PauL Leeming’s Leeming LUT Pro Now Released for Fujifilm F-Log, LUTs for Eterna Cinema, Pro Neg Std and HLG for Rec709 Coming Soon

Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.

Australian feature film cinematographer/director Paul Leeming has released the first camera profile correction look-up table in his Leeming LUT Pro set for Fujifilm X-Trans sensor-equipped cameras, for Fujifilm’s F-Log logarithmic shooting profile, with Eterna Cinema, Pro Neg Std and HLG for Rec709 LUTs to come. 

This is a significant and long-awaited event given that Fujifilm has finally delivered on its longtime promise to radically improve its cameras’ video capabilities with the Fujifilm X-T3 and X-H1, with the coming X-H2 hopefully improving on the X-T3 as a moviemaking hybrid mirrorless camera in Super 35 format. 

Super 35 has long been the feature film format of choice for narrative and documentary production, and the arrival of improved video capabilities on Fujifilm’s X-T2 cameras was a relief after the disappointment of the X-Pro2’s video support. 

Leeming LUT Pro for F-Log on Fujifilm cameras with X-Trans sensors

LeemingLUTPro_Fujifilm_F-Log_Sample_2019-10-29
Still frame from sample footage of Leeming LUT Pro for Fujifilm F-Log in use with video from Fujifilm X-T3.

Even the recently announced X-Pro3 appears to have 4K Super 35 video features that may prove good enough in a pinch when more video-oriented cameras are unavailable.

The Leeming LUT Pro expose and correction methodology is based on exposing to the right aka ETTR followed by correction via camera-specific look-up-table files in one’s nonlinear editing suite or colour grading software of choice.

The ETTR method’s most vocal proponent was the late Michael Reichmann who was in favour for its use in photography and videography, and although he and many other photographers constantly lobbied camera makers for auto-ETTR in their Live View-capable cameras, to no effect so far.

Why camera makers continue to ignore the necessity of optimal exposure is anyone’s guess.

For that reason I am grateful that Paul Leeming has applied himself to solving the problem of correct exposure followed by correcting colour via Leeming LUT Pro, with the added benefit of making footage shot on a variety of affordable cameras usable in the same timeline without excessive shot matching work.

The ideal, maximum possible dynamic range and realistic colours, using Leeming LUT Pro and Expose-To-The-Right (ETTR)

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Footage with Leeming LUT Pro applied in nonlinear editing suite.

Uncorrected camera maker luma and colorimetry

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“Uncorrected manufacturer luma curve and colorimetry. Notice how the X shape is all distorted and not straight, and how it artificially lifts the mids to make them much brighter (a favourite trick of the manufacturers to make their images appear brighter than the sensor is recording them).”

Luma curve and colorimetry levels corrected with Leeming LUT Pro

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“Corrected luma curve. Notice how straight the X shape is. As an aside, you can also see the fixed colorimetry levels.”

In the light of camera makers’ tendency to fudge their camera’s video output as illustrated above, exposing to the right appears to make footage appear darker than one may be accustomed to, but Mr Leeming has made available other, secondary, LUTs to quickly and easily raise footage low values, as explained below.

As usual, the LUT will “darken” the footage, which really just means it will make the curve perfectly LINEAR. Examine the attached image using your waveform scope in your favourite editing software, and you’ll see what that means, with the exposure steps forming a perfect “X” shape in linear fashion. This is of course ETTR, so if you under-expose your image, it will look darker.

The LUT(s) don’t make the image darker. The LUT(s) correct the manufacturer luma curves to be linear. In most (but not all) cases, this results in the image “appearing” to be darker, but it’s not affecting anything, nor clipping anything, nor adding additional noise that wasn’t in the shot to begin with.

Don’t forget, you also have the Apollo Pro Quickies to use after the corrective LUT in case you want to brighten the image without clipping the highlights or adding any more shot noise. But when you can, please ETTR and save yourself the problems (and give yourself the cleanest possible log image to begin with).

If your shot after LUT application has its highlights not reaching 100% IRE, then you underexposed it. Use the zebras as per the guide to see where the clipping point is. Expose just shy of that and you’ll maximise sensor dynamic range and minimise shot noise.

