Notice how the X shape is all distorted and not straight, and how it artificially lifts the mids to make them much brighter (a favourite trick of the manufacturers to make their images appear brighter than the sensor is recording them).” Luma curve and colorimetry levels corrected with Leeming LUT Pro “Corrected luma curve. Uncorrected camera maker luma and colorimetry “Uncorrected manufacturer luma curve and colorimetry. The ideal, maximum possible dynamic range and realistic colours, using Leeming LUT Pro and Expose-To-The-Right (ETTR) Footage with Leeming LUT Pro applied in nonlinear editing suite. Why camera makers continue to ignore the necessity of optimal exposure is anyone’s guess.įor that reason I am grateful that Paul Leeming has applied himself to solving the problem of correct exposure followed by correcting colour via Leeming LUT Pro, with the added benefit of making footage shot on a variety of affordable cameras usable in the same timeline without excessive shot matching work. The ETTR method’s most vocal proponent was the late Michael Reichmann who was in favour for its use in photography and videography, and although he and many other photographers constantly lobbied camera makers for auto-ETTR in their Live View-capable cameras, to no effect so far. The Leeming LUT Pro expose and correction methodology is based on exposing to the right aka ETTR followed by correction via camera-specific look-up-table files in one’s nonlinear editing suite or colour grading software of choice. Leeming LUT Pro for F-Log on Fujifilm cameras with X-Trans sensors Still frame from sample footage of Leeming LUT Pro for Fujifilm F-Log in use with video from Fujifilm X-T3.Įven the recently announced X-Pro3 appears to have 4K Super 35 video features that may prove good enough in a pinch when more video-oriented cameras are unavailable. Super 35 has long been the feature film format of choice for narrative and documentary production, and the arrival of improved video capabilities on Fujifilm’s X-T2 cameras was a relief after the disappointment of the X-Pro2’s video support. This is a significant and long-awaited event given that Fujifilm has finally delivered on its longtime promise to radically improve its cameras’ video capabilities with the Fujifilm X-T3 and X-H1, with the coming X-H2 hopefully improving on the X-T3 as a moviemaking hybrid mirrorless camera in Super 35 format.

Photograph made by Karin Gottschalk with Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R then processed in Alien Skin Exposure X4 using Summer Blockbuster cinematic preset.Īustralian feature film cinematographer/director Paul Leeming has released the first camera profile correction look-up table in his Leeming LUT Pro set for Fujifilm X-Trans sensor-equipped cameras, for Fujifilm’s F-Log logarithmic shooting profile, with Eterna Cinema, Pro Neg Std and HLG for Rec709 LUTs to come. You can also join Paul Leeming's facebook group if you have particular questions you'd like to ask him.Cinematographer/director Paul Leeming of Leeming LUT Pro and Visceral Psyche. I'd recommend having a look here if you haven't done so already. But it also means more work, because the image is flat and lacking in saturation.

Unlike baked-in picture styles, they allow the most flexibility in post. You've got more information to work with shooting HLG BT2020.įilms are shot in either log or RAW to capture and preserve as much color information and dynamic range as possible. What are the benefits for choosing BT.2020 on Sony camera’s? What can we do with those files if we have beter monitors? It still is only 8bit. So why shoot BT.2020 - 8bit - HLG3 and then covert it to rec. 709, the only reason for that is to match it properly on the monitors we are watching our content on. 709) color space the best settings for capturing footage is Rec. Right, so basically with Sony we shoot 8bit.ĭifference between BT2020 and Rec.709 is absolute because of the 8bit.īecause most of us are still watching on monitors with a sRGB(rec.

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