Leeming LUT Pro™ is the world's first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading. The Pro II LUTs are designed for perfect Rec709 colorimetry and have a linear luma curve, with an average measured dE(2000) of less than 1, meaning they are visually indistinguishable from reality to the human eye. Athena LUTs are a brighter version of Pro II, designed around how the eye sees, and placing middle grey (also known as 18% grey) at the 50% IRE level post-LUT, while retaining the same perfect colorimetry as Pro II. Shooting with multiple camera types is now much easier and quicker, because you are starting with a common, colour-matched baseline, saving hours in post, giving you more time for creative grading. Once all your cameras have been corrected, you can optionally use the specially matched Leeming LUT Pro Quickies™ for a one-touch creative grade designed to work seamlessly with the common baseline of Leeming LUT Pro™ corrected footage. It's as easy as Shoot - Apply Leeming LUT Pro™ - Apply Quickie™ - Done!

Upgrade If you previously bought any single LUT from a camera series and decide you want to have the full Combo Pack later (which is all LUTs listed in the dropdown field for that same series), you can use the following purchase option to upgrade for €15. Please use the text field underneath the purchase option to write in which Combo Pack you are after, so that I can confirm that you previously bought a single LUT for that series and send you the correct Combo Pack. Combo Pack Upgrade from Single LUT SKU Combo Pack Upgrade from Single LUT €15 Model

Donate You guys asked for this, so here it is! If you want to thank me beyond buying the LUTs, as more than a few of you have requested, you can now use the dropdown box below to select a donation amount and optionally write a short message in the text field below that as well. Thank you so much to all of you who send me lovely messages of appreciation - I'm always happy to receive them and it really is enough just to know I'm helping people achieve better colour for their cameras! But for those who really want to tip me extra for helping make their lives so much easier, you now have the option. Thank you! :) Donation SKU Donate €5 Donate €10 Donate €15 Donate €20 Donate €25 Donate €30 Donate €35 Donate €40 Donate €45 Donate €50 Message

Using the LUTs 1. Buy the appropriate LUTs for your camera(s). 2. Set up your camera using the included Setup Guide (linked above next to the purchase options and in your LUT purchase email). 3. Read the Installation Guide (PDF) for how to install and use the LUTs in your editing software. 4. White balance each camera using a spectrally neutral white or grey balance card. 5. Watch my short video on How To ETTR and shoot using the ETTR principles for maximum dynamic range and quality. 6. Apply Leeming LUT Pro™ to your footage to correct and normalise it to a common baseline. 7. Optionally apply the free Leeming LUT Pro Quickies™ for an instant look that retains all the dynamic range of the original image, or create your own looks manually in your preferred colour grading application.

Leeming LUT Pro Quickies™ While Leeming LUT Pro™ will get you to a neutral, corrected colour image with a single click, many users have asked for additional, stylised looks to help get to a finished image more quickly. A one-two punch if you will, with instant results. As a way of saying thank you for buying my LUT, I have made available some free Quickies™ to get you there with no muss, no fuss. These looks are designed to be used as a second node or creative effect following the application of Leeming LUT Pro™, and have been designed in harmony with the colour balance and dynamic range the corrective LUT provides as a first step. Full instructions for use are provided within the ZIP file itself, and there will be more Quickie™ Packs made available in the future to give you even more creative possibilities. Pro Quickies

( Designed for Leeming LUT Pro ) Free Download (ZIP)

( Updated 20 May 2019 ) Neutral Film looks designed to work with all the Pro and Pro II series LUTs. Subtle curves and a pleasant cinematic feel, ready for delivery or as a base for further grading. Now includes the Apollo series for brighter post-LUT images, while retaining the filmic features of the Neutral Film series. If you are using Athena LUTs these will give more subtle results. Quickies Creative Pack 1

( Designed for Leeming LUT One ) Free Download (ZIP)

( Updated 22 Dec 2017 ) Eighteen free creative filmic looks including some basic curves and four monochrome options. The pack is optimised for the older Leeming LUT One series but will work with the Pro and Pro II series if you reduce the intensity to around fifty percent. If you are using Athena then intensity can be set between 75-100% depending on taste. Fixies

( Designed for all LUTs ) Free Download (ZIP)

( Updated 4 Jan 2018 ) Two LUTs designed to change between Video to Full Levels and Full to Video Levels. These are useful if applying the main LUTs to footage recorded on external recorders like the Atomos series which don't handle the camera level output correctly with some profiles. Not really needed any more with the Pro and up LUTs but maintained here for backwards compatibility.

How To Shoot Using ETTR Principles Exposing To The Right ( ETTR ) after white balancing is the way we maximise the camera's dynamic range and tonality while minimising shadow noise. To do this successfully and efficiently, we require some visual tools to help us in camera. The main tools to judge exposure on a video camera are, generally speaking: Zebras - rolling 45° black lines over areas that exceed the set exposure level.

