Aricolour
Soon after the highly anticipated V-Log L license key started to ship to the first eager GH4 shooters, the next logical concern popped up. What is the best way to colour grade the log footage coming from the camera itself? Well, there is certainly no straight answer to this question. Yet, as any other camera system, the GH4 also has its unique features and specific colour science so again some upfront testing and tweaking is required before you can get the optimal results. Applying a LUT still would be one of the most favored options and go-to solutions that would provide a great starting point and a solid base for more advanced colour adjustments.The UK-based cinematographer Daniel John Peters has produced a handful of LUTs dedicated to the recent V-Log L gamma mode of the that can be directly purchased and downloaded from his.
HOW V-LOG AND V-GAMUT WORKWhen acquiring in native V-Log/V-Gamut, the VariCam lineup of cinema cameras capture imagery with more than 14 stops of Dynamic Range and a very wide color spectrum, both parameters often exceeding that of 35mm film.To store this wide range of exposure in the recorded image, a log (logarithmic) contrast curve is utilized. However, displaying this huge range of image contrast (the darkest shadows to the brightest highlights) in Log format on a conventional monitor will result in an image that looks flat and dull to the eye, with colors appearing desaturated. These Log-recorded images are used to provide the greatest possible flexibility for later color correction; they are not intended to be viewed directly. You can adjust V-Log for viewing using a 3D LUT (3D Look Up Table). A Conversion LUT translates the flat V-Log material to a more restricted, yet contrasty, Dynamic Range and shifts the color space to match the monitor, bringing both parameters to a technical standard for viewing such as Rec.
These conversion LUTs provide a neutral matching of the signal to the monitor, so they can be considered technical LUTs. Artistic Look LUTs create stylistic visuals like soft blue dusk, golden magic hour, or harsh desert sun by combining the technical conversion with creative changes to gamma, contrast, saturation, bias, and other aspects. 3D LUTs can be loaded into VariCam cinema cameras. These LUTs separately can be applied to monitor outputs, the camera’s viewfinder, recorded proxy files, or even the camera’s master recording.
Please note that “baking in” a LUT to the master recording is generally not recommended as it restricts the ability to adjust the image in post-production. The VariCam Pure records strictly RAW images without grading but can apply a LUT to the monitor and viewfinder outputs. Using a LUT with a monitor or viewfinder can aid in lighting and exposing, and a proxy with a LUT applied is helpful for editing. LUTs can also be loaded into third-party LUT boxes for converting Log images on set during production. The VariCam LUT Library includes 35 3D LUTs, providing options in display Conversion LUTs as well as artistic look LUTs. The library includes three separate LUT format variants, each offering the same appearance but used for different purposes. It is important that these LUT formats not be confused, or an incorrect image may be displayed.EVA1 SCENE FILESNote that the EVA1 Compact Cinema Camera can record in a matching V-Log / V-Gamut format, so the VariCam LUT Library can also be applied to EVA1 footage.
A number of the looks from the VariCam LUT Library have been adapted into EVA1 Scene Files for in-camera recording.