If you HAVE underexposed or simply want a brighter image post-corrective LUT, try following it with one or more of my Apollo Pro Quickies, which are expressly designed to lift the shadows in a natural way without clipping the highlights.

Stills frames from feature film shot by Paul Leeming, ungraded then graded with Leeming LUT Pro

Settings for shooting video Fujifilm cameras for processing with Leeming LUT Pro

  • Pro Neg Std, Eterna Cinema, F-log or HLG
  • H265 recording format
  • DR100 for all profiles
  • Highlight tone 0
  • Shadow tone 0
  • Color 0
  • Sharpness -4
  • Noise Reduction -4
  • Zebra level 100%

Quick and dirty Leeming LUT Pro for Fujifilm F-Log tryout with Fujifilm X-H1 F-Log footage

I shoot documentary stills and video rather than make narrative feature movies, so often work alone under challenging conditions as in this example.

The Fujifilm X-H1 had a vintage Zeiss Jena Pentacon 50mm f/1.8 MC Auto prime lens attached to it via a Gobe M42-to-X-mount adapter with no neutral density filter, and I fudged on setting a custom white balance as I was more concerned with understanding the creative possibilities of this lens for video than in getting technicalities perfect.

An adapted 50mm lens on an APS-C/Super 35 camera equates to 75mm in the 35mm sensor format, which is one of my favourite focal lengths for documentary photography and video.

I have been throughly enjoying trying out this lens and its companion, a Panagor PMC 28mm f/2.8 wide-angle prime lens that Paul Leeming kindly gave us.

These sorts of vintage prime lenses are rare and overpriced here in Sydney, at least ever since camera stores like Foto Reisel with their secondhand gear cabinets closed down.

Fujifilm Super 35/APS-C hybrid cameras capable of shooting 4K and Cinema 4K F-Log video as well as in other picture profiles: X-T3, X-H1 and X-Pro3

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Paul Leeming: How to ETTR – Quick And Dirty Edition! [Video]

How to Expose To The Right (ETTR) to maximise your camera’s sensor dynamic range 🙂 I also create highly accurate Rec709 corrective LUTs (optimised for these ETTR principles) which you can buy from here: https://www.LeemingLUTPro.com

Commentary

Paul Leeming has made a quick and dirty video to show how to set your camera for ETTR – expose to the right – when shooting video.

ETTR also applies to obtaining optimum exposure and thus optimal image quality for stills photography and is best achieved with zebras rather than blinkies.

Now if only all digital camera makers would equip every camera with fully programmable zebras for photography and video.

Fujifilm, I am looking at you!

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Paul Leeming Releases Leeming LUT Pro for Panasonic, Sony and Other Cameras, Now Working on LUTs and Settings for Fujifilm Cameras

Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.

Leeming LUT Pro has been released for a range of popular mirrorless, drone and action cameras, so Paul Leeming is working on his Leeming LUT Pro Fujifilm combo pack.

Mr Leeming has just purchased a Fujifilm X-T3 Super 35/APS-C hybrid camera in order to dig deep into Fujifilm cameras’ video settings and capabilities.

Cameras currently supported by Leeming LUT Pro include those made by Blackmagic Design, DJI, GoPro, Panasonic and Sony, with a list of which camera models are included now available at the Leeming LUT Pro web page.

The use of LUTs aka look-up tables for camera-matching profiles, dynamic range curve correction and creative looks is supported by a number modern nonlinear editing and colour grading applications including Adobe Photoshop, Adobe Premiere Pro, Apple Final Cut Pro, Avid Media Composer, Cyberlink PowerDirector, DaVince Resolve and Resolve Studio, Grass Valley Edius, HitFilm, Magix Vegas and a number of third-party colour grading plug-ins.

Several external recorders and monitor/recorders connected via SDI or HDMI are also supported by Leeming LUT Pro including those made by Atomos, BlackMagic Design, Convergent Design and Video Devices.

The news that Leeming LUT Pro will soon be supporting Fujifilm cameras is particularly welcome given that the Fujifilm X-T3 and X-T30 are proving to be excellent and affordable Super 35 video production cameras whether used standalone or connected via HDMI to external monitor/recorders.

