Leeming LUT Pro Coming Soon to Level the Hybrid Camera Video Playing Field with Radically Improved Colour Accuracy for Easy Colour Matching

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While we have been stunned and amazed by Australian company Blackmagic Design’s coming revolutionary Blackmagic Pocket Cinema Camera 4k aka BMPCC 4K aka P4K, a a quiet revolution in hybrid camera video post-production has been brewing. 

Australian cinematographer/director of photography/director/writer Paul Leeming of Visceral Psyche Films has been radically overhauling his Leeming LUT suite of camera profile colour matching 3D LUTs whilst grading Kodokushi, the very first full-length feature film to be shot on the affordable, award-winning Panasonic Lumix GH5S high-end compact video camera. 

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The Panasonic Lumix DC-GH5S plus 8Sinn GH5/GH5S cage-based rig used by Paul Leeming to shoot ‘Kodokushi’, the first full-length feature film to be shot with the GH5S.
During his first visit to ‘Untitled’ Paul Leeming tested several cameras for possible Leeming LUT One custom 3D LUTs.

As we learned earlier this year when Mr Leeming dropped by our home studio after wrapping production on the Kodokushi shoot in Osaka, the Leeming LUT camera profile testing and production process has evolved courtesy of now basing it on 3D LUT Creator combined with a new footage creation methodology.

We tested an early beta of Leeming LUT Pro, successor to Leeming LUT One, against earlier versions of Leeming LUT One and were suitably impressed.

Leeming LUT Pro has delivered on its predecessors’ promise of enabling easier, faster and more accurate correction of video footage from a range of hybrid cameras and camcorders affordable for self-funded, low-budget, independent documentary and narrative moviemakers.

Leeming LUT Pro makes that possible regardless of whether video acquisition is via Rec. 709, Rec. 2020, log, flat or regular picture profile footage, and with whichever brand camera so long as Mr Leeming has tested its footage for creation of his custom camera profile 3D LUTs.

Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Still frame from ‘Kodokushi’, the very first feature film to be shot with the Panasonic Lumix DC-GH5S video camera by Director of Photography Paul Leeming.
Australian director/cinematographer Paul Leeming with his Panasonic Lumix DMC-GH4 rig during his first visit to the ‘Untitled’ home studio..

Contemporary moviemakers often use a range of cameras on any given production, presenting a costly, time-consuming colour-matching headache during the postproduction process.

With Leeming LUT Pro, a timeline of footage from several different cameras can be colour-matched by dropping the relevant Leeming LUT Pro camera profile custom LUT onto each clip, evening their colour up for faster subsequent colour correction then colour grading for looks and emotion.

Consequently, footage from, say, a Canon EOS DSLR or Cinema EOS camcorder, a Panasonic Lumix DMC-GX8, GH5, GH5S, any of the Sony hybrid cameras, a JVC GY-LS300, GoPro or DJI X5 Series on the same timeline will no longer be screaming out their colour science differences and will play nice together.

Application of the ETTR – exposing to the right – principle as taught by Mr Leeming on his Leeming LUT Pro website aids in exposure-matching and enhances Leeming LUT Pro’s colour-matching benefits even more.

Colour-matching footage shot on a range of cameras over time is the bane of longterm documentary moviemaking and Leeming LUT Pro makes the process more accurate, easier and faster when using profiled cameras.

For example, my current documentary production gear kit includes the Fujifilm X-Pro2, Panasonic Lumix DMC-GX8 and Panasonic Lumix DMC-GH4, and I may be adding a GH5 or GH5S along with a second Fujifilm camera to backup and extend my X-Pro2.

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Paul Leeming’s Panasonic Lumix DC-GH5 in 8Sinn cage with Scorpio handle.

That represents a range of picture profiles, film simulations, Rec. types and specific Rec. 709 profiles as well as HLG and V-Log without adding footage from very different cameras such as GoPro, DJI, Canon, Nikon, Blackmagic Design and more.

Blackmagic Design’s Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K aka P4K gives self-funded indie moviemakers like me an eminently affordable 4K UHD and 1080p HD cinema camera option as well and Mr Leeming will no doubt be creating a custom Leeming LUT Pro 3D LUT for it when he can obtain a production-ready version of the camera.

Blackmagic Design’s Grant Petty once shared his vision for the rest of us who need to be storytellers in moving pictures but don’t come from traditional storytelling class and ethnic backgrounds:

“My big thing is, if you don’t have any money, it doesn’t mean to say your brain is turned off, or you’re stupid or you don’t have ambition. From my point of view, you want to move up, you want to do great things. If you want to do that, you should be able to buy products that let you do that. That’s how you get rid of class structure. I’m trying to remove it, and just let people be creative.”

With the coming release of Leeming LUT Pro, Paul Leeming is also assisting independent moviemakers in dismantling the moviemaking class system and more power to his arm, as the saying goes.

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