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 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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JDW: Using Rec.2020 HLG on a Rec.709 timeline in FCPX

“This video demystifies use of Rec.2020 HDR footage on a Rec.709 timeline in Final Cut Pro X 10.4.x, especially for Panasonic GH5 & GH5S users who shoot in HLG. I don’t own a SONY camera, but the same workflow shown in my video would apply to Sony Rec.2020 HLG as well. Leeming LUT offers a Sony HLG to Rec.709 LUT….”

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Skylum Updates Luminar 2018 Raw Processor/Image Editor with Artificial Intelligence-Driven AI Sky Enhancer

While it seems that most Australian professional photographers of my acquaintance depend on Adobe Bridge’s Camera Raw module in conjunction with Photoshop as their first choice for raw processing and imaged editing, followed by Adobe Lightroom in order of popularity, there are alternative products and alternative software companies.

One of the most creative is Skylum, formerly named Macphun, maker of Aurora HDR and Luminar, the first a high dynamic range image merging and editing application and the second a raw image processing and image editing application the features of which are ever-growing and unlike any other image editor in their scope and innovation. 

Luminar 2018 recently gained an artificial-intelligence driven feature, the AI Sky Enhancer, and the long-awaited major update, Luminar with Libraries, due sometime in December 2018, will add sync and batch editing, image organizing, rating, labelling and tagging to improve Luminar’s photo management and editing editing workflow.  

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Skylum Luminar AI Sky Enhancer filter applied to a Fujifilm X-Pro2 raw file of a local landscape after initial processing with Iridient X-Transformer. Photograph © copyright Karin Gottschalk 2018. All rights reserved.

Ever since Apple signalled the coming end of its support for Aperture, one of the best media management, picture sorting and editing, raw processing and image editing applications ever, relied upon by photographers as well as picture editors, magazine publishers, advertising agencies, deign firms and more, photographers have been searching for a direct replacement and the available solutions have been found wanting to various degrees.

Since then I have tried a number of media management applications and modules built into raw processing and image editing software and none of them have filled the bill in exactly the way I need them to.

Skylum has verb working on a media management solution aka library for Luminar for some time and it looks like it will finally make its appearance soon.

I cannot want to try it out and with luck it will be the media manager cum image library I have been after for all these years.

Skylum Luminar 2018 AI Sky Enhancer Before and After

How Does AI Sky Enhancer Work?

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Sky detection & object recognition: With the help of our deep neural network, Luminar analyzes the image and detects the sky. This neural network had been trained using hundreds of thousands of images with different amounts and different types of sky, whether it’s a tiny patch of blue peeking through a skylight, a cloudy sky flaunting sunset colors, or a dark, ominous sky signaling a storm.
skylum_luminar2018_skyenhancer_08_1920px_60pc
Semantic Segmentation: Once image analysis is complete, Luminar performs what we call semantic segmentation, separating the image into different layers, based on the semantic and contextual meaning of the objects it detects. This analysis allows the most precise and intelligent sky enhancement with minimal noise, halos, and negative impact on other areas of the image. The AI detects objects in the foreground, defines edges, and analyzes the textures and tones of the sky itself. The deep neural network that powers AI Sky Enhancer had been trained using thousands of real life examples we’ve either taken ourselves or obtained from other professional photographers.
skylum_luminar2018_skyenhancer_07_1920px_60pc
Smart masking: Following sky detection and segmentation, Luminar applies an automatic mask to the sky that’s invisible to you as the user. When you move the slider to the right, you only notice how the sky becomes more and more beautiful. Just like a professional photographer, AI Sky Enhancer treats different images differently. It applies a custom set of adjustments to a sky, depending on its look. This means that a blue sky will get a treatment far different from a grey sky, and a sunset sky will be enhanced differently from a mid-morning one.

LUTs in Skylum Luminar 2018 and Aurora HDR 2019

I have been developing an approach to portrait photography based on five to seven bracket images batch processed in Iridient X-Transformer then merged in Skylum Aurora HDR 2019 with maximum image editing done in Aurora’s 16-bit colour space including applying film emulation and looks LUTs.

This has only been possible in the way I have long envisaged it since the release of Aurora HDR 2019 and its amazing realistic automatic tone-mapping, a huge evolutionary leap beyond previous versions of Aurora HDR and other HDR software I have used over the years.

The addition of the LUTs feature in both items of Skylum software is welcome as I have assembled an enormous collection of camera profile, film emulation and looks LUTs over the years and enjoy applying the film emulation LUTs in particular to portraits.

The challenge when editing with LUTs is to choose exactly the right one, or two or more of them in combination, to communicate the information and emotions I visualized for the finished image when I made the exposure.

Right now selecting that one or more perfect LUT from a big collection of them is a time-consuming process of trial and error, loading and looking, rejecting then choosing again.

Some video editing applications and colour grading applications and plug-ins have LUT library previewing capabilities that speed up the processing of choosing the best LUT for the job and I want to see the same functionality added to Skylum Luminar 2018 and Aurora HDR 2019.

