By default Lumix cameras come with the Vlog_709 LUT that converts Panasonic’s V-Log footage to the industry standard Rec 709 for viewing on the rear screen, in the EVF and via an HDMI-connected monitor. When you record in V-Log or V-Log-L with a Lumix camera you have the option to either view what you are recording in the V-Log profile on screen or to use what’s called V-Log View Assist to pass the preview through an in-camera LUT to make the footage easier to view. There is also a host of other independent LUT makers who offer a collection of free and paid-for LUTs that you can use when grading your V-Log and V-Log-L footage. Panasonic offers its users a library of free LUTs that are designed to be used with cameras that can record in V-Log and V-Log-L Photo Styles, and which convert the very flat and low-colour-saturation footage into a finished product that looks good. Some technical LUTs are used to convert Log footage to industry standard profiles while other LUTs are designed to create atmosphere and mood in your movie.įor a LUT to be effective it needs to know what colours it is starting with, so LUTs tend to be designed for specific camera brands and defined standards. Like the pre-sets you can load into Adobe Lightroom, LUTs add colour and contrast shifts to video to give the footage a certain look or style. Look Up Tables, or LUTs, are mini colour and contrast profiles that are created to make grading video footage much easier. If you can produce the image you are personally seeking, no profile setting is the wrong choice! I hope this helps clarify and please take a look at "image & Color" utilizing Cine-like D.Making your own in-camera LUTs is easier than you might think, and allows you to preview your final look while shooting, says Damien Demolder In closing, your in camera "look" accredits itself to your own image or style. We very much look forward to V-Log coming soon for a confirmed whopping 13 stops of latitude! I am also interested to play with Michael Medgyesi's settings ( !GH4-Optimal-Film-Setting-works-in-stills-too/c24o4/8E18836A-F271-4A14-AF0D-C575B9D5F4B6 ) and see how that lends itself to other works. What little noise there might be to the critical eye in my professional opinion is passable for a filmic look. We have found however the grading experience with our settings to be pleasurable and never found much degradation or "noise" in our image. It should be stated, color is a subjective experiences, and what might work for one individual, might not work for the next. We have watched multiple samples from other professionals alike and found this to work nicely for us. When you introduce in camera curves (or master pedestal) your shadows will undoubtedly introduce a level of noise. This cannot be said for other profile settings which typically take a hit of 1 stop. I would not use it real low light tho, it does add noise then, but for a lot of other shots, it makes a real difference.balances the contrast nicely.Ī lot of advice about the GH4 that has come from many so called pros does not gel with my personal experience, too many people go to Cine-D -5 -5 -5 -5 blah blah blah and wonder why the post work is a pain in the team and I use Cine-Like D because it has a proven 10.9 stops of latitude from shadows to highlights. I use Cine-D a little.not that much, I mainly use Standard, Natural or Portrait, and yes.many say never touch iDynamic.well I find its awesome in high contrast bright scenes, just lifts the bottom end nicely and balances the image with no real extra noise. I also underexpose a little using the Standard etc.profiles. Yep I pretty much 100% agree with this, my noise problems with the Gh4 are minimal. What are the real benefits? Normal profiles are quite flat with contrast -5 and even flatter with iDynamic in very high contrast sunny scenes but has better colors and less noise. Seems that someone are still using cineD although it has color accuracy issues compared to Standard or Natural.
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