NEW YORK CITY IN EPIC COLORS ( IN 4K UHD)

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Feedback from Customers "EPICOLOR is different. It is using an innovative perception based approach. This surprisingly capable tool  will let your colors look fresh, natural and vivid. It is not only useful for documentary shooters but professional colorists can benefit as well. Even if no color charts were shot, this tool will quickly get you to a neutral look as your starting point." Prof. Uli Plank, Director of Institute for Media Research, Braunschweig University of Art "EPICOLOR has everything to greatly reduce the effort of color-correction for ambitious video-producers. It produces reliable improvements. It means far less work than manual correction“. Mac & I magazine test review "I have to say that there is something miraculous about EPICOLOR. I am very much concerned with the topic of beauty and color. The overall aesthetic resulting from EPICOLOR is more satisfying to my eyes than any other software filter, plugin, or even film stock. I read about your attempt to replicate how the human eye perceives color, and I believe that that's precisely what you've achieved with EPICOLOR. All hyperbole aside - the results are truly exalted. What you have achieved with EPICOLOR is simply beautiful and of truly lasting quality“. Jesse Waugh (New York artist) "I use EPICOLOR  as an automatic primary color correction for my work on a daily basis. I think TV Producers with no time for color adjustment and nature filmmaker will love this truly wonderful plugIn." Shahin Shokoui, Director and Editor "I just made a new project which would have taken hours with color-correction,  in just a few minutes. A real help for every professional who wants to just quickly get to a perfect result. Congratulations." Hans Bauman (cliptouch.at) "I tried it out on a 8mm film transfer from 1980 where the color varied from shot to shot and I was amazed by the results. To think that I spent days adjusting each shot by hand. Just one drag and drop and EPICOLOR did a better job than I managed with no further adjustment. I’m converted." Crispin Hodges "Before we brought the EPICOLOR plugin into our workflow,  getting that “natural and pure” look was a tedious endeavor. Now I can say that a quick and precise color foundation is achievable through EPICOLOR." Austin L. Wiggins (Hindlight media owner) "This tool  allows me to get great results very quickly and dazzle viewers! There is no time to mess around with complicated sofware and do everything manually. EPICOLOR is exactly what I’ve been waiting for.  Thanks folks for this invention, it helps a lot." SkyFilms.asia, aerial video production services in Asia

Artificial Intelligence Color Correction for professional Filmmakers Plug-In Exclusively for Final Cut Pro X

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EPICOLOR is fundamentally different Even the best cameras in the world only record the incoming light and "see" color-shifts in a scene that would be imperceptible to the naked eye if observed in person

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DaVinci Resolve Version

it automatically corrects professional video to make it look natural and realistic without tedious manual correction This technology is a first of it's kind  and is the result of 20 years of research and development From Lemke Software, the makers of GraphicConverter

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EPICOLOR  includes another new first of it’s kind technology: Many modern video cameras, even smartphones like the iPhone record "Extended Range Video“, outside of the broadcast standard 0-100 IRE, also known as "Full Range“ or "Studio Levels“. Sometimes called superwhites and sub-blacks. Even if outside of the recognized TV standard, these recordings contain very useful additional visual information. Those values need to be gently brought back into the broadcast range without compromising the brightness or over-all impression. This strongly depends on the content that's beeing recorded which sometimes can change very rapidly. This is a well known problem among color grading professionals. It needs to be done shot by shot manually by skilled professional colorists and this is a very costly and time-consuming process. Under tight schedules and money constraints the typical practice until today is to just cut off at 0 and 100 IRE, which leads to unpleasant visual artifacts in the highlights and the areas around black. Our method is an intelligent adaptive algorithm that analyses every single frame, conforms the footage to broadcast standard while improving visual quality.

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