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

I've been pretty pleased with the flatish image from Cine-D with contrast -5, but I'll certainly give this a shot! Contrast at -5 seems to me to give a "pseudo log mapped to full range" look, and seems to bring up the shadows for a little extra information in them. That said, I'll certainly test out the new one and do some side by sides to see how it compares. If we like the old contrast better, any chance we can get the slightly updated color of the new LUT with the contrast of the old one? If not, no worries, I'm very happy with the previous version.
 
I elected to avoid oversaturation as most people will pull down the shadows a bit, giving it back anyway. In terms of actual range (and this goes for all LUTs really), it's all non-destructive so as long as the LUT is not clipping any values that weren't clipped in the original, it can all be pushed and pulled into your desired look, as you have done with the last clip :)

My main tools post-LUT application (using Premiere Pro) are Lumetri's Color Wheels to adjust the three lift/gamma/gain sliders to taste, the Curves function, and saturation up or down depending on the desired look or amount of it in the initial clip.

And the Quickies, if I'm going for a more stylised initial look.

Cheers,

Paul :)

Thomas Smet said:
Downloaded this morning and finally had a chance to do a super quick and dirty test.

Doesn't seem to have as large of a range as the older LUT but the colors seem to correct the overly warm tint of Cine-D very well.

View attachment 113063
Straight from camera with the updated settings.

View attachment 113064
Updated LUT applied

View attachment 113065
Slight grading to bring down the blacks and bring up the whites and boost saturation.
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I found that Contrast 0 still gives the same shadow detail as long as Cine-D is being used.

A lot of my testing with the new LUT was re-applying it to old footage with Contrast -5, so you can safely use it on both without worry. Just that it will be optimised curve-wise for Contrast 0.

Cheers,

Paul :)

blazer003 said:
I've been pretty pleased with the flatish image from Cine-D with contrast -5, but I'll certainly give this a shot! Contrast at -5 seems to me to give a "pseudo log mapped to full range" look, and seems to bring up the shadows for a little extra information in them. That said, I'll certainly test out the new one and do some side by sides to see how it compares. If we like the old contrast better, any chance we can get the slightly updated color of the new LUT with the contrast of the old one? If not, no worries, I'm very happy with the previous version.
Click to expand...
 
I've just updated the Quickies to be better optimised for v2 of the LUTs. The original Pack 1 and revised v2 of Pack 1 contain the same 18 looks, but each is optimised for its respective major LUT version (denoted by v2 at the end of each LUT's name). You can safely install both packs and use whichever fits the right version of the LUT you are using.

As before, the Quickies are a free addition to help you quickly get to a graded look with minimal effort.

Enjoy! Because who doesn't love a Quickie? :D

Leeming_LUT_Quickies_Pack1_v2_Samples.jpg
 
wwjd said:
doesn't contrast -5 pull the highs down a bit so it doesn't blow out?
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I used to think so too, but I did a bunch of testing and found that the high and low points don't shift, but the 75-100% and 0-25% bands get pushed further towards the edges on the scopes, effectively 'flattening' the top and bottom but not adding any actual dynamic range.

Keeping it at 0 actually keeps the curve 'flat' in terms of equal distribution of tonality across the range, meaning that skin tones are not compressed anywhere along the scale, which is useful and better when shooting with ETTR principles.

Cheers,

Paul :)
 
Contrast at 0 is one of the things I'm happy about in v2, as -5 seems to really twist colors, making it quite difficult to rescue if I had to work with the footage and did not have this LUT on hand. While v2 looks to work even better with Cine-D footage, at least with Contrast at 0, the raw footage itself is not such a pain to look at ;)
 
Just a silly hand held test while I was out today with the new LUT just adjusted levels not any colours after applying lut in premier, I like how it looks, greens and sky especially, thanks :)

 
Umii said:
Just a silly hand held test while I was out today with the new LUT just adjusted levels not any colours after applying lut in premier, I like how it looks, greens and sky especially, thanks :)

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Nice :) I tend to focus a lot on skin tones but it's a good demonstration that other subjects hold up very well also.

That Nocticron has some serious vignetting going on :D

Thanks for sharing.

Cheers,

Paul :)
 
visceralpsyche said:
That Nocticron has some serious vignetting going on :D
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ahh yes guilty as charged :) I've moved over to premier from Vegas I was playing with adjustment layers had vignette on it where I was figuring it all out :) premier plays 4K with the lut applied realtime just fine, much better than when I tried it a few years ago.
 
Andrei from Belarus recently did a test with the G7 (which is basically 99% the same as the GH4 picture wise) to show the different picture profiles along with Leeming LUT One. It really shows the difference!


I'm also now working on adding the GH2 to the supported camera list since lpowell has been gracious enough to send me some footage to work with, along with the JVC GY-LS300, which is really impressing me with its JLog1 curve that ACTUALLY uses the full 8bit range, as opposed to the Panasonic and Sony log curves.

Cheers!

Paul :)
 
Paul (and everyone else), I am having a problem when using the LUT within Lumetri. Everything looks fine in the timeline, but when I export or send to Media Encoder, then the final render is super dark for the clips with the LUT. It's not consistent either. Sometimes it renders fine, other times not. It seems that the Lumetri plugin is buggy, but I wanted to check to see if anyone else is experiencing something like this?

