

3D LUT in main view 193 

image with look (main view) 86 

exposure index 


flowgraph 139 

main view 78 

F 

film data warning (flowgraph) 202 

film look 

not as expected 271 

verifying 253 

film recorder, definition 291 

film roll, definition 291 

films tab (flowgraph) 138, 149, 154 

filter factors 

calculating (flowgraph) 148 


filter trays, defined 291 

filters 

applying (flowgraph) 140 

applying (main view) 78 


flashing Master Pos/Dupe Neg (flowgraph) 

150 

Negative node (flowgraph) 140 

packages (flowgraph) 141 

flagging images (main view) 24 

flashing 


filter, definition 291 

flowgraph view 146, 150, 159 

main view 79 

flowgraph view 

defined 291 

main window 93 

nodes described 96 

opening 93 

overview 34 

frame grab 

.tif 262, 283 


full screen 


main view 32 

G 

gain 

adjusting in Color Corrector (flowgraph) 

161 

adjusting in Color Corrector(main view) 

84 


gamma 


161 


84 


matrix/gamma node (flowgraph) 165 

gelatin filters (flowgraph) 


using 144 

H 

hardware 

requirements 287 

SEQUEL sensors 15 

X-RITE sensors 13 

HD Custom Looks 

flowgraph 184 

main view 176 

HD Standard Looks 

flowgraph 179 

main view 174 

help 8 

hero 

defined 292 

flagging image as (main view) 24 


hiding 

images 70 

scenes 72 

scenes (main view) 25 

histogram (flowgraph) 


viewing 204 

How Do I 8 

I 

Image Controller (flowgraph) 



tab 128 

image files, managing (flowgraph) 110 

image input box (main view) 26 

image source 

flowgraph 134 

main view 65 

images 

adding (main view) 58 

banding appears 258 

comparing (flowgraph) 206 

cropping (flowgraph) 130 

cropping (main view) 67 

deleting/hiding 70 

directories (flowgraph) 103 

displaying multiple (main view) 88 

do not refresh (flowgraph) 262 

don’t display properly (flowgraph) 260 

don’t look right 258 

exporting (main view) 86 

flagging (main view) 24 

import from project (main view) 61 

importing into scene (main view) 56 

inputting (flowgraph) 128 

loading on a computer 214 

moving between scenes (main view) 63 


printing from flowgraph 221 

printing from main view 218 

saving multiple (flowgraph) 135 

scaling (flowgraph) 130 

types of 283 

viewing different (flowgraph) 205 

warnings 202 

ImageViewer (flowgraph) 

assigning 201 

background color 203 

changes do not appear 262 

clearing 203 


full screen 203 

image doesn’t appear 259 

options 202 

scaling images/aspect ratio 203 


toggle on/off (icon) 94 

using 200 

won’t open 263 

import (main view) 

images 26, 56 

images from different project 61 

look 76 

looks 46 

project 53 


indicator lights (flowgraph) 98 

ini file (Display Manager) 

problems with 270 

saving to 232 

input images 

flowgraph 128 

main view 56 

input output nodes (flowgraph) 127 

input profile (main view) 

defined 292 

selecting 69 

Input Roll/Image node (flowgraph) 127 

input source 

flowgraph 134 

main view 65 

input timing (flowgraph) 134 

installing software 9 

integrity 


warning (flowgraph) 98 

Index 


Index 

ISO 210, 211 

K 

kdm.ini file 

as default 239 

problems with 270 

saving to 232 

KODAK cameras 210 

L 

lab uses 2 

labs lad normal values 


main view 83 

LAD 


gray patch, definition 292 

lambert, definition 292 

lamp intensity 

adjusting (flowgraph) 162 

adjusting in main view 85 


LCD, definition 292 

licenses 

adding 20 

features 5 

not recognized (main view) 264 

selecting (flowgraph) 107 

selecting (main view) 37 

lift 


161 

adjusting in Color Corrector (main view) 