Using Leeming LUT Pro

There appears to be persistent and widespread confusion about how best to expose video with no end of theories flying about and pundits purporting to know which theory is currently the best or the trendiest.

Mr Leeming has throughly researched the technical aspects and limitations of a range of current and recent hybrid camera sensors and has delved deep into each manufacturer’s colour science in this longtime RED camera owner’s quest to derive the best and most photorealistic colour from every camera.

I have watched him test cameras at the Unititled studio and have noted the thoroughness with which he does it, well-qualifying him to issue PDF manuals on how to best set-up each camera, how to best expose and how best to use LUTs in NLEs and colour grading software.

Correct exposure is achieved via exposing-to-the-right aka ETTR, a principle originally promoted by the late Michael Reichmann of The Luminous Landscape aka LuLa for digital stills photography but equally applicable to digital video.

The aim of ETTR is to adjust “the exposure of an image as high as possible at base ISO (without causing unwanted saturation) to collect the maximum amount of light and thus get the optimum performance out of the digital image sensor” according to Wikipedia’s entry on the technique.

I am currently awaiting before and after samples and other supporting images for current Leeming LUT Pro combo packs and when received will be publishing articles on each and how they work, so please come back to Unititled soon!

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Adobe: What’s new in Camera Raw: Adobe Camera Raw 11.3 | May 2019

https://helpx.adobe.com/camera-raw/using/whats-new.html

“The May 2019 release of Adobe Camera Raw (version 11.3) rolls out a new feature – Texture slider, adds support for new cameras and lenses, and fixes issues.”

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Philip Ruddock, Mayor of Hornsby, surveys photographs by local artist Nathalie Hartog Gauthier during opening of her photography exhibition at Wallarobba Arts and Cultural Centre, Hornsby, 4th May 2019. Before applying Texture, the fabric of the Mayor’s jacket was less clear than it is here and the details of each framed image less distinct. I could have applied Clarify or Sharpen for a not dissimilar effect, but Texture works without adding the artefacts that the other two options often carry with them.
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Texture effect applied at 100 to casual portrait shot with Panasonic Lumix DC-S1R camera and Panasonic Lumix S Pro 50mm f/1.4 prime lens wide open. Raw file processed in Adobe Camera Raw 11.3 followed by Alien Skin Exposure X4 with Copper preset to emulate the chemical copper toning I sometimes applied to prints for magazine reproduction during my magazine editorial portrait photographer days. Using Texture is as if I had stopped the lens’ aperture down one or more stops, now focussing on more than just one of the subject’s eyes. My interest in the Panasonic Lumix S1R is primarily as a portrait camera for producing really big prints to gallery standard, and Texture may well further enhance the possible sense of looking into the subject’s actual eyes when standing face-to-face with a big blow-up of the photograph.
_1000031-Enhanced_cameraraw_texture100pc_16x9_1920px
Same raw file but with both Enhance and Texture applied, then blue and copper split-toning applied in Alien Skin Exposure X4 to resemble another way I often chemically toned ultra-close-up portraits for magazine editorial clients. This look strongly reminds me of shooting full-face close-up portraits on my 4″x5″ sheet film cameras using Polaroid Type 55 positive/negative film.

Commentary

Just for fun and to see how far one can go with this approach, I added a Polaroid Type 55 film simulation and frame and am sharing the image here at 100% uncropped, making for a 6.3 MB 60% quality JPEG file. Best downloaded and viewed at 100%. 

Adobe has updated its Adobe Camera Raw engine plug-in for Photoshop and Lightroom to version 11.3 with a brand new feature, Texture.

Until now many photographers needing a little extra detail from their raw files have chosen to sharpen or add clarity via ACR but now they may wish to explore the creative possibilities of the Texture slider.

Like sharpening and clarity, the texture feature can be used in a negative or positive manner, applied overall or in selected areas of the image.

I have applied texture to both the images above, at a setting of +50 to the top image and at +100 to the lower image, and I can see its expressive capabilities already.

Intriguing!

