PS - I've been helping him test the LUT and it's as close to 1-click-awesome as I've ever seen.
PANASONIC G7 LEEMING LUT FREE
Being free and obscenely powerful certainly help. Then we can drop our graphics back in and do any tweaking/stabilization that needs doing.ĭavinci is not a simple program by a long shot, but it's getting better. When we import the final XML in Premiere, it builds our final timeline based on the nicely colored clips. We color it, render out the new clips, and then make an XML in Resolve for Premiere. Then we import that XML into Davinci Resolve so Resolve can rebuild it's own copy of our Premiere timeline. Then we export an XML of the timeline from Premiere - the XML is just a list of what clips we use and in what order. We duplicate the sequence (so we don't mess it up too bad) and flatten all the nests, delete the titles graphics, etc so it's as simple as possible. I'm usually the guy who processes the projects for /u/studdmufin - we work at the same production company. Note: I typically do editing in Premiere and all my color grading in Davinci. The way it looks out of the box isn't very good in my opinion so I with the help of /u/PastramiSwissRye are working on making a good LUT you can slap on as a starting point.
PANASONIC G7 LEEMING LUT SKIN
I'm currently working on making a LUT for this camera that will hopefully give a nice usable image with good skin tones. The luts you have linked are more 'creative' luts that are designed to take a generic LOG or Rec709 image that is already properly exposed/balanced and give them a certain 'look.' This isn't a bad thing, but every camera looks different so your results on one camera will look different than another camera. I like doing it that way cause then I can toggle it on or off depending on my needs. When I am editing my footage in Premiere I usually just make an adjustment layer on the top track that I apply my LUTs to to get a rough idea of what the image will look like when I send it to color grading. I typically try to have an input LUT that does some basic corrections to the footage like take out all yellow that this camera seems to introduce then do my basic corrections than have a more 'creative' LUT at the end after I've properly balanced my shot with exposure/color. Also very helpful to apply a LUT when the producer/client is watching the footage because it helps them visualize what the footage will look like when finished grading.Ī lot of people discuss whether LUTs should go first or last. They are not a replacement to proper color grading, but can be very helpful to get a look quickly. You can use multiple ones together or just a single one. I haven't tested it but I'm pretty sure that the dynamic range of Vlog and HLG is exactly the same.An easy way to think about LUTs is essentially like presets. you could compress the entire dynamic range to 8 bits if you wanted (not that it would grade nicely later). It is indeed 10bit but this is to store colour information in the file and has nothing to do with the dynamic range.
It is useful to buy the vlog key to unlock the waveform monitor so you can use incident metering however the screen is tiny In practical terms the 150mbps codec of the G9 doesn’t have enough steam to really give vlog a significant edgeĬinelikeD on the other hand does not require luts and looks decent albeit warm out of the box and does manage pretty well highlights VLOG is different as it has the same middle grey and compresses the whole range so it gives you different results still requiring a LUT but at least you can monitor with a standard screen
You would see some differences in the highlights if you kept it as HLG but if you conform it at the end is just a headache is harder to monitor and edit and ultimately not worth it
It doesn’t capture any greater dynamic range because the camera readout in video is 10 bits not 12 and once you apply a LUT you compress it into a space that is limited to less than 10 stops anyway If you do not have Vlog then HLG is the next best thing you can use on your camera.
PANASONIC G7 LEEMING LUT PLUS
Plus it looks much better in the viewfinder than cineLikeD. You can use a much better h265 codec to have smaller files and it is future proof for one day when we all have HDR TVs. It gives you a much wider colour gamut that allows more freedom in grading. HLG captures a greater dynamic range and grades easily and beautifully (it is 10 bit!). I don't fully understand why anyone would recommend using cineLikeD over HLG. Leeming LUT Quickies, a set of free looks LUTs, will also be updated to work better with Leeming LUT One version 501 but in the meantime Mr Leeming advises using the current version at 40 intensity (or gain).
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