Histogram - a horizontal graph showing exposure on the X axis, and the percentage of image exposed at each level on the Y axis.

False Colour - differently coloured areas depending on underlying exposure level. On most prosumer cameras, the zebras and histogram are the only tools available, so it is these I will concentrate on. For cameras with zebras (my recommended tool for ETTR), you can use them to easily see what parts of your image are overexposed, and adjust accordingly: If you can't view the video, here's a graphical summary: Overexposed With the zebras set to the recommended values for your camera from the setup guide, any overexposure will result in the zebras overlaying the affected areas, as shown here. The big advantage over the histogram is that the zebras will show you which areas of the image are overexposed, so you can make decisions based on what parts, if any, you will let clip ( such as streetlights etc ), and which parts need to be retained ( the sky, building walls etc ). Exposed To The Right (ETTR) As you can see, we have adjusted the brightness of our image ( by closing the lens iris, lowering the ISO or adjusting the shutter angle ) until the zebras have just disappeared, but the histogram is still ETTR. This is the sweet spot where we can get maximum dynamic range from our image with minimal noise. The following diagram shows you what to look for when using your histogram to Expose To The Right, if zebras are not available: Underexposed This is the worst result, as it is severely underexposed and will result in a very noisy, low dynamic range image when normalised. Shadows are clipped to black and will be unrecoverable or highly noisy. If you can, raise the ISO to a higher value to help brighten the whole image so that it looks closer to one of the following histograms. Exposed To The Right (ETTR) This is a good ETTR exposure plot (example only - your histogram will look different depending on the scene). The histogram is biased to the right, but the highlights remain within bounds and are not clipped. In post-production it is a simple process to reduce exposure and levels back to neutral, with the advantage that noise will be much lower and tonality will be improved over shooting the same scene with a neutral histogram. Overexposed The highlights have been pushed too far to the right, to the point where they have been clipped to white. You will not be able to recover them, resulting in a lack of highlight definition and a very video-like image if the sky is the clipped portion of the shot. Check to see if you can use a lower ISO setting to help minimise noise and pull back the clipped values into the legal range. Master the histogram or zebras and you will quickly nail the correct ETTR exposure, all while maximising dynamic range and minimising noise. If you are interested in learning more about how ETTR works at a technical level, and why it is the right way to expose for maximum dynamic range, you can read more here.

Supported Camera List ( Confirmed OK ) Panasonic G Series: All G series cameras (eg GH5) with Cinelike-D, V-LogL and/or HLG

Panasonic S Series: All S series cameras (eg S1) with Cinelike-D, V-Log and/or HLG

Blackmagic Design: All cameras with Gen1 or Gen4 (also called V1 and V4) colour science and the Film dynamic range profile

Sony A Series: All A and RX cameras with Picture Profile support (eg A7III) for Cine2, S-Log2, S-Log3, HLG/3, Creative Neutral and/or Standard

Fujifilm X Series: All X series cameras (eg X-T3) with Pro Neg Std, Eterna Cinema, F-Log and/or HLG

Nikon Z Series: Z6, Z7

Canon EOS Series: All EOS cameras (eg 5D MkIII) with the Faithful Picture Style

GoPro: All 4, 5, 6, 7, 8, Session models with ProTune Flat profiles

DJI: Phantom 4 Pro, Mavic 2 Pro, Mavic Air 2, Mavic Air, Mavic Mini, Mavic Pro, Osmo Action, Osmo Pocket, Zenmuse X5

JVC: GY-LS300

Supported Editing Software Davinci Resolve

Adobe Creative Cloud

Final Cut Pro X

Magix Vegas

Avid Media Composer

Grass Valley Edius

Lightworks

Hitfilm

Cyberlink PowerDirector

LumaFusion

Supported External Recorders ( Using Legal Range Input ) Atomos (Ninja V, Shogun, Assassin, Inferno, Flame, Sumo, Shinobi)

Video Devices (PIX-E)

Convergent Design (Odyssey, Apollo)

Blackmagic Design (Video Assist)

