Do you work with a DJI Mavic Pro? Then you probably know that the footage from the DJI Mavic Pro camera is not particularly nice out of the box. In our DJI Mavic Pro review we took a closer look at the camera quality and created a DJI Mavic Pro LUT that we are giving away for free. DJI Mavic Pro LUT – cinema5D instaLUT FREE Note that this LUT is not made to be used on videos shot with the D-LOG setting. Instead this basic LUT should be applied on standard picture setting. It is ideal for people who don’t want to tamper around with the drone too much and who want to see the full colors and clarity during shooting, but still get a nice and filmic look in post. Download: Please provide your name and email address for your free download. To get our DJI Mavic Pro LUT we ask only that you subscribe to our newsletter and in turn you will get the download link sent to your e-mail. This is a double opt-in and will not work with fake e-mails. Your e-mail address stays with us. No spam or third parties and you can of course unsubscribe if you don’t like the weekly newsletter whenever you receive one. We hope you will enjoy our future content and stay on board. Here are a few shots where you can see the LUT applied to DJI Mavic Pro footage. These shots have the look applied with a 100% intensity and no other modifications. DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT W3010 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT W3035 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT N3010 DJI Mavic Pro LUT (right) applied to original DJI Mavic Pro footage (left). instaLUT N3035 Note that this Mavic Pro LUT is optimized for landscape and aerial photography and is not ideal for skin tones. If you like this LUT, also check out our free Inspire 1 LUT. I recommend grading in Adobe Premiere Pro CC if you are familiar with it, but these .cube LUT files can also be used in any other software that supports LUTs on Windows or Mac. In my Mavic Review I applied both LUT with an intensity of 100% and did not change any other settings. You can always play with the look intensity and other basic setting to get nice look variants as desired. Note: If you don’t receive an e-mail after submitting, please contact us.Read more
In response to high demand in the film production market, a log video recording mode called V-Log L has been implemented for the Panasonic GH4. The release of the new gamma mode is imminent. Leading up to the release of the $99 paid upgrade that can only be purchased through a reseller, the new firmware update 2.3 intended to introduce the upgrade functionality apparently has a bug that allows users to unlock V-Log L upfront and for free. (I won’t include a link to that workaround as I believe it is not right to acquire it that way). B&H give you a $100 discount on the Panasonic GH4 for another 3 days, so the upgrade won’t cost you anything during that time. Note that trying the V-Log L workaround will also lead to zebras & highlights working incorrectly. Concerning the use of V-Log, Panasonic ambassador and filmmaker Nick Driftwood did some testing. He shot this beautiful boat video below and told us: “V Log is very good when exposed correctly. Ive pushed ‘over exposure’ upto 1.5 stops and I know James Miller has had great results at +2″ Nick Driftwood says the V-Log L upgrade is a “must-buy”. And looking at our own experience with the Panasonic GH4 we can certainly only agree. The V-Log profile will give you a more organic image, better highlight rolloff and any standardised Log Gamma will make your color grading process easier as there are LUTs that convert your image into accurate colors and skin tones. James Miller’s DELUTS are already available for the new V-Log L Gamma HERE. The new new Panasonic GH4 V-Log L is now on pre-order for $99 and starts shipping on October 7th 2015.Read more
Watch previous episodes of ON THE COUCH & ON THE GO by clicking here! Visit our Vimeo and YouTube playlists, and subscribe to the podcast on iTunes! In this new episode of ON THE COUCH, recorded in Las Vegas at the B&H booth of NAB 2015, I interviewed Philip Bloom and Dale Backus from SmallHD. We talked about the camera announcements from Blackmagic Design, e.g. the URSA Mini (which still aren’t shipping, by the way) and many other topics. Our talk quickly shifted to on-set monitoring and color grading and consistency. SmallHD announced the 502 and 501 5″ field monitors with 1080p resolution and SDI/HDMI (502 version) as well as many custom LUT functions that allow you to apply looks to your logarithmic images from your cameras. In this day and age where cameras are so ubiquitous that most of us end up using various different cameras at the same time and sometimes on the same shoot, color consistency and matching the look of these cameras become essential. But it is notoriously hard matching cameras from various manufacturers unless you invest a lot of time in color grading or having a colorist on the job. Philip and I are using FilmConvert to match camera looks easily – the plugin (and standalone version) feature looks packs for specific camera models, which have been analyzed by the FilmConvert team to make the look settings for those camera models as precise as possible. So for example, when mixing C300 and F5 footage in one timeline, you can select the camera model in FilmConvert settings, the LOG version or picture profile you used while shooting, and then select the film stock you want to mimic with FilmConvert. If everything is exposed similarly and with the same Kelvin settings (however those can be adjusted afterwards too), the footage will immediately look the same as FilmConvert irons out each particular camera’s quirks. Please visit our sponsors’ websites to keep new episodes of ON THE COUCH coming! Thanks to B&H, Røde Microphones & FilmConvert.Read more
So what exactly is a LUT anyway? Of all the cryptic terminology and acronyms we throw around, the “LUT” is the most commonly misunderstood. The LUT or “Lookup Table” is in fact a very simple device used to transform RGB input values to different RGB output values. LUT’s are often used technically to transform image data from one color space to another. LUT’s are also used to describe and apply the customized color transforms we often refer to as “looks” when it comes to color grading. A custom LUT can be used on set to preview a desired “look” or grade directly on a live camera monitor. There are 1D and 3D LUTs, the difference being that a 1D LUT only applies to a single color channel whereas a 3D LUT is a cube like matrix covering transforms for all three color channels across any and all combinations. We’ll be referring to 3D LUTs from this point forward, as this is the most common type, and is most often what is meant when the term “LUT” is used. Before we go any further it’s important also to understand what is meant by color space. Color Spaces, Color Models and Mapping A color space is a specific organization of colors, often defined by the limitations of a particular device, such as a display device, or image acquisition device. It can be an industry standard defined by the capabilities and limitations of the image processing chain as a whole. What we commonly refer as a “color space” however is not just an arbitrary organization of colors like a pantone color chart or crayons with cute names; it refers to a particular color model and a mapping function referencing an absolute color space. The reference absolute color space includes the entire spectrum of visible colors against which a particular color model and mapping function will have a footprint, known as a “gamut”. The wider the gamut, the more possible colors of the visible spectrum can be represented in that color space. A LUT can be used to transform image data from one color space to another by re-assigning values from the source color space to the correct values in the destination color space. Mapping and Transforming RGB Values Whether dealing with LUTs or color spaces, hopefully you have noticed one thing in common in all of this so far; we’re essentially dealing with the same thing, and that is either mapping or transforming RGB values. A 3D LUT would contain a huge amount of data if it had corresponding input and output combinations for every single coordinate set, so instead it employs a fixed number of coordinate points, usually 17 x 17 x 17 with other points interpolated between. Essentially, a LUT is nothing more than a reference table that specifies an RGB output value for any given RGB input value. Of course if you dig deeper it gets more complicated but this basic understanding of its function will set you up to correctly use LUTs in your workflow, on set or in post.Read more
German based company Pomfort today released the beta of their long named “free DSLRLog2Video FxPlug plug-in for Final Cut Pro”. The plug-in lets you preview footage recorded with the Technicolor CineStyle picturestyle in realtime without the manual handling of an LUT (LookUpTable). Download the plugin here. And see our article and explanation of the CIneStlye and LUTs here.Read more
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