On OSX, El capitan, latest version of Adobe CC.
 
ozmorphasis said:
Paul (and everyone else), I am having a problem when using the LUT within Lumetri. Everything looks fine in the timeline, but when I export or send to Media Encoder, then the final render is super dark for the clips with the LUT. It's not consistent either. Sometimes it renders fine, other times not. It seems that the Lumetri plugin is buggy, but I wanted to check to see if anyone else is experiencing something like this?

On OSX, El capitan, latest version of Adobe CC.
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One thing with exporting via Media Encoder is it wants to see the LUT in its own folder as well. So for my LUT, I recommend installing it in four places:

Windows:

C:\Program Files\Adobe\Adobe After Effects CC 2015\Lumetri\LUTs\Technical
C:\Program Files\Adobe\Adobe Premiere Pro CC 2015\Lumetri\LUTs\Technical
C:\Program Files\Adobe\Adobe Media Encoder CC 2015\Lumetri\LUTs\Technical
C:\Program Files\Adobe\Adobe SpeedGrade CC 2015\Lumetri\LUTs\Technical

Mac OSX:

Applications - Adobe After Effects CC 2015 - (right-click on the app) - Show Package Contents - Contents - Lumetri - LUTs – Technical
Applications - Adobe Premiere CC 2015 - (right-click on the app) - Show Package Contents - Contents - Lumetri - LUTs - Technical
Applications - Adobe Media Encoder CC 2015 - (right-click on the app) - Show Package Contents - Contents - Lumetri - LUTs - Technical
Applications - Adobe SpeedGrade CC 2015 - (right-click on the app) - Show Package Contents - Contents - Resources - Lumetri - LUTs - Technical

Don't know if this is the problem but it's one thing to check.

It's always possible that Lumetri has a bug, though I haven't seen it on the Windows side (I don't use Macs).

HTH!

Cheers,

Paul :)
 
Paul, do we to put your .cube file directly in the ''Technical'' folder or do we have to put your LUT folder in the the Technical folder?

Thanks!
 
Paul,

You may have covered this at some point in the previous 50 pages but what should we do about external recorders that clip at 16-235? You recommend using 0-255 in your manual but that creates a rather big exposure difference when using an external recorder.
 
Doug_EX said:
Paul, do we to put your .cube file directly in the ''Technical'' folder or do we have to put your LUT folder in the the Technical folder?

Thanks!
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You should copy the contents of the ZIP file (ie. the Leeming LUT One folder) into the Technical folder, as a sub-folder. Lumetri will still see it properly.
 
Thomas Smet said:
Paul,

You may have covered this at some point in the previous 50 pages but what should we do about external recorders that clip at 16-235? You recommend using 0-255 in your manual but that creates a rather big exposure difference when using an external recorder.
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Interesting. Which recorders do this (that don't have a setting to use 0-255)?

In that case I would say set the camera to 16-235 and record 16-235, then expand it back out to 0-255 in your editing software with the appropriate function, before applying the LUT.

Cheers,

Paul :)
 
visceralpsyche said:
Interesting. Which recorders do this (that don't have a setting to use 0-255)?

In that case I would say set the camera to 16-235 and record 16-235, then expand it back out to 0-255 in your editing software with the appropriate function, before applying the LUT.

Cheers,

Paul :)
Click to expand...

I believe a lot of them do this. A lot of the Blackmagic Design products I have don't give an option and the Atomos HD products do not. Not sure about the Atomos 4k products.
 
What does he mean by basic balance LUT?
visceralpsyche said:
Andrei from Belarus recently did a test with the G7 (which is basically 99% the same as the GH4 picture wise) to show the different picture profiles along with Leeming LUT One. It really shows the difference!


I'm also now working on adding the GH2 to the supported camera list since lpowell has been gracious enough to send me some footage to work with, along with the JVC GY-LS300, which is really impressing me with its JLog1 curve that ACTUALLY uses the full 8bit range, as opposed to the Panasonic and Sony log curves.

Cheers!

Paul :)
Click to expand...
 
npm said:
What does he mean by basic balance LUT?
Click to expand...
As well as the corrective LUT, I created some Quickies which can be used as a second node, or Creative LUT in Lumetri, to give you an instant look after correcting the initial image with Leeming LUT One.

There are two free packs. The first is for the older v126 LUT as is kept online for posterity mostly, and the second pack (v2) is designed for the current v201 LUT.

They are designed for use with Leeming LUT One, but you can just as easily use them as regular LUTs for other footage. They are designed around, and expect, a Rec709 corrected image as a starting point. If you have that you can easily use them in your regular workflow even without Leeming LUT One in the mix :)

Download the pack you want here:

http://www.LeemingLUTOne.com/#quickies

I will be building more free Quickie Packs in the future with more creative looks, once I've finished developing the next set of corrective LUTs for the Sony A7S, A6300, the JVC GY-LS300 and GH2.

Hope this helps!

Cheers,

Paul :)
 
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