LUMIX V-Log LUTs — 11 Panasonic V-Log to Rec.709 LUTs

V-Log holds a lot of range and shows you none of it. LUMIX footage comes off the card flat and grey. These are conversion LUTs: each one decodes Panasonic's V-Log curve and V-Gamut to Rec.709 and applies a look in the same file, so one drag onto the clip gets you from flat to finished.

Eleven files, yours to keep for one payment, and they work anywhere .cube works.

Every file is 65-point: 274,625 colour samples instead of the 35,937 in a standard 33-point LUT. A log conversion is the steepest curve a LUT carries, which is where a sparse grid shows up as banding in skies and skin. 65 points is the largest size DaVinci Resolve exports, and it loads anywhere a 33-point file does.

What's inside

• Rec.709 Conversion: the technical one. A correct V-Log to Rec.709 conversion, curve and its V-Gamut, and nothing else, with a soft shoulder so highlights don't clip. Build your own grade on top.

• Neutral Rec.709: the conversion with a touch of contrast and colour, the minimum to look right straight away. Start here if you're unsure.

• Warm Cinematic: warmed mids, teal pushed into the shadows, skin held through the warmth. The default "this looks like a film" answer.

• Cool Moody: cooled and deepened, with skin protected so faces don't go blue along with everything else. Overcast, interiors, night exteriors.

• High Contrast: the punchiest here. Crushed blacks and lifted saturation for anything that needs to cut through on a phone screen.

• Faded Film: matte blacks and reduced saturation, the softest look in the set.

Which one should you use?

If you plan to grade afterwards, use the Rec.709 Conversion and build on top of it, or Neutral Rec.709 for a head start. If you want to be done, pick by the light: warm and sunlit wants Warm Cinematic, grey and overcast wants Cool Moody, and anything destined for social wants High Contrast.

How to use them

1. Download the pack. Every look is a separate .cube file.

2. Load one in your editor, DaVinci Resolve, Premiere Pro, Final Cut Pro, CapCut, VN, or LumaFusion.

3. Do not apply Panasonic's own VLog_to_V709 LUT first. These already contain the conversion. Stacking two is the most common way this goes wrong.

4. Set your white balance before the LUT, not after.

Which cameras is this for?

Anything LUMIX shooting V-Log or V-Log L: the S5, S5 II, S5 IIX, S1, S1H, GH5, GH5 II, GH6, GH7, G9 II, BGH1 and BS1H. Panasonic gives V-Log L the same curve as V-Log, so one set of files fits both. V-Log L simply never reaches the top of the curve.

Exposing V-Log

V-Log puts 18% grey low on the curve, so footage exposed to look right on the camera's screen is often a stop under. Exposing a little brighter and letting the conversion bring it down gives cleaner shadows than lifting them afterwards.

Film stock looks

Five more files per curve, built with Luttie's film engine. Like the rest of the pack they go straight onto V-Log footage: each one decodes V-Log and its V-Gamut, then develops the image through a film stock.

• Portrait 400 · Scan — inspired by Kodak Portra 400, scanned: soft contrast, warm skin, pastel highlights.
• Tungsten 500 · Cinema Print — inspired by Kodak Vision3 500T, through a print inspired by Kodak 2383: night and interiors, clean cool shadows, dense blacks.
• Daylight 250 · Cinema Print — inspired by Kodak Vision3 250D, through the same cinema print: neutral daylight colour with a projected-film finish.
• Soft 500 · Soft Print — inspired by Fuji Eterna 500, through a gentler print inspired by Fuji 3513DI: muted colour, soft contrast.
• Vivid 100 · Scan — inspired by Kodak Ektar 100, scanned: saturated, punchy colour.

Luttie's film stocks are its own, shaped after published data about the films named. They aren't measured copies, and Luttie isn't affiliated with Kodak or Fujifilm. To adjust one, set the same stock and source in the film engine and export your own.

Make them yours

Every look here is a starting point. Load one in the Luttie editor, adjust it, and export your own .cube.