中文版 (Chinese Version)

Turn your Panasonic Lumix camera into a Fujifilm GFX, Leica, ARRI, and more using precise ACES inverse engineering.

This project aims to break the "color barrier" between camera brands through mathematical means.

Many camera manufacturers (like Fujifilm, Leica) have distinctive color science, but their official LUTs typically only accept Log input from their own cameras. This project reverse-engineers this process using the ACES (Academy Color Encoding System) workflow:

1. Convert Panasonic V-Log/V-Gamut to the standard ACES AP0 (Linear).
2. Use custom-written DCTL (DaVinci Color Transform Language) or high-precision matrices to perform the inverse operation of the target camera's IDT (Input Device Transform).
3. Disguise the signal as the target camera's native Log/Gamut (e.g., F-Log2C, Leica Log).
4. Apply the target manufacturer's official color LUT.

The resulting .cube files can be directly loaded into Panasonic cameras (like S1R II, S1H, S5 series) for real-time in-camera monitoring or used in post-production.

The LUTs in this repository are designed exclusively for Panasonic V-Log / V-Gamut input.

Based on Fujifilm's medium format color science, a perfect match for high-resolution cameras like the S1R II.

• FLog2C_to_REALA-ACE_VLog.cube
  • Style: Reala Ace (debuted with GFX100 II).
  • Features: Extremely accurate color reproduction, sharp and clear. Ideal for landscapes, architecture, and high-resolution work.
• FLog2C_to_CLASSIC-CHROME_VLog.cube
  • Style: Classic Chrome.
  • Features: Low saturation, high contrast, mimicking the style of old documentary magazines.
• FLog2C_to_CLASSIC-Neg._VLog.cube
  • Style: Classic Neg.
  • Features: The ultimate street photography look. High contrast with warm red-orange tones, emphasizing a hard-edged look.
• FLog2C_to_PROVIA_VLog.cube
  • Style: Provia (Standard).
  • Features: Standard, versatile, with natural skin tones.
• FLog2C_to_Velvia_VLog.cube
  • Style: Velvia (Vivid).
  • Features: Extremely high saturation, specialized for landscapes.
• FLog2C_to_ASTIA_VLog.cube
  • Style: Astia (Soft).
  • Features: Soft skin tone rendering, suitable for portraits.
• FLog2C_to_ETERNA_VLog.cube
  • Style: Eterna (Cinema).
  • Features: Ultra-low contrast with a soft highlight roll-off, perfect as a video base layer.
• FLog2C_to_ETERNA-BB_VLog.cube
  • Style: Eterna Bleach Bypass.
  • Features: Low saturation, extremely high contrast, with a cool, metallic feel.
• FLog2C_to_PRO-Neg.Std_VLog.cube
  • Style: Pro Neg. Std.
  • Features: The standard for studio portraits, delivering fine and smooth tones.
• FLog2C_to_ACROS_VLog.cube
  • Style: Acros.
  • Features: A high-texture black and white mode with a unique mid-gray tonality.

• FLog2C_to_FLog2C-709_VLog.cube
  • Style: Rec.709 Tech Transform.
  • Features: A pure technical conversion from F-Log2C to standard Rec.709 without any film styling.
• FLog2C_to_WDR_VLog.cube
  • Style: Wide Dynamic Range.
  • Features: Fujifilm's characteristic curve for video out-of-camera. Retains more highlight and shadow detail than standard Rec.709, with moderate contrast and natural colors. Ideal for quick turnarounds or live streaming.

Based on the color science of the Leica SL/Q series, delivering the distinctively rich 'Leica look'.

• L-Log_to_Classic_VLog.cube
  • Style: Leica Classic.
  • Features: The signature 'Leica look'. High micro-contrast, deep blacks, sharp and slightly cool shadows, with warm highlights. Excellent for B&W preview or high-texture documentary photography.
• L-Log_to_Natural_VLog.cube
  • Style: Leica Natural.
  • Features: More modern and neutral compared to Classic. Retains Leica's highlight roll-off but with more shadow detail, milder contrast, and exceptionally smooth, 'premium' color transitions. Suitable for fashion, portraits, or daily shooting.

Based on Nikon's N-Log color science, providing a versatile starting point for color grading.

• N-Log_BT2020_to_REC709_BT1886_VLog.cube
  • Style: Nikon Official Rec.709.
  • Features: Nikon's standard conversion from N-Log to Rec.709, offering a neutral and accurate color representation.
• RED_Achromic_Rec2020_N-Log_to_Rec709_VLog.cube
  • Style: RED Achromic.
  • Features: Transforms footage with a low-contrast monochrome look. Ideal for creating a soft, artistic feel that’s rich with detail.
• RED_FilmBias_Rec2020_N-Log_to_Rec709_BT1886_VLog.cube
  • Style: RED Film Bias.
  • Features: Adds the golden warmth and hues of traditional film. A starting point for an organic, cinematic feel that enhances skin tones.
• RED_FilmBiasBleachBypass_Rec2020_N-Log_to_Rec709_BT1886_VLog.cube
  • Style: RED Film Bias Bleach Bypass.
  • Features: Emulates the high contrast and desaturated colors of bleach bypass film processing. Provides a dramatic, faded look that imparts a harsh realism.
• RED_FilmBiasOffset_Rec2020_N-Log_to_Rec709_BT1886_VLog.cube
  • Style: RED Film Bias Offset.
  • Features: Recreates a vintage film look with unique split-tone offsets and subtle warmth. Ideal for artistic scenes and landscapes.

Based on the color science of the ARRI Alexa, providing the industry-standard cinematic feel.

• ARRI_LogC2Video_Classic709_VLog.cube
  • Style: ARRI Classic 709.
  • Features: The classic ARRI Rec.709 look, used in countless films and TV shows. Features true-to-life colors, excellent skin tone reproduction, and a natural highlight roll-off.

Based on the Kodak Cineon scanning system, emulating the colors of classic motion picture film.

• Cineon_to_Fuji_3513DI_D65_VLog.cube
  • Style: Fuji 3513DI Print Film.
  • Features: Emulates the look of Fujifilm motion picture print stock, with its signature cyans and soft contrast.
• Cineon_to_Kodak_2383_D65_VLog.cube
  • Style: Kodak 2383 