It's not the wrong interpretation if it gives you the look you want.

Neuman Films has just released V-LOG LUTs - 5 styles - BASIC, MONO, PUNCHY, VINTAGE & MODERN - 30 LUTs total. I replaced my earlier video post of sunset/sky tests with a trimmed version, 3 of these LUTs applied - several of the "BASIC" on the sunset/seascapes and on the under exposed house at twilight I used "WHITE PUNCH" from "PUNCHY" category, page 35. I have not had the chance yet to try these LUTs on better suited V-LOG material but will post when can do. At least they are categorized for easier navigation - please take the hint Mr. Miller, with all due respect! And yes looking forward to Shian's LUTs however they become available.

I also would like to know how to get the footage to look 'real', not overcooked, because that's the way I frequently use it. I guess with V-Log that's going to have a cost in post. Natural photo style get me there with a few clicks (s-curve, saturation), but that extra DR will keep me orbiting V-Log, I guess...

That said, I like shian's color approach and I can easily recognize someone's skills (even if I don't know a thing about the art...).

All 5 are currently available free to all CG Pro users. But, I'll give you this caveat: these LUTs are not a cure-all. They will definitely give you better results than most other options, but V-log has it's limitations and applications - Sunsets and wide DR scenes with sweeping gradients in 8bit are not it.

Use it for faces or where falloff is needed or wanted. You can't have it all, $100 is an upgrade, not a revolution.

I think if you're shooting dark sci-fi or horror scenes it'll be perfect 8:1, 16:1, 32: and even 64:1 type scenes with density and grit are very possible. [think Blade Runner and the Daredevil series]

Until I get my hands on a 10bit recorder to play with, I won't know if there are ways to get better results down that avenue. In the meanwhile I'll keep exploring the internal codec and creating options to make it the best it can be.

I think that when you shoot interior scenes with light walls and use some atmosphere, any banding will go away...though I don't have my Panasonic Key codes yet, I think this is a tool for a proper set up...lighting, set design, using diffusion and maybe shooting in a different profile..(I really like Natural) for some situations, but looking at Shian's sample in 8bit, this is a powerful tool, as long as people can manage their expectations...

beware of hysteresis. do a global reset and reinstall firmware. It's not a cure-all, but users have been reporting that it is an improvement.

VLog looks good to me. Although it isn't perfect I am happy with the way it handles skin tones. I normally use the Natural profile with 0 -3 -5 -2 0 to match Smooth on the GH2 and Neutral on my Nikons cameras. I decided to try and mimic the VLog look with Natural and stretch the images back out to see how the Natural profile handles all the pushing and pulling. To me Natural can hang with VLog pretty well even though VLog has more dynamic range on the shadow side of things.

I uploaded 2 video files to my drop box link. One of the files is a 4K ProRes file that you can download and play with, the other file is a H.264 file that you can download to see the difference with the grade. The two files were properly exposed off of a Sekonic light meter. Everything was exposed at ISO 400, F/5.6 SS-60 and properly white balanced.

I also performed some other tests using VLog and noticed that if you overexpose by 1-1 2/3 of a stop it helps with the noise with out screwing up the ( Skin Tones ). I always expose the GH4 keeping the midtones between 43-50 IRE, Keeping the IRE between 43-50 seems to help a lot with the other picture profiles for skin tones particulary with the Cine D profile. Finally with VLog I can expose to the right with out worrying about screwing up the skin tones. Hallelujah ;-)

https://www.dropbox.com/sh/jiyspfoqw99oxp0/AABjwoh97Bs2Y3AtGZMBrQ6Na?dl=0

Shot out of my window yesterday. I think the images speak for themselves...

Iso 400, GH4 8bit internal, Grading in Speedgrade, UHD 30p in a 1080p24 timeline

Wow wow just wow, what Uwe Lansing shot above is just mind-blowingly horrendous. I hope they manage to fix it for GH5.

Not shure if my comment adds value here as I do not have a GH4 with VLOG, but I have noticed a very similar behaviour to Uwe Lansings video showing the banding when I tried to push the BMPCC 4:2:2 10bit ProRes files around in a Adobe Premiere Pro timeline - ugly banding, etc... I think that Adobe's PPro's bitdepth is not sufficient for the amount of contrast a LUT (or pushing the image) adds to the footage.

In DaVinci Resolve for instance all that banding is gone, and I can push the image around as heavy as I want it without destroying it (hence I am now full on Resolve - I use PPro only for the edit and some warp stabilization).

Hence, don't judge the image quality coming from a PPro timeline!

@GMC Only in timeline? The final output is correct? That could be interesting... (PPro could be using faster, read lower quality, processing to agile things a bit...). I'll try a render with Maximum Quality (I usually don't use this...).

BTW, using Magic Bullet Looks with LUT filter to apply "VLog_to_V709_forV35_ver100.cube" the results are awful - severe color shifts.