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Photoism by Mastin Labs: Which Film or Preset Should I Use? A Guide by Mastin Labs.

https://www.mastinlabs.com/photoism/articles/which-film-or-preset-should-i-use-a-guide-by-mastin-labs

Mastin Labs’ Kodak Everyday Original is now available for Capture One Pro. Will Mastin Labs’ other film simulation preset packs also be migrated over to Capture One Pro, one of the most popular top-quality raw image processing applications?

“Film is a 127-year-old medium with many contributors throughout its history. Unlike digital capture, film stocks were not made to accurately reflect reality, but to offer different aesthetic choices to the photographer.

Factors such as the culture where the film company was located and who was available at the time as test subjects greatly determined the characteristics of each film stock. This is one of the reasons that Kodak films render colors differently compared to Fuji films (for example.)…

PLEASE NOTE: Any film can technically be used for any subject or lighting condition, but if you pair the right film with the right subject, you’ll get ideal results….”

Commentary

I follow either of two essentially different paths when processing my raw stills photography files, based on available time and emotional effect.

If time is of the essence and I must quickly process a collection of selects from a project, in effect a set of proofs ready for client viewing or social media, then I always choose to apply film simulation aka emulation presets through software like DxO PhotoLab and its siblings DxO FilmPack and DxO ViewPoint, Alien Skin Exposure X4, Capture One Pro equipped with film styles from 1style.pro, or several other such options including film emulation look-up tables aka LUTs.

My choice of host application and film emulations depends on what films are available which combination and it can vary a great deal.

If there is plenty of time for slower, more thoughtful processing and experimentation with a range of possible looks, then I will spend some time in products like Skylum’s Luminar and Aurora Pro exploring their many highly original, unconventional filters and controls to follow in entirely new image processing directions.

Most of the time, though, time is of the essence and I would rather be creating new images rather than editing older ones.

Capture One Pro is one of the two raw processing applications I am most likely to turn to when time is limited, beside DxO PhotoLab and its plug-ins, and it is good to see film simulation presets specialist Mastin Labs supporting it now.

Kirk Mastin’s presets are rather pricey compared to others, but I have read nothing but praise for them from photographers working digitally as well as in analog photography.

I have yet to try Mastin Labs’ first collection for Capture One Pro, Kodak Everyday Original consisting of presets based on Kodak Ektar 100, Kodak Gold 200 and Kodak Tri-X 400 as well as tone profiles, custom white balance settings, and 35mm and 120 roll film grain simulations.

The analog films upon which this set is based are not necessarily my first choice though I shot Tri-X film in 35mm, 120 and sheet film formats for many years during my magazine editorial photography and corporate photography careers.

The Mastin Labs presets I am more likely to want to use these days are included in their other collections – Fujicolor Original, Fujicolor Pushed, Ilford Original, Portra Original and Portra Pushed – so I hope that we will see these collections released for Capture One Pro in future.

Meanwhile, there are other ways of achieving acceptable analog film simulation or something similar in a number of host applications including Capture One Pro itself, and the list of links below points to some of them.

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DPReview: Secrets of a professional photographer’s workflow: Brian Ach

https://www.dpreview.com/articles/3321963167/a-professional-s-workflow-brian-ach

“… For a lot of us, we download the images to a computer and edit a handful that catch our eye, and then… well, there are more photo shoots to pursue. Maybe we’ll apply some keywords, perhaps mark a few favorites, but too often the photos we worked so hard to create are just dumped onto a hard disk and forgotten. We know we should do better, but who has the time?

Professional photographers, that’s who….”

Icon, Photo Mechanic 6 by Camera Bits.
Icon, Photo Mechanic 6 by Camera Bits.

Commentary

Getty Images and Associated Press contributing photographer Brian Ach shoots a range of subjects and genres, often under the stress of tight deadlines, poor artificial lighting and the need to get every shot right or if not then the ability to rapidly reduce his selects to a manageable collection for submission, distribution and publication.

That is a far cry from the more leisurely paces and demands of shooting documentary or photojournalism projects over longer time periods, or portraits and photoessays for weekly or monthly magazine feature articles.

I took on a mix of projects during my magazine and newspaper colour supplement days, and came to prefer weekly or monthly magazine projects over daily newspaper assignments for the chance to really get one’s teeth into the subject.