84 


loading 

camera images 214 

settings (Display Manager) 239 

lock timing 

flowgraph view 152, 156 

main view 81 

log-E range, definition 292 

logs, verification (Display Manager) 255 

look browser 

defined 292 

overview 22 

look builder 

image does not refresh 262 

image doesn’t appear 259 

overview 30 

toolbars 32 

won’t open 263 

looks 


communicating with partners 3 

comparing (flowgraph) 206 

creating (flowgraph) 109 

creating (main view) 73 


importing (main view) 76 

merging (flowgraph) 169, 171 

not as expected 271 

renaming (main view) 76 

saving base look (main view) 32 

viewing in Look Builder 30, 88 

viewing without look applied 74 

luminance 


setting (Display Manager) 234 

LUT 

applying (flowgraph) 194 



exporting (flowgraph) 191 

exporting (main view) 193 

M 

main toolbar (flowgraph) 94 

main window 

Display Manager 229 


manual calibration 228, 244 

Master Positive 

color timing tab (flowgraph) 152 

defined 293 

described (flowgraph) 96 


films tab (flowgraph) 149 

flashing tab (flowgraph) 150 

main view 80 

Matrix Gamma node (flowgraph) 

described 96 

uses 165 

memorizing Color Corrector adjustments 84 

Merge node (flowgraph) 96, 168 

merging 

looks (flowgraph) 169, 171 

split image (flowgraph) 169 

moncal warning (flowgraph) 98, 202 

monitor calibration, See Display Manager 

monitor primaries 


tracking 248 

monitors 

calibrating 227 

evaluating 243 

preparing 232 

selecting type (flowgraph) 104 

selecting type (main view) 36 

setting color quality 7 

N 

Negative 


main view 78 

NIKON cameras 212 

nodes (flowgraph) 

apply 3DLut 170 

Color Corrector 161 

connecting 112 

Custom Looks 184 


described 96 

Emulation 137 

Input/Output 127 

Matrix Gamma 165 

Merge 168 

Negative 137 

Print Emulation 154 

Save 135 

Index 

Split 167 

Standard Looks 179 

Timing 163 

notes 

adding to printed image (main view) 220 

adding to recipe (flowgraph) 98 

O 

one light timing 

flowgraph view 152, 156 

main view 81 

online help 8 

opening 


existing project (main view) 49 

flowgraph recipe 94 


ImageViewer (flowgraph) 200 

Look Manager 18 

node options (flowgraph) 113 

options windows, definition 293 

out-of-gamut 


flowgraph 203 

main view 32 

output media 

flowgraph 157 

main view 68 

output profile (main view) 

defined 293 

selecting 69 

setting default 39 

output timing (flowgraph) 158 

P 

padding, definition 293 

password protection (flowgraph) 120 

patches 


timing between 238 

photo printers 215 

pixel values 

flowgraph 201 

main view 31 


Index 

post-production 


uses 2 

preferences 



main view 36 

pre-production 


uses 1 

primary color correction 

flowgraph 161 

main view 84 

Print Emulation node (flowgraph) 

color timing 155 

films tab 154 

flashing 159 

printing media tab 157 

print film 


selecting (flowgraph) 154 

Print process (main view) 80 

printer 

lights, adjusting (flowgraph) 153, 156 

lights, adjusting (main view) 80, 82 

offsets (flowgraph) 203, 224 

offsets (main view) 224 

setting up 6800 216 

setting up 8500 215 

setting up Printer Docks 216 

supported models 215 

Printer Docks, setting up 216 

printing 

annotation (flowgraph) 223 

annotation (main view) 220 

media (flowgraph) 157 

media, definition 293 

still images (flowgraph) 221 

still images (main view) 218 

to film, template (flowgraph) 116 

profile 

characterization 228 

input/output (main view) 69 

project (main view) 

creating new 42 

defined 293 

importing 53 

open existing 49 

saving 53 

synchronizing 50 

tips 41 

projection mask 

changing 67 

defined 294 


selecting for new project 45 

projector aim 

luminance adjust 235 

setting 234 

projector SPD 234 

Q 

quadrant view (main view) 

defined 294 

displaying 88 

Quick Preview (flowgraph) 