In illustration, the above three portraits have been graded with three different film emulation LUTs, one from a medium-sized collection and the other two from a far bigger set of LUTs.

Choosing the looks I wanted took far too long and I skipped over thousands of other possible candidates.

Small previews of how each LUT would render the image would have sped up the process considerably.

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Paul Leeming’s Leeming LUT One 801 for Panasonic Cameras including Lumix GH5 and GH5S is Available, More Versions to Come

We have been following Australian director/cinematographer Paul Leeming’s progress in creating, refining and updating his Leeming LUT One unified, corrective Look Up Table aka LUT system for popular mirrorless and DSLR hybrid cameras and camcorders ever since we launched the ‘Untitled’ project. 

Leeming LUT One began as an effort to transform the Panasonic Lumix DMC-GH4’s ‘Cine-D’ aka Cinelike D video picture profile into the most accurate, most realistic rendering possible and has expanded to encompass a range of cameras including those made by Canon, DJI, GoPro, JVC, Sony and more, with support for the Blackmagic Pocket Cinema Camera 4K and Fujifilm X-T3 and others coming in the near future. 

Mr Leeming continues to refine Leeming LUT One with version 801 for Panasonic being the most accurate yet, setting a new industry benchmark for realistic colour rendering for video footage shot with the Cinelike D, V-LogL and HLG profiles for editing in Rec. 709 movie projects. 

Recently I put Leeming LUT One 801 to the test with Cinelike D footage from my Panasonic Lumix DMC-GX8 camera, the one that goes with me almost everywhere everyday, and the results were, as usual, impressive.

Better yet, correcting footage with Leeming LUT One then adding film simulation or creative looks LUTs produces rich grading with a lush and easy-to-grade tonal range.

Many independent moviemakers shoot video for the same project on several cameras including within multi-camera interview set-ups, and Leeming LUT One is invaluable in reducing time in the colour grading suite matching footage from all those different cameras, especially when exposed according to the principles of ETTR aka expose-to-the-right.

In all the following examples, I graded quickly and minimally to simulate the look and feel of the subject at the moment I shot it, to be as realistic as video permits.

Skin tones in mixed available light with Leeming LUT One 801 and LookLabs’ Digital Film Stock Fujifilm Eterna 500T

Reds, greens and blue in strong sunlight with Leeming LUT One 801 and Leeming LUT Quickies v8 Basic Balanced v8 Lighter

Greys and greens in weak sunlight on cold, windy day with Leeming LUT One 801 and LookLabs Digital Film Stock Kodak 5218

Links

  • Leeming LUT Pro – “Leeming LUT Pro™ is the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”
  • LookLabsDigital Film Stock aka DFS – “DFS instantly gives you the natural look of film and the most flexible set of LUTs on the market. The DFS bundle includes 19 LUTs that perfectly emulate the most popular Kodak and Fuji film stocks. DFS comes in both REC.709 and LOG video formats and all SpeedLooks camera patches work with today’s most popular digital cinema and mirrorless cameras. DFS even makes your Android videos look like film!”

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

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. 

paul_leeming_panasonic_lumix_gh5s_zoom_h4n_rig_01_1024px_60pc
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.

paul_leeming_panasonic_lumix_gh5_8sinn_cage_2250059_cameraraw_1024px_60pc
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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Leeming LUT One for Panasonic Cameras to get Version 503 before Mid-Year with Even Better Colour and Tone than Ever – UPDATE

Paul Leeming of Leeming LUT One and Visceral Psyche Films is like a dog with a bone that he just will not let go insofar as improving and updating Leeming LUT One, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”

Paul Leeming of Leeming LUT One and Visceral Psyche Films in V-Log L footage made with Panasonic Lumix GH5 then processed with Leeming LUT One for Panasonic cameras, version 503 beta.

Mr Leeming has just shared an early version 503 beta for Panasonic V-Log L with me and, after applying it to some V-Log L footage of my own, it is clear that he has worked out how obtain even better, even more realistic colour and tonal rendering than before.

The more accurate and true-to-life the starting point obtained by applying Leeming LUT One before adding creative aka looks LUTs and other colour grading controls in your non-linear editing suite or colour grading software of choice, the richer and more satisfying the final result.

While this first version 503 beta is only for Panasonic V-Log L footage, Leeming LUT One version 503 for Panasonic cameras will be released for Cinelike D, HLG and V-Log L.

If version 503 has you as excited as I am, please do not put off purchasing it until later this year as version 502 is already streets ahead of any other camera LUT that I have tried out so far and purchasers of 502 now will receive 503 when it is finalized.

Leeming LUT One for Panasonic V-Log L 503 beta, footage by Paul Leeming

Leeming LUT One for Panasonic V-Log L 502 compared to 503 beta

Leeming LUT One for Panasonic V-Log L version 502
Leeming LUT One for Panasonic V-Log L version 503 beta
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2

Leeming LUT One 503 beta as a base for creative LUTs

Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji 64D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Fuji Reala 500D
Leeming LUT One for Panasonic V-Log L version 503 beta plus Leeming LUT Quickie Basic Brighter v2 plus LookLabs Digital Film Stock Kodak 5245

Sneak Peek, Leeming LUT One 601 for Panasonic, Cinelike D

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Leeming LUT One 601 for Panasonic Cinelike D, from 8-bit 4:2:0 4K UHD video shot on Lumix GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 lens, LUT plus other minimal grading applied.