Daily newspaper work had its satisfactions, though, especially in the challenge of producing engaging, informative and sometimes emotive environmental and close-up portraits in no more than fifteen minutes per subject, three to five such assignments per day, in locations throughout the city and suburbs, while carting lights, cameras, stands and tripods about.

That was during the analog era when the time and the stress of processing, proofing and printing after each assignment had to be factored into the equation and before the joys of tethered shooting, editing, processing, tagging, uploading and traveling on to the next job existed as we know them now.

If I were to go back to that world as a freelancer I would have to come up with a whole new workflow all by myself, or learn successful workflows from others, so articles like this come in handy.

So much so that I went straight to the Camera Bits website to download Photo Mechanic to try out, and from a so-far fairly cursory try-out under anything but professional conditions am seriously considering adding it to my software collection.

And I am now crossing my fingers for a similar feature set to appear in the library functionality that is appearing in raw processing and image editing applications that once used to be editing-only.

There is another advantage to having an application dedicated only to selecting, trashing, tagging and organizing – none of the distractions of doing it within a product that also offers deep image-editing features where one can easily be tempted into diving down the rabbit hole of a thousand and one different possible interpretations.

Sometimes, oftentimes, simpler and sharply focused is better.

Now to get to grips with that massive backlog.

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Panasonic UK Lumix Ambassador Nick Driftwood Shares His Lumix S1 Custom Modes Settings File for Video

UK Panasonic Lumix ambassador and longtime video innovator Nick Driftwood is kindly sharing his custom settings file for shooting NTSC and Pal video with the newly-released Panasonic Lumix DC-S1 35mm sensor format hybrid stills and video camera. 

Creating settings like these can be a painstaking enough business with Panasonic’s Micro Four Thirds cameras and even more so with the Lumix S1 given it offers a total of thirteen, yes thirteen, custom settings slots as opposed to the five of its smaller-sensor siblings. 

Mr Driftwood has my gratitude for creating this settings file and even more so for making it available for free instead of a fee, at his Nick Driftwood’s Filmmaker Emporium

panasonic_lumix_s1r_02_1024px
Panasonic Lumix DC-S1R with Panasonic Lumix S 24-105mm f/4.0 zoom lens.

As I discovered last week, the Lumix S1 and S1R are great cameras for stills photography though I have yet to try them out for video.

Mr Driftwood confirms my observation about the S1’s photography capabilities, and he has more to say about it as a video camera:

This is a great camera for photographers with its 24MP FF sensor offering really good low light performance – its very clean even at 10000 ISO!

But it also translates over to decent looking video with its 4K 24p, 25p, 30p, 50p, 60p performance. Then there’s also the brilliant 4K/6KPhoto mode that can shoot 60fps in 4K/ 30fps in near 6K (for example 4:3 aspect mode is 4992×3744 pixels).

Switching around manually all these settings can be tiresome, so, I wanted to invite users to take a look at the custom mode features where you can set and store all your favourite settings and recall them in an instance. It saves so much time being able to load settings all in one go!

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Daniel J. Cox: Micro Four Thirds Triad-Part 1 and Part 2

“Moving to the smaller, lighter, less expensive​ Panasonic Lumix Micro Four Thirds cameras has made my photography travel life much more enjoyable. Gone are the days of carrying around 12 pound lenses. Getting the most from the smaller systems I’ve started following what I call the Micro Four Thirds Triad. This first video, of my two-part series, explains the cameras and lenses needed to follow the Micro Four Thirds Triad. Watch this video to find out how you can downsize and still get the most possible out of these smaller cameras that save you cash and physical pain. Part two will be released shortly that explains the last part of the triad which is software. Software that solves most problems we have with the smaller cameras so you can produce images that compete beautifully with the larger full frame​ systems….”

panasonic_lumix_dc-g9_battery_grip_hero_frontal_1024px_60%
Panasonic DC-G9 with DMW-BGG9 battery grip and Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric Power OIS zoom lens.

Commentary

panasonic_lumix_gx8_square_waterspray_1024px_60%
The now sadly discontinued Panasonic Lumix DMC-GX8 with Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens, still going strong as a Micro Four Thirds professional-quality hybrid stills and video camera.

