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!”

Help support ‘Untitled’

Clicking on the links below and purchasing through them or our affiliate accounts at B&H Photo Video, SmallRig or Think Tank Photo helps us continue our work for ‘Untitled’.

  • Olympus M43 lensesB&H
  • Panasonic Battery Grip for Lumix GH3 and GH4 Digital CamerasB&H
  • Panasonic DMW-BGGH5 Battery GripB&H
  • Panasonic M43 lensesB&H
  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H
  • Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H

Creative Planet Network: A Cinematic Solution at a Sensible Price: How JVC’s GY-LS300 Expands Production Capabilities

http://www.creativeplanetnetwork.com/news/shoot/cinematic-solution-sensible-price-how-jvc-s-gy-ls300-expands-production-capabilities/611665

The GY-LS300 comes with a Micro Four Thirds (MFT) universal lens mount, and adapters are available for PL, EF, Nikon, C and other lenses….

Besides resolution, one figure that stands out about the GY-LS300 is its suggested price of $4,395—and the street price, which is about $1,000 less.

JVC GY-LS300 4K camcorder with Veydra Mini Prime Micro Four Thirds geared cinema lenses

I really appreciate the flexibility the GY-LS300 gives you to adopt any kind of lens,” he says. “I like both Canon and [Duclos] Veydra lenses, and the JVC mounting system handled them very well.” … Sanjeev Chatterjee

Can he recommend any improvements? “Sure. The camera would benefit from an additional threaded tie-down,” Herrlin says. “Also, it comes with a small viewfinder, probably to save cost. I’d like a higher resolution one, and a viewscreen that can stand up to bright outdoor sun.” … Steve Herrlin

 

JVCKENWOOD Updates the Incredible JVC GY-LS300 4K Camcorder Firmware to Version 4.0, Adds 4K 4:2:2 Recording and 4K60p Output

One of the most underestimated, sadly rarely heard of, Super 35 4K camcorders out there is the JVC GY-LS300 by JVCKENWOOD USA Corporation’s JVC Professional Video division. I have never had the pleasure of trying out the GY-LS300 or even seeing one from a distance, so must rely on the professional insights of documentary cinematographer Rick Young who has expressed nothing but praise for the camera. 

The JVC GY-LS300 has intrigued me from the moment I first read about it, at a time when I was wondering whether I should stick with hybrid stills/video cameras or look into the emerging world of 4K camcorders.

With an independent self-funded photographer and moviemaker budget, and the need to adequately cater for both creative fields, I opted for hybrid cameras but sometimes wonder if I have made the right decision on the video side of things.

Should I have bitten the bullet on the JVC GY-LS300 4K camcorder and made do with a smaller selection of cameras and lenses for stills photography? Given the ongoing problems we have in this country with our lousy online upload speeds, some of the worst in the world, I made the best choice available at the time and opted to start off Untitled: Stories of Creativity, Innovation, Success by focussing more on documentary photography than short documentary movies.

If things had been different for Australian Internet access I would gladly have chosen to focus more on video than stills and I most likely would have selected the JVC GY-LS300 as my prime video camera with M43 hybrids as my B and C cameras. If full-length documentary features enter the picture sometime soon, then I may well do exactly that.

Before JVC announced its version 4.0 firmware update, the JVC GY-LS300 possessed a specifications list to impress:

  • 4K Ultra High Definition video.
  • Super 35 4K CMOS sensor.
  • Micro Four Thirds lens mount.
  • Variable Scan Mapping for native angle of view with a wide range of lenses including M43, Super 16 and Super 35.
  • Lens mount adapters for EF and PL lenses.
  • Built-in 3-position ND filters – 1/4, 1/16 and 1/64.
  • HD-SDI (3G) and HDMI outputs with 4K only via HDMI, feeding and triggering external recorders.
  • DCI Cinema 4K 24p and DCI Cinema 2K 24p recording.
  • Full HD 4:2:2 recording at 50Mbps.
  • JVC-Log aka J-Log for 800% dynamic range.
  • 120fps HD slow motion recording.
  • 2-channel XLR phantom-powered audio inputs and included shotgun microphone.
  • Hot-swappable dual SDVH/SDXC card slots for dual, backup or continuous recording.
  • Handle unit for XLR input and microphone.
  • And more.

The one widely-reported downside to the JVC GY-LS300? Its viewfinder. Given current electronic viewfinder technology, JVC could easily add a far better EVF to the JVC GY-LS300 and really knock one out of the park.

Meanwhile Paul Leeming of Leeming LUT One and Visceral Psyche Films says this about footage from the JVC GY-LS300:

I was impressed with the footage I was given when I built my LUT for it. J-Log is log done right, because it uses the full 8-bit space to assign values, meaning very little banding compared to truncated log profiles such as 8-bit V-Log for Panasonic and S-Log3 on the Sony cameras in particular.

Links:

Image Credits:

Quick and dirty image graphic concept by Carmel D. Morris.