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Image Credit

Header image concept and hack by Carmel D. Morris.

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Paul Leeming’s Leeming LUT One for the Panasonic GH5 Now at Version 502 for HLG, V-Log L and Cinelike D – UPDATED

Australian cinematographer/director Paul Leeming has issued the version 502 update to his unified corrective LUT (Look Up Table) system Leeming LUT One for the Panasonic Lumix GH5 and its three major video picture profiles, HLG, V-Log L and Cinelike D. 

Australian director/cinematographer Paul Leeming of Leeming LUT One fame with his Panasonic Lumix GH4 rigged for shooting feature films.

The Leeming LUT One system was developed in order to help cinematographers obtain the best image quality from their cameras by providing custom settings and LUTs to maximize dynamic range while minimizing noise and other artefacts such as banding and YUV chroma smearing.

Mr Leeming advises cinematographers to adhere to the expose-to-the-right aka ETTR principle, which he demonstrates in his website.

Still frame of Paul Leeming, shot on Panasonic Lumix GH5 in HLG HDR mode then processed in Blackmagic Design DaVinci Resolve Studio 14 using Leeming LUT One for Panasonic HLG version 501.

He has produced Leeming LUT One custom settings and LUTs for cameras including those made by Canon, DJI, GoPro, JVC, Panasonic, Sony with potential support for cameras made by FujifilmDigital Bolex and Samsung should there be sufficient demand.

Panasonic Lumix GH5 HLG Footage and Leeming LUT One for HLG, Before and After

Still frames from GH5 4K 10-bit 4:2:2 HLG footage exposed using ETTR, the ‘Leeming LUT One – Panasonic HLG v502.cube’ applied followed by ‘Leeming LUT Quickie – Basic Balanced v2.cube’ from ‘Leeming LUT Quickies 1 version 2’.

Mr Leeming will be updating his free ‘Leeming LUT Quickies’ collection soon to reflect the improvements made to the most recent version of Leeming LUT One for Panasonic cameras.

Our recent weather has been heavily hit by the effects of extreme climate change and global warming, and we have experienced few pristine Sydney summer days with their classic cobalt skies for some time now.

With many skies almost becoming high ultra-violet light boxes, the excellent highlight roll-off of the HLG profile in the GH5 is becoming even more important, and Leeming LUT One for HLG does a great job of maintaining the original look and feel of a scene while preserving realistic colour and especially skin colour.

Initial grading as in these still frames provides a good starting point that can be further enhanced with some of the many creative aka looks LUTs or analog film simulation being made available by a range of LUTs makers.

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Image Credits

Header image concept and hack by Carmel D. Morris.

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Taking a Panasonic Lumix GH5 Equipped with a Guerrilla G-Cup for GH5 on a Brisk Walk Through Gloomy Sydney

I took a much-needed break from fulltime caring to travel into the city of Sydney CBD for a walkabout with the Panasonic Lumix GH5, Olympus M.Zuiko Digital ED 12-40mm f/2.8 Probreakthrough  standard zoom lens, Breakthrough Photography X4 ND and X4 UV filters and Guerrilla G-Cup for GH5 replacing the GH5’s provided eyecup, all carried in Cosyspeed’s excellent Camslinger Streetomatic Plus camera bag in black faux leather.

Panasonic Lumix GH5 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens with Breakthrough Photography X4 UV filter, and Guerrilla G-Cup for GH5 attached instead of the GH5’s supplied eyecup. I usually attach Peak Design Clutch and Cuff camera straps to my cameras.

The day was dark and gloomy with prevailing light far from my favourite for putting hardware and software to the test.

My intention was to shoot HLG HDR (hybrid log-gamma high dynamic range) footage for sharing as SDR (standard dynamic range) as below after applying the latest iteration of Paul Leeming’s Leeming LUT One camera settings, camera LUT and custom LUT for the Panasonic GH5 HLG.

The latest version of Leeming LUT One for Panasonic cameras was 501 at the time but that has since been replaced with version 502, offering some refinements for a current limitation in Apple’s otherwise excellent Final Cut Pro X non-linear editing suite.

I also applied a small selection of analog film simulation LUTs from LookLabs’ Digital Film Stock (DFS) 3D LUT collection to some of the footage to enhance the look and feel of the scene depicted.

Still frames from Panasonic GH5 HLG HDR footage

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Image Credits

Header image concept and hack by Carmel D. Morris. Photograph of Panasonic Lumix DC-GH5 with Guerrilla G-Cup for GH5 shot as 3-bracket HDR image then processed in Skylum Aurora HDR 2018 followed by Skylum Luminar 2018.

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  • COSYSPEED CAMSLINGER Streetomatic Plus Camera BagB&H
  • Olympus M.Zuiko Digital ED 12-40mm f/2.8 PRO LensB&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H