![]() I import the video and put it in the timeline. I don t change the working space color as this changes how the colors look and don't want that. Next, when I want to increase the saturation so the colors look right to me, strong reds, bright pinks, bright oranges and I noticed that in one instance I had a shot with someone with a bright blue tee shirt and I have issues with these over saturating easily, while everything else (skies, greens, browns, greys etc.) look normal and if I lower the saturation to where those colours are not over saturated, the rest of the colours become too under saturated.Ĭolor depth: either 16-bit or 32-bit (float) I have read other posts with people having this issue when importing videos, but I haven't been able to find a fix for it so it will display the correct levels. First when I import it into AE, it displays the black and white levels wrong. That way when you are filming, what you see in camera will give you consistent results when you use the conversion LUT when grading in post.I have a lot of Panasonic GH5 video footage I took in 4K V-Log L 10-bit 4:2:2. vlt file that can store this LUT in your camera for viewing in real-time using V-Log Assist. Since Panasonic’s LUTs lean too heavily towards red for skin tones, it throws off the entire image and doesn’t showcase your footage the way it was properly filmed. ![]() That’s why you can see in this example that was filmed in Antelope Canyon in the USA, the environment is close to the skin tone colors. We have worked on all the nuances of this conversion LUT to help you get the results you are wanting. That is why we created this LUT to help make grading and filming so much simpler. We have also noticed that Nicest 709 only works in some situations but also saturates the blues too much and introduces an unpleasing result when filming different color of skin. However, the skin tones are way too red and pink and do not hold up well in the highlights either when it comes to maximizing the dynamic range in your image. The most used Panasonic LUTs are the Nicest 709 and the VariCam V-Log to Rec709. Those are more stylized than they are technical. When you try and use the official LUTs from Panasonic, they can let you down when it comes to consistency in all environments and various skin tones. If you have just purchased the Panasonic S1H or similar camera and are trying to find the best LUT option for V-Log, we got you covered. Gamut V-Log Conversion LUT was added to the pack along with the gamut709.vlt file for loading in cameras like the S1H, S1, and S5. Gamut V-Log L Conversion LUT was added to the pack along with the VLOGLgmt.vlt file for loading in cameras like the GH5 and GH5S. gamut V-Log Conversion LUT was updated with a slight adjustment to skin tones by pushing the color hues closer to magenta as there were some instances that showcased yellow/green tones to be more dominant in some users’ footage. ![]() It matches the updated V-Log Conversion LUT. gmt709v2.vlt is the updated file to load in the camera to view the conversion.This is the profile of choice when filming in 8-bit. gamut Cinelike-D Conversion LUT was added to the pack for S-Series Panasonic Cameras.gamut V-Log Conversion LUT is now better suited for filming with a gray card closer to 45 on the IRE scale whereas the original Conversion LUT was targeted closer to 50 IRE.It matches the updated BaseLUT V-Log Conversion LUT. gmtVLOG.vlt is the updated file to load in the camera to view the conversion.Renamed the Conversion LUTs to be in sync with our new BaseLUTs packs.This LUT now matches better with the VLog Conversion LUT gamut V-LogL Conversion LUT is now better suited for filming with a gray card closer to 45 on the IRE scale whereas the original Conversion LUT was targeted closer to 50 IRE.Fixed the black levels to be closer to truer black as some users were experiencing the shadows leaning towards blue.
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