Here is an example of some Arri Amira footage I shot recently, with and without the Rec. For example if you were to shoot on an Arri Alexa in Log-C, you would want to use a LUT to give your Log-C footage a more contrasty Rec. They are used for many different reasons, but commonly to add contrast and saturation to flat images. On a side note, for any of you that aren’t familiar with LUTs (or Look Up Tables), they are essentially color translation files that you can use in many different post-production applications to apply a new look to your footage. I have included a download link to the LUT below, but read on to ensure that your settings are consistent with mine so that the LUT will work properly. With Cine-D however, I do always start my grading sessions with a custom LUT that I built around my preferred Cine-D settings. When grading my Cine-V footage, I never use any type of LUT in my pipeline since that picture profile already has somewhat of a finished look to it. That said, Cine-V has nearly as much DR (I would guess there’s probably only a 1/2 stop difference between them), and it’s an excellent alternative to Cine-D when you need to nail the look in camera. Both picture profiles can create beautiful images, but Cine-D has slightly more dynamic range so I do try to use it whenever possible.

I would say that I use Cine-D about 50% of the time, and Cine-V the other 50%. As such, I have mainly been using slightly modified Cine-D and Cine-V picture profiles, as outlined in this blog post from the fall. When I first got the GH4 I was messing around with my settings a lot (master ped, shadow/highlight, etc.), but eventually realized that I would get much better results by not straining the camera too much. Like many other GH4 shooters out there, I’ve been back and forth about which picture profiles and settings are best to use when shooting with this camera.

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