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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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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Indy Mogul: ULTIMATE BUYER’S GUIDE to ND Filters

“… Neutral Density Filters are a necessary tool for exposure control, but does their price tag really affect their quality? Today Griffin sits down with 23 ND filters that range in different price tiers from $5 all the way to $580 to see! Today we hard tested 23 ND filters for their color and image quality, flare resistance, and their usefulness in timelapse situations. We test a range of ND’s [sic] from a set of general purpose ND3 filters, to Variable Density Filters, to heavily graded ND10 filters for their use in time-lapse photography. While every type of ND filter has it’s own use, we mainly set out to see if the price tag really affected image quality, and whether variable ND’s were much worse than single glass ND’s. …”

Breakthrough Photography’s brass traction-framed ND and other filters are a boon for those of us with damaged hands and fingers and are safer to handle in the field than smooth or slightly knurled aluminium frames.

Commentary

_DSF0716_cameraraw_square_1024px
Paul Leeming’s stripped-down Blackmagic Pocket Cinema Camera 4K aka BMPCC 4K rig with 8Sinn cage, Sigma 18-35mm f/1.8 zoom lens, Metabones Speed Booster, Kenko aluminium step-up ring, Xume magnetic filter attachment system and Formatt Hitech Firecrest Ultra fixed neutral density filter.

Independent moviemaker and Panasonic Lumix brand ambassador Griffin Hammond’s documentary production insights and training have proven invaluable over the years since I invested in Lumix Micro Four Thirds cameras primarily for video.

The previous incarnation of the recently rejuvenated Indy Mogul YouTube channel not so much but that looks set to change now that it has been taken over by Ted Sim of the Aputure moviemaking equipment company and Griffin Hammond himself.

I don’t know anything about Mr Sim, Aputure and its products at the moment but Mr Hammond is a different story, having finally met him at the last SMPTE Sydney trade show after following his video work online for some time.

Clearly it is past time to look into Aputure’s products if I can find a local stockist for them.

Meanwhile, back to neutral density filters, both fixed and variable.

Variations in sharpness, colour casts and the dreaded X were considerations when I was searching for the best and most economical neutral density filters to buy when I got back into digital video and photography a few years ago.

I had used sets of square and rectangular high-end cinema filters for attachment to movie cameras via matte boxes years before, but no longer have the sorts of budget to afford such things nor the desire to cart them all about any more.

When I started looking into screw-on fixed and variable neutral density filters the most recommended brand at the time was Singh-Ray but the company’s VND cost a fortune and was out of reach.

Instead I settled on Genustech’s Eclipse Fader VND after reading a number of recommendations by independent documentary and music video cinematographers and opted for the 77mm version along with a set of aluminium step-up rings to common sizes.

The Genustech Fader acquitted itself well through a number of small projects but recently I began looking for replacements, whether fixed or variable NDs or both, that had the least possible colour cast and the maximum sharpness.

I am also considering making 82mm filters my standard for maximum versatility given some current and future lenses I may add to my kit have wider front elements than did my limited selection of starter lenses some years ago.

Australian cinematographer/director Paul Leeming recently showed me the stripped-down travel version of his Blackmagic Pocket Cinema Camera 4K kit and how he attaches his 82mm Formatt Hitech Firecrest Ultra fixed ND filters via the Manfrotto Xume magnetic filter adapter system for fast easy and secure filter swapping.

Vignetting at the widest focal length is a consideration with the Sigma 18-35mm f/1.8 DC HSM Art zoom lens with Metabones Speed Booster attached though Mr Leeming assured me that, for the feature film he recently shot on the larger version of his BMPCC 4K rig, the vignetting was acceptable.

I continue to research the options but have now settled on the 82mm filter diameter and step-up rings made of brass rather than aluminium, which has a tendency to bind when screwing them on and off in the field.

I may well choose another brand of variable neutral density filter, bearing in mind factors like colour cast, sharpness, the x-effect at maximum density, the absence or presence of a self-locking device, and, now that cameras are appearing with higher base ISOs when shooting HLG footage in particular, a maximum density in the 10 or 11 stop range.

I may also add a set of 82mm fixed value neutral density filters for the other cameras I use and will most likely stick with Breakthrough Photography brand fixed NDs for that as I am rather fond of the company’s beautifully designed and made knurled brass-framed UV, CPL and ND filters.

Other screw-on circular fixed and variable neutral density filters and step-up rings

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  • Aurora-Aperture filtersB&H
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  • Formatt Hitech Firecrest Ultra filtersB&H
  • Genustech filtersB&H
  • Heliopan step-up ringsB&H
  • Sensei Pro step-up ringsB&H
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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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  • Olympus M43 lensesB&H
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  • Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm LensB&H
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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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  • Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital CameraB&H

Paul Leeming of Leeming LUT One Presenting at Getting to Grips with Lenses Event in High Wycombe, Bucks on Saturday 21st April 2018

https://mailchi.mp/9dfd2da97b22/gtc-workshop-getting-to-grips-with-lenses?e=a9ac9ddccc

“This interactive workshop will explore the world of video & motion picture lenses, from the perspective of camera operators, cinematographers and filmmakers. We will look at the current state of the industry, with opportunities to get hands-on with the most popular current zoom and prime lenses. We will also discuss anamorphic lenses, lens adaptors, budget cine zooms, and how continual increases in sensor resolution are affecting the lens market….

… Paul Leeming: DoP In conjunction with Formatt-Hitech, Paul will show how modern filters can work best with the new breeds of zoom and prime lenses….”

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

Links

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

leeming_lut_601_gx8_cinelike_d_P1070265_601_1920px_60%
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.

Links

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.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

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  • Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
  • Panasonic DMW-BGGH5 Battery Grip – B&H
  • Panasonic V-Log L Function Activation Code for DMC-GH4, DC-GH5, and DMC-FZ2500B&H
  • Atomos Ninja Inferno 7″ 4K HDMI Recording Monitor and accessoriesB&H

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

Links

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
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