using 199 

R 

Range 153 

read-only recipe (flowgraph) 

indicator 98 

saving as/resaving 120 

recipe (flowgraph) 

authenticity warning 125 

basic steps 109 

closing 115 

commercial 100 

creating 112 

creating from a template 117 


description 124 

digital intermediate 101 

information 120 

information (icon) 94 

inputting an image 128 


integrity 98 

issue 125, 263 

open existing 94 

properties, viewing 123 

saving 94, 119 

sharing 121, 122 

traditional film processing 102 

refined look 

defined 294 

exporting image with 86 

regulatory information 285 

relative emulation (flowgraph) 


warning 202 

renaming 

look (main view) 76 


reproduction warnings (flowgraph) 


listed 202 

requirements 287 

resize 



reversed image (flowgraph) 114 

rgb values 

flowgraph 201 

main view 31 

S 

sample recipes (flowgraph) 

commercial 100 

digital intermediate 101 

Merge node 169 

Split node 167 

traditional feature 102 

saturation 


161 


85 


Save node (flowgraph) 

described 96 

using 135 

saving 

base look (main view) 32, 85 


multiple images (flowgraph) 135 

project (main view) 53 

recipe (flowgraph) 94, 119 

settings (Display Manager) 239 


with password (flowgraph) 120 

scaling images (flowgraph) 130 

scanning media (flowgraph) 


identifying 133 

scene (main view) 

creating 55 

defined 294 

delete 72 

editing information 72 

importing 64 

importing images into 56 

importing into project 53 

moving images between 63 

viewing area 25 

scene layout (main view) 21 

scouting locations 1 

sensor 


falls off 268 


selecting 237 

SEQUEL 15 

supported 231 

X-RITE 13 

SEQUEL sensors 

4/C serial 17 

4/C USB 15 

4/L USB 16 

settings, load/save Display Manager 239 

sharing looks 

flowgraph 121 

main view 86 

shortcut keys 


Index 


Index 


Image Controller 279 

Look Builder 275 

Scene Layout 273 

shoulder, definition 294 

skip bleach 

apply (main view) 79, 81, 83 


setting (flowgraph) 139 

SMPTE, defined 295 

source type 

changing (main view) 65 


identifying (flowgraph) 134 

SPD, loading 234 

spectrophotometer/spectroradiometer 234 

Split node (flowgraph) 96, 167 

spot meter (flowgraph) 


enabling 132 

Standard looks 

flowgraph 179 

main view 174 

startup template (flowgraph) 106 

status bar (flowgraph) 98 

stop offset value (flowgraph) 148 

straight line, definition 295 

swiping images 90 

synchronization (main view) 

exporting file 50 

importing file 53 

system requirements 287 

T 

targets (Display Manager) 


selecting 235 

technical support 8 

Telecine 


template 


creating/deleting (flowgraph) 118 


managing (main view) 74 

selecting startup (flowgraph) 106 

setting default (main view) 75 

VISION2 HD (flowgraph) 116 

VISION2 HD (main view) 174 

timer, definition 295 

timing (Display Manager) 

between patches 238 

recommendation 266 

timing lights, definition 295 

Timing node (flowgraph) 96, 163 

toe, definition 295 

tolerances (Display Manager) 


setting 237 

toolbars 

customizing (flowgraph) 94 

customizing (main view) 28 

toolnodes (flowgraph) 163 

t-stop, definition 295 

U 

unity matrix 

creating (flowgraph) 166 


V 

verification (Display Manager) 


described 228 

fails 267 

film look 253 

logs 255 

monitor setup 250 

when 250 

video calibration 235 

video card, update 259 

viewing environment 232 

VISION2 HD System Edition 


main view 174 

overview 173 


W 

what’s this 8, 94 

white point 

adjusting in Display Manager 244 

chromaticity 236 


setting in Color Corrector (main view) 85 

workspace 


options (flowgraph) 98 

X 

X-RITE 

DTP92+EK 14 

DTP94+EK 13 

Z 

zoom in zoom out (flowgraph) 94 

Index

Flowgraph View - Kodak

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