As long as I use a white card I can nail consistent exposure in all of my shots.Ah, I was under the impression the Blackmagic had LUT support. I quickly discovered how inconsistent my exposure could be if I didn't have a white point of reference in all my shots. Is this also how you handle those situations? Might be nice to add that information into the ETTR guide on the website. So far in some of my scenes that do not have any white I have been using a white card to help me judge what white would be in the shot. The information on ETTR is very informative for those who are new to ETTR. Only thing I wanted to point out is you list the BMD Video Assist in your list of external recorders that support the LUT but currently the BMD VA doesn't have the ability to import LUTs unless you know something we don't.
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New website looks great and is a valuable resource on how to use your LUT. Thanks again, and I look forward to your feedback with great interest!
#Panasonic g7 leeming lut free
Colour science on these cameras sucks, frankly, and I know I can do better.Īs always, if YOU have a camera you want to see supported (and get a free LUT for it), get in touch with me. Once everything is settled and any teething problems licked, I intend to continue expanding the number of supported cameras, as well as adding more Quickie packs (free, like the first one).įirst up will be supporting the Sony A7S II, A7R II and A6300.
#Panasonic g7 leeming lut plus
It's basically a one stop shop of everything to do with the LUT family, and to accompany it, I've also started a Facebook group to discuss the LUTs, and a Twitter account for those who want to keep up to date with announcements.Ī small change is that I have changed the sales currency to Euros, as I now live in Germany, but the numbers will remain the same so it's only a small increase, plus there's a whole lot of new value in the website and extra cameras supported. I've also included a guide on how to use the histogram and zebras to help you nail exposure quickly and easily every time. I've included some guides on how to shoot ETTR to get the best dynamic range and tonality out of our cameras, as well as a quick primer on how ETTR actually works. Here's the list of cameras now supported: I'm very happy to announce that Leeming LUT One now has its own, dedicated website, and that the supported cameras has jumped from one, to many! Thus the Quickies were born, designed in harmony with the output of Leeming LUT One to fit together like a finely tuned pair.Īs a way of saying thanks for everyone who supported me early on, I decided to give them away (the razor blade model is alive and well folks!).
So I got the idea that maybe I should truly make this a family, and start building LUTs for a bunch of cameras, harmonising them to a common Rec709 space and giving people the ability to quickly align different cameras in post, without worry that the images will match or not.įinally, a lot of people said that while Leeming LUT One made the colour great out of the box, they wanted some stylistic looks as well to complete the drag and drop colouring process. Seeing how good people were finding the GH4 LUT, lots of people asked me to build a LUT for the G7, often their B camera. Many iterations and sleepless nights later, I had v126, approved by all the testers and acknowledged to be where I wanted it from the beginning - the best LUT I could make for the GH4, that rendered colours very filmically and most importantly, without any of the horrible colour errors of Cinelike-D straight out of camera!Įventually I made a LUT version for V-Log anyway, due to several requests for one, and that LUT is now at v150 (it was a hard one to get right - thanks Joe for your continual feedback!). They graciously gave me feedback here, and I realised that I needed to fix quite a few things to really make it perfect. I made it public, and a few people bought v100. Seeing the footage quality, and knowing how much I'd worked on this, I thought I'd put it up for sale for a small amount of money, mostly because I was frustrated with Panasonic for charging $99 for something that was basically not worth it without spending thousands more on external 10 bit recorders, and I wanted to provide people with a cheaper, better alternative. So I did.Īfter weeks of learning how to build LUTs, and shooting copious amounts of test footage, I refined the LUT to where I thought it was easily the equal of the V-Log dynamic range. Having waited for, and then seen the debacle that was the V-Log L launch, and how it treated internal 8 bit footage, I realised that if I wanted to get the best out of this camera, I would have to do something myself. When I started Leeming LUT One it was simply to get the highest image quality out of the camera for myself. I want to start this post by saying a big thank you to all of you who have supported me by buying the LUTs for the GH4.
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