GH4 Leeming LUT One – the best LUT for the Panasonic GH4

Frantikthegod said:
Awesome, thanks for the reply! Would I treat the zebras the same way on the assassin as you describe internally?
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Set them to 100% for external recording, as it's the recorder showing you where the image clips for recording. False colour mode would work well also (I think the Atomos has that?).

Cheers,

Paul :)
 
Lpowell said:
Looking good, Paul, in particular the refinement of the creative grading over the results of the technical LUT. Great results from both science and art combined.
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Thanks! Yes, it's definitely important to understand that my LUT is a starting point for further grading (though of course it can be just the LUT with some curves if that's the goal). That's why I thought it might be useful to show the process a bit, to give people the confidence that the image holds up really well for further creative grading.

Cheers from Berlin,

Paul :)
 
Frantikthegod said:
Got it.. Also, when you say you applied a "matte" to your final grade, what does that refer to exactly?
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The black bars top and bottom, to change the aspect ratio of the image to that of Cinemascope (2.40:1). It's not real cinemascope as that's normally anamorphic in nature, but it does lend a certain look to films which I'm a fan of, by the use of negative space and positioning to the extreme left and right to create feelings of expanse etc.

Cheers,

Paul :)
 
Oh ok got you! I always called it Letterbox lol.. There's a feature on the Ninja Assassin (and most other external recorders/monitors) that give us crop lines so we can frame our shots accordingly..
 
Frantikthegod said:
Oh ok got you! I always called it Letterbox lol.. There's a feature on the Ninja Assassin (and most other external recorders/monitors) that give us crop lines so we can frame our shots accordingly..
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I wish the GH4 would give us some cinemascope guides.... a lot more useful than the guides they have now. No idea why they haven't implemented it.
 
Agreed!! It's strange too because they've tried to add a lot of extra features that weren't initially on the camera that CLEARLY took more work to implement, but the SIMPLE stuff that constantly gets requested seems to get left out, at any rate, that's neither here nor there.. I'm sure it'll be on the GH5 (or whatever they decide to name it). On another note, I also remember in your guide, you recommend recording in 4K (for obvious reasons), but recording to 10bit externally it should be ok to use the internal down conversion from 4K to 1080p on HDMI out for use with your LUT- correct?
 
Frantikthegod said:
Agreed!! It's strange too because they've tried to add a lot of extra features that weren't initially on the camera that CLEARLY took more work to implement, but the SIMPLE stuff that constantly gets requested seems to get left out, at any rate, that's neither here nor there.. I'm sure it'll be on the GH5 (or whatever they decide to name it). On another note, I also remember in your guide, you recommend recording in 4K (for obvious reasons), but recording to 10bit externally it should be ok to use the internal down conversion from 4K to 1080p on HDMI out for use with your LUT- correct?
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Down-converting won't change the colours or anything, but as you have a 4K recorder I think you're better off getting the maximum possible quality out of it, for lots of reasons, not least having the post production software handle the down-conversion cleanly.

Cheers!
 
That sample you posted is spectacular Paul! The final grade is a knockout!

The original footage is dark as well as having the colour balance off. I assume that the colour was intentional? Were you exposing to protect the sky or the car and bus lights?
 
drokeby said:
That sample you posted is spectacular Paul! The final grade is a knockout!

The original footage is dark as well as having the colour balance off. I assume that the colour was intentional? Were you exposing to protect the sky or the car and bus lights?
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Thanks! The colour balance was my mistake - I had set it for an earlier shot and didn't re-balance. But it was easy enough to correct with a colour picker, even though it probably cost me a bit of image quality loss. ETTR was on the sky, to protect it from blowing out. The good thing is that because the LUT pulls the colours into the right place, raising the shadows a bit doesn't really impact the final image in a negative way.

Just goes to show that as long as you ETTR and don't over-expose your image, it can all be brought back into line and made to look great! But if you blow your highlights, all bets are off.... :D

Cheers,

Paul :)
 
Looks good Paul!

Can your share your settings on you GH4...did they change since the first version of your LUT?
 
could you please post an objective comparison of test charts using v-log and your LUT to compare the color rendition.
it should be a test chart that also shows more saturated colors and more simultaneously visible test paterns than the usual colorchecker24.
in such a comparison you would immediately see the limits of cinelike-d based approaches and all the irreversible effects of gamut mapping done by this picture profile.
that's one possible way to grasp why some colors (e.g. the cable car in your example) can not be reproduced very well using traditional GH4 picture profiles despite all your efforts in post processing -- it's nothing spectacular, but notable.
 
mash_gh4 said:
could you please post an objective comparison of test charts using v-log and your LUT to compare the color rendition.
it should be a test chart that also shows more saturated colors and more simultaneously visible test paterns than the usual colorchecker24.
in such a comparison you would immediately see the limits of cinelike-d based approaches and all the irreversible effects of gamut mapping done by this picture profile.
that's one possible way to grasp why some colors (e.g. the cable car in your example) can not be reproduced very well using traditional GH4 picture profiles despite all your efforts in post processing -- it's nothing spectacular, but notable.
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What? I can assure you that the LUT colours are spot on. No weird gamut issues at all. The tram (cable car) is something easy for me to judge, since they go by every few minutes or so, every day of the week, in all lighting conditions. It looks spot on in my tests.

By the way, Joe did some good V-Log vs Cinelike D testing earlier in the thread. Here's a sample. Dusty did too.

In short, I'm confused about what you are trying to say. Lots of people have tested the LUT extensively and I would say most, if not all, agree that it's spot on for colour and tonal rendition. I'm my own hardest taskmaster in making sure that that is the case, hence all the earlier iterations to get it right.

In the end, you are of course free to keep using V-Log, if you feel it's better :)

Cheers!

Paul :)
 
Just wanted to mention here - in case some of you are wondering, I licensed some of my footage on a non-exclusive basis to the following website, which sells creative look bundles for the GH4, among other cameras:

http://www.rocketrooster.ninja/

That was the client I shot the recent clip for (though he used different ones than the one I showed), so it's all legit and above board :)

What you would do is use my LUT as the technical, corrective LUT to bring Cinelike D into line with Rec709, then use his creative LUTs to apply whatever look you wish the final footage to have. They are complimentary in nature :)

Cheers!

Paul :)
 
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Hey Paul, would you consider releasing an instructional video on how to use your LUT for those with learning difficulties?
 
Frantikthegod said:
Hey bud, I realized you said that you used a color picker- are you using FCPX?
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I'm using Premiere CC - the colour picker is in the Fast Color Corrector - just put it into the Effects panel as the first item, then use the picker to select your white balance. Lumetri with the LUT comes after that, then apply any other effects further down the line.

Cheers!

Paul :)
 
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