![]() ![]() So for those of you that would like to download the. In reality there is still a small amount of extra detail that can be pulled from the shadows and highlights in the Cine-D image. It may appear that there is marginally more DR in the Cine-V example, but that’s just because it hasn’t been graded at all yet. My goal with this LUT was to get my Cine-D image looking as close to Cine-V as possible while still retaining the extra 1/2 stop or so of dynamic range. As you can tell from this Cine-V shot, it isn’t all that different from Cine-D with my LUT: The order of operations in which you perform your color grade is just as important as the look you are trying to achieve, so always be sure to apply this LUT before you do any further grading. The LUT isn’t intended to be a final grade, but rather to create an optimal starting point for color correcting the image. Here are before and after shots showing what the LUT will do: This LUT will still work with a number of different Cine-D settings, however it is optimized for the settings listed above. That’s exactly why I’ve been using my custom Cine-D LUT in Resolve, and it’s saved me a ton of time over the last few months when grading my footage.Īs mentioned above, the LUT is based off of my custom Cine-D settings: Cine-D It’s worth noting that you don’t always need to use a LUT to grade flat footage, but it definitely can help to speed up your process and maintain consistency across your sequence. Here is an example of some Arri Amira footage I shot recently, with and without the Rec. For example if you were to shoot on an Arri Alexa in Log-C, you would want to use a LUT to give your Log-C footage a more contrasty Rec. They are used for many different reasons, but commonly to add contrast and saturation to flat images. ![]() On a side note, for any of you that aren’t familiar with LUTs (or Look Up Tables), they are essentially color translation files that you can use in many different post-production applications to apply a new look to your footage. I have included a download link to the LUT below, but read on to ensure that your settings are consistent with mine so that the LUT will work properly. With Cine-D however, I do always start my grading sessions with a custom LUT that I built around my preferred Cine-D settings. When grading my Cine-V footage, I never use any type of LUT in my pipeline since that picture profile already has somewhat of a finished look to it. That said, Cine-V has nearly as much DR (I would guess there’s probably only a 1/2 stop difference between them), and it’s an excellent alternative to Cine-D when you need to nail the look in camera. ![]() Both picture profiles can create beautiful images, but Cine-D has slightly more dynamic range so I do try to use it whenever possible. I would say that I use Cine-D about 50% of the time, and Cine-V the other 50%. As such, I have mainly been using slightly modified Cine-D and Cine-V picture profiles, as outlined in this blog post from the fall. When I first got the GH4 I was messing around with my settings a lot (master ped, shadow/highlight, etc.), but eventually realized that I would get much better results by not straining the camera too much. Like many other GH4 shooters out there, I’ve been back and forth about which picture profiles and settings are best to use when shooting with this camera.
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