It is timely that wildlife photographer and Panasonic Lumix Ambassador Daniel J. Cox has released his two video about the Micro Four Thirds triad – cameras, lenses and raw image processing – when Panasonic’s Lumix S-Series 35mm sensor format cameras have been announced and are now showing up in touch-and-try events at camera stores around the world.

There is plenty of life left still in the M43 sensor format for photography and video, and many M43 users will doubtless be resisting the temptation to swap over to the larger 35mm sensor format, also misleadingly known as “full frame” and “full format”, and its consequently larger, heavier and costlier cameras and lenses.

I have yet to experience the pleasure of touching and trying Panasonic’s Lumix S1 and S1R cameras and lenses, and am looking forward to several touch-and-try events in Sydney CBD camera stores next week.

Right now I do have some years of experience using Panasonic’s excellent little M43 camera and lenses, as well as Olympus’ M.Zuiko Pro professional-quality lenses, for photography and video, and can attest to the high image quality that can obtained from the M43 sensor format.

olympus_m-zuiko_pro_collection_2017_1024px_80pc
The Olympus M.Zuiko Pro professional prime and zoom lens collection as of late 2017, all with manual clutch focus, invaluable for fast, accurate and repeatable manual focusing as well as linear focus-by-wire and autofocus.

When I first tried out M43 cameras and lenses, I was struck at how well-suited they are to documentary photography and photojournalism due to their small size and oftentimes innocuous appearance quite unlike that of the big and heavy DSLR cameras and three-zoom-lens kits of which my former magazine and newspaper colleagues still seem to be fond.

There is nothing wrong with larger cameras, as I amply proved every day during my editorial photography career when I would rely on 4″x5″ sheet film, 120 roll film and 35mm rangefinder cameras far more than I did on the regulation 35mm analog film SLRs of the day.

The Panasonic Lumix S1R with its almost-50 megapixels of resolution, for example, is an intriguing proposition for shooting portraits to be printed extra large for exhibiting in gallery shows.

But meanwhile Daniel J. Cox is sharing some good advice in these videos on how to produce image files large and detailed enough to print up to 24″ x 36″ for exhibition and sale to collectors.

I can attest to the quality and speed of using Mr Cox’s number one raw processing software choice, DxO PhotoLab, as well as the utility value of ON1, Inc.’s ON1 Resize 2018 software which is also available as a component of ON1 Photo Raw.

_dsf0683_cameraraw_1920px_60pc
Big, heavy and expensive 35mm sensor format DSLRs and their zoom lenses remain the gear of choice for local newspaper photographers, if their necks and backs can take the strain.

I note that he lists Phase One’s Capture One Pro as his second choice for raw image processing and image editing, and can attest that it makes a great choice when processing Fujifilm X-Trans image files which are, sadly, not supported by DxO PhotoLab.

I often carry a Panasonic M43 camera alongside a Fujifilm APS-C camera, most often my X-Pro2 along with my Lumix GX8, for their distinctly different ways of seeing and recording the world, and it can be difficult to tell which picture was shot with what camera when processing both in Capture One Pro, especially when applying film simulation styles from any of 1stylespro’s three collections – Portrait Styles, Film Styles or Film Styles Extended.

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DPReview TV: Waveforms are better than histograms (and stills cameras should use them)

“By now, most serious photographers are familiar with histograms, a tool we’ve used for years to judge exposure. But what about waveforms? In this episode, Chris and Jordan explain why this tool from the video world may be the best way to judge exposure for photos – and why still cameras should use them too.”

Commentary

This is not a bad idea as other tools formerly the exclusive province of video production have found a place in photography, such as exposure zebras, which is a much better alternative to the dreaded blinkies.

timeinpixels_false_color_plugin_red_01_1920px
False colour as seen on RED cameras, courtesy of Tom Huczek at timeinpixels, maker of the excellent False Color Plugin for NLEs and colour grading software.

Even better may be false colour, well illustrated in several different styles as provided by a range of cameras at Tom Huczek’s timeinpixels’ web page and video for its excellent and highly recommended False Color Plugin for a range of non-linear editing and colour grading applications including DaVinci Resolve and Final Cut Pro X.

As a documentary and portrait person, skintone-oriented false colour exposure functionality would be more useful than histograms and waveforms.

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