GH5 V-Log LUT

I don't know about a Panasonic lut but Resolve Color Management has an output transform to take gamut to 2020 as well your choice of gamma.
 
Nope, but in Premiere Pro CC, just enable HDR workflow in Lumetri and convert Log with the Rec-709, and grade according to the scopes. After you set your HDR white and specular levels, you can export an HDR compliant HEVC file that adds the necessary Rec-2020 tags for recognition by various sets and YouTube.
 
estarkey7 said:
Nope, but in Premiere Pro CC, just enable HDR workflow in Lumetri and convert Log with the Rec-709, and grade according to the scopes. After you set your HDR white and specular levels, you can export an HDR compliant HEVC file that adds the necessary Rec-2020 tags for recognition by various sets and YouTube.
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Should rather go to Resolve and use either ACES or RCM to do that instead of converting to Rec709 first and then Rec2020. That's kinda like changing resolution to SD first then resizing to 4K again lol.
 
There is also the 'color space transform' FX which can be applied as a node in Resolve if you only need to do individual clips and not the whole timeline.
 
Cary Knoop said:
Ignorance is bliss.
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Sounds like he doesn't know what Rec2020 actually does.
Color management is really important nowadays. Using ACES here so I can generate Rec709 and Rec2020 versions from basically the same grading (with some modifications of course)...
 
Jim Simon said:
I played with that. It looks like ****.

Using that same process for Rec 709 and comparing RCM to the Panasonic LUT, the LUT provides substantially better results. That's why I was hoping for a Panasonic Rec 2020 LUT.
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How exactly did you 'play' with it? It's not just click on a few tabs = perfect result as depending on how you exposed the V-LOG in the first place (and I assume it was 10 bit?) you will may still have to do some tonal adjustments.
 
Shirozina said:
you may still have to do some tonal adjustments.
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That's actually what I don't want. My work isn't that 'big budget'. I'm just shooting a wedding here. I'm looking for a Ron Popeil "Set it and forget it" solution. A very simple way to convert the 10 bit GH5s Log footage into Rec. 2020.

Panasonic's Rec. 709 LUT gives me a somewhat respectable result with my 8 bit GH4 media. But it's not producing comparable results for the 10 bit GH5s media, which just doesn't look very good with that 709 LUT. Since the standard for C4K/UHD is actually Rec. 2020, I was hoping Panasonic offered such a LUT.
 
Jim Simon said:
That's actually what I don't want. My work isn't that 'big budget'. I'm just shooting a wedding here. I'm looking for a Ron Popeil "Set it and forget it" solution. A very simple way to convert the 10 bit GH5s Log footage into Rec. 2020.

Panasonic's Rec. 709 LUT gives me a somewhat respectable result with my 8 bit GH4 media. But it's not producing comparable results for the 10 bit GH5s media, which just doesn't look very good with that 709 LUT. Since the standard for C4K/UHD is actually Rec. 2020, I was hoping Panasonic offered such a LUT.
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You won't find a simple solution due to the fundamental differences between V-LOG and HLG. You may get a better match converting them both independently to REC709 but if your delivery format is HLG you have a problem. In Resolve it may be possible to set up a 3 node structure using the color space transform FX going V-LOG - REC709 - HLG and 'playing' with the Tone and Gamut mapping options but I've only been using it for a day so can't say for sure. If you did this with LUTS in any other NLE it would destroy data along the way but in resolve it 'should' preserve it.
BTW - the result of a V-LOG- HLG conversion in Resolve makes the Lift, gamma and gain controls work very predictably so any grading will be fast.
 
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Shirozina said:
You won't find a simple solution due to the fundamental differences between V-LOG and HLG. You may get a better match converting them both independently to REC709 but if your delivery format is HLG you have a problem. In Resolve it may be possible to set up a 3 node structure using the color space transform FX going V-LOG - REC709 - HLG and 'playing' with the Tone and Gamut mapping options but I've only been using it for a day so can't say for sure. If you did this with LUTS in any other NLE it would destroy data along the way but in resolve it 'should' preserve it.
BTW - the result of a V-LOG- HLG conversion in Resolve makes the Lift, gamma and gain controls work very predictably so any grading will be fast.
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Unnecessary.
 
OK, I found a couple of issues. First, Resolve wasn't automatically applying the correct Input Color Space to the media. I had to manually change that in the bin. Second, I don't know if this is a bug with 15 or a glitch on my system, but Resolve frequently stops updating the display with my changes, so it looks like nothing is happening. A restart seems to solve that (for a while).

Between those two issues, RCM is looking much better than at first glance.

Having said that, there is still another hurdle that I don't know how to overcome, and the primary reason I don't use RCM - the Max Timeline Luminance. I have noticed that this setting not only changes how the media looks in the scopes, but how it exports and looks on a TV. I have NO idea what my TV is capable of, and no way of knowing what my client's TV is capable of, and so no way of knowing what this setting should be. In fact the whole idea of this setting makes no sense to me at all, given the vagaries of display capabilities.

Input Color Space: Panasonic V-Gamut/V-Log
Timeline Color Space: Rec.2020 Gamma 2.4
Output Color Space: Rec.2020 Gamma 2.4
Timeline to Output Tone Mapping: Luminance Mapping
Max. Timeline Luminance: 300 nits
Timeline to Output Gamma Mapping: Saturation Mapping
Saturation Knee: 0.9
Saturation Max: 1.0
 
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