RAMBLER Film Emulation - Panasonic LUMIX V-LOG
These LUTs are a spin off of my Roadrunner LUTS. The Roadrunner LUTs give you a film look but with a modern look. These new RAMBLER LUTs push the limits on the film look. If you’re into that more matte film look, these are for you.
There will convert your LUMIX V-Log footage to Rec.709 while giving you that full on film look. If you want to really land that look, I suggest throwing on some film grain, halation, and even softening your image. Or just rock them as is.
When setting you white balance, you want to set it according to your skin tones. If the skin tones look right, then you know you’re using them right. You can also turn up the contrast if you want to battle the matte look. Sometimes i’ll even correct the black and white point after the LUT to get a more modern look. And don’t be scared to turn down the saturation if you want. For instance on the Lumix S1RII, the skin tones are naturally a little more saturated on that sensor, so i’ll go in and turn down the skin tone saturation in a simple HSL curve adjustment.
1990
The foundation of the LUT. This is the stripped down version with all the flat matte old look. Think of it as a film stock before it’s been printed. I honestly rarely use this one unless it’s for a stylized look or if im going to cook more of my own adjustments into it.
1995
Very similar to the 1990 look, except I bake in a little more of a print grade into it.
This is where I start pushing more of a final print look. It still has the matte look but more finalized. I use this one the most.
PRINT PUSHED
We start to really push a heavy look on top of the PRINT look. You’ll get lots of warm and color with this one.
PRINT PULLED
Same with the PUSHED version, but more subtle
MILLENNIUM
I added this one for anyone that likes the look of these LUTs but not the super faded matte look. I’ve been using this one a lot as well but for a more modern polished look that still communicates my idea of the film look.
These LUTs are a spin off of my Roadrunner LUTS. The Roadrunner LUTs give you a film look but with a modern look. These new RAMBLER LUTs push the limits on the film look. If you’re into that more matte film look, these are for you.
There will convert your LUMIX V-Log footage to Rec.709 while giving you that full on film look. If you want to really land that look, I suggest throwing on some film grain, halation, and even softening your image. Or just rock them as is.
When setting you white balance, you want to set it according to your skin tones. If the skin tones look right, then you know you’re using them right. You can also turn up the contrast if you want to battle the matte look. Sometimes i’ll even correct the black and white point after the LUT to get a more modern look. And don’t be scared to turn down the saturation if you want. For instance on the Lumix S1RII, the skin tones are naturally a little more saturated on that sensor, so i’ll go in and turn down the skin tone saturation in a simple HSL curve adjustment.
1990
The foundation of the LUT. This is the stripped down version with all the flat matte old look. Think of it as a film stock before it’s been printed. I honestly rarely use this one unless it’s for a stylized look or if im going to cook more of my own adjustments into it.
1995
Very similar to the 1990 look, except I bake in a little more of a print grade into it.
This is where I start pushing more of a final print look. It still has the matte look but more finalized. I use this one the most.
PRINT PUSHED
We start to really push a heavy look on top of the PRINT look. You’ll get lots of warm and color with this one.
PRINT PULLED
Same with the PUSHED version, but more subtle
MILLENNIUM
I added this one for anyone that likes the look of these LUTs but not the super faded matte look. I’ve been using this one a lot as well but for a more modern polished look that still communicates my idea of the film look.
These LUTs are a spin off of my Roadrunner LUTS. The Roadrunner LUTs give you a film look but with a modern look. These new RAMBLER LUTs push the limits on the film look. If you’re into that more matte film look, these are for you.
There will convert your LUMIX V-Log footage to Rec.709 while giving you that full on film look. If you want to really land that look, I suggest throwing on some film grain, halation, and even softening your image. Or just rock them as is.
When setting you white balance, you want to set it according to your skin tones. If the skin tones look right, then you know you’re using them right. You can also turn up the contrast if you want to battle the matte look. Sometimes i’ll even correct the black and white point after the LUT to get a more modern look. And don’t be scared to turn down the saturation if you want. For instance on the Lumix S1RII, the skin tones are naturally a little more saturated on that sensor, so i’ll go in and turn down the skin tone saturation in a simple HSL curve adjustment.
1990
The foundation of the LUT. This is the stripped down version with all the flat matte old look. Think of it as a film stock before it’s been printed. I honestly rarely use this one unless it’s for a stylized look or if im going to cook more of my own adjustments into it.
1995
Very similar to the 1990 look, except I bake in a little more of a print grade into it.
This is where I start pushing more of a final print look. It still has the matte look but more finalized. I use this one the most.
PRINT PUSHED
We start to really push a heavy look on top of the PRINT look. You’ll get lots of warm and color with this one.
PRINT PULLED
Same with the PUSHED version, but more subtle
MILLENNIUM
I added this one for anyone that likes the look of these LUTs but not the super faded matte look. I’ve been using this one a lot as well but for a more modern polished look that still communicates my idea of the film look.