ETTR Theory The foundation of Leeming LUT Pro™ is shooting for maximum dynamic range while retaining highlight information by Exposing To The Right ( ETTR ), but not overexposing. This highlight retention is critical in making an image look filmic while minimising sensor noise, but why is it the best technique to use for video? To understand ETTR, we need to look at digital sensors and how they work. First, you need to adjust your brain to think in binary, not base 10! ( Don't worry, I'll try to make it easy with the examples below ) Let's say you have an 8 bit camera, and the sensor happens to have exactly 8 stops of dynamic range ( for the exercise ). So each stop uses one extra binary bit in describing each of the R G B channels, in linear space. At the bottom stop you can only 'flip' a single bit, giving you the following eight options to describe the colour Red, for example: 00000000 00000000 00000000 ( 0, 0, 0 Black in base10 ) 00000001 00000000 00000000 ( 1, 0, 0 Red in base10 ) 00000000 00000001 00000000 ( 0, 1, 0 Green in base10 ) 00000000 00000000 00000001 ( 0, 0, 1 Blue in base10 ) 00000000 00000001 00000001 ( 0, 1, 1 Cyan in base10 ) 00000001 00000001 00000000 ( 1, 1, 0 Yellow in base10 ) 00000001 00000000 00000001 ( 1, 0, 1 Pink in base10 ) 00000001 00000001 00000001 ( 1, 1, 1 White in base10 ) Now, the sensor-to-digital-signal conversion has to decide which of the eight potential values is the correct one. If the red you see with your eyes is just a smidgen closer to green than to red, for example, the conversion might decide that the single bit it has control over should go in the Green column. But because we are at the bottom stop, it has no colour depth to be subtle, so it can only choose full-on green. We see this as a noisy, green pixel on our screens. Even if it were to pick correctly, we'd see a full-on red pixel on our screens, even if the true colour was not so saturated or bright. So every possible colour at the bottom stop, from the billions we can see with our eyes, can only be represented with eight binary ( digital ) values. In other words, terrible colour depth and resolution. As you move up a stop, you get more possible combinations to represent your colours (you can 'flip' up to two bits): 00000000 00000000 00000000 00000001 00000000 00000000 00000010 00000000 00000000 00000011 00000000 00000000 ...and so on. Now you have slightly more values with which to describe your colour. As you can see though, as you go up each stop, you quickly ( and exponentially ) get a lot more possible binary combinations with which to describe your colour, meaning more colour precision ( or resolution or bit depth ) and hence, less visual noise. The top stop ( closest to the highlights ) contains fully half of the available possible colour values, in binary ( digital ) form, because we can flip each of the 8 bits on or off for each of the R G B channels. So for linear space digital recording, if you underexpose by even one stop compared to full ETTR principles, you are effectively throwing away half of your colour resolution ( tonality ) because those potential high resolution values are sitting idle.

A Brief History The original LUT came about after Panasonic's V-Log L release for the GH4 camera was shown to be less than stellar for internal, 8 bit 4:2:0 recording to the SD card, with visual errors like YUV chroma smearing on many flat surfaces, baseline colour shifts and reduced tonal range compared to the linear profiles. The fix, after lots of testing and tweaking, was Leeming LUT Pro™, a superior colour and tone accurate LUT designed for the GH4's internal Cinelike-D profile, correcting the profile to a proper Rec709 colour matrix, while avoiding the need for, and issues of, V-Log L ( saving you $99 ), ready for creative grading to begin. Now the LUT has been expanded to support additional cameras, providing a one stop shop for bringing all supported camera types to the same starting point for grading, while maximising each camera's internal settings to get the best dynamic range and colour tonality out of them.

The LUT Development Process The philosophy is simple. Find the camera settings that give the best dynamic range and latitude, then develop a LUT to correct the colours to Rec709 as well as minimising colour noise, all while retaining beautiful, filmic skin tones for narrative shooting. Finally, make sure each camera's LUT output matches between them, so you can shoot different cameras and easily get to a common baseline in post with just the initial LUT application. LUTs are specifically crafted for each individual camera. The first step in creating a LUT for a camera is to determine the best settings that maximise dynamic range, bearing in mind that the flattest profile isn't necessarily the best, if it limits the tonal range or causes errors such as banding, or YUV chroma smearing etc. Bit depth is a big factor here, as most cameras record internally using 8 bit colour depth. If there are not enough values assigned to the image ( such as the case of internal, 8 bit logarithmic recording ) then it is better to use one of the linear profiles that make full use of the available encoding bits. Once the optimal recording settings have been determined for each camera, the LUT is developed to bring the camera's recorded image to a standard, Rec709 baseline image that retains all the dynamic range while fixing any colour errors and minimising noise. This LUT is also designed to make the image feel as filmic as possible within the Rec709 parameters. In other words, the intent is not only to make a proper Rec709 output, but have it feel closer to celluloid film than a harsh video output. Finally, the LUT is extensively tested with all sorts of different conditions, to make sure it behaves consistently and without rendering errors. Only once those tests are complete, does the LUT join the Leeming LUT Pro™ family. If any subsequent bugs are found, the issue is fixed and updates are sent out to all owners of that LUT for free, to ensure you are always using the latest version. I am confident you will find this the best LUT to begin your grading workflow. Anything less and I wouldn't have put my name on it!