I decided to test the settings in the exact same setup that I used for my Cine-D and Cine-V tests above. The setting is based on the portrait picture profile and is intended to give you a graduated view directly from the camera, with the focus on the midtones. Recently, some GH4 users have been playing around with a new “Supertone” setting. cube file if your system doesn't do it automatically. ProgramData Blackmagic Design DaVinci Resolve Support LUT Library / Application Support / Blackmagic Design / DaVinci Resolve / LUT / For Resolve, these are the file paths you can follow: cube file and copy it to the LUT folder for DaVinci Resolve (or the platform you are using). If you have never installed a LUT on your system, this is actually quite simple. cube LUT file, You can do this by clicking here. In reality there are still a small amount of additional details that can be drawn from the shadows and lights in the Cine-D image.įor those of you who want to download the. It may appear that the Cine-V example contains slightly more DR, but that's only because it hasn't been rated yet. As you can see from this Cine-V image, it does not differ significantly from Cine-D with my LUT: My goal with this LUT was to bring my Cine-D image as close to Cine-V as possible while maintaining the additional 1/2 stop of the dynamic range. Therefore, always apply this LUT before making further assessments. The order of operations Color rating is as important as the look you want to achieve. The LUT is not intended to be a final grade, but to provide an optimal starting point for color correction of the image. Here are before and after shots showing what the LUT will do: This LUT still works with a number of different Cine-D settings, but is optimized for the settings listed above. Over the past few months, I've saved a lot of time rating my footage.Īs mentioned above, the LUT is based on my custom Cine-D settings: Cine-D That's exactly why I used my custom Cine-D-LUT in Resolve. It's worth noting that you don't always have to use a LUT to evaluate flat stock, but it can definitely help speed up your process and maintain consistency across your sequence. Here is an example of some of Arri Amira's recent recordings with and without Rec. For example, if you're shooting in Log-C on an Arri Alexa, you want to use a LUT to give your Log-C footage a higher contrast shot. They are used for many different reasons, but usually to give contrast and saturation to flat images. I've included a download link to the LUT below, but keep reading to make sure your settings match mine so the LUT will work properly.īy the way, for anyone of you unfamiliar with LUTs (or look-up tables), they're essentially color translation files that you can use in many different post-production applications to give your footage a new look. With Cine-D, however, I always start my grading sessions with a custom LUT that I've created around my preferred Cine-D settings.

When evaluating my Cine-V footage, I never use any kind of LUT in my pipeline because this image profile already has a finished look. Still, Cine-V has almost as much DR (I would guess there is probably only half a stop difference between them) and it's an excellent alternative to Cine-D if you need to nail the look down in the camera. Both image profiles can produce beautiful images, but Cine-D has a slightly larger dynamic range, so I'll try to use it if possible.

I would say that I use Cine-D about 50% of the time and the other 50% Cine-V. Therefore, I mainly used slightly modified Cine-D and Cine-V image profiles, as described in this blog post from autumn. When I first got the GH4, I played around a lot with my settings (master ped, shadow / light, etc.), but eventually I realized that if I didn't put too much strain on the camera, I would get much better results. As with many other GH4 shooters, I have always considered which image profiles and settings are best suited for taking pictures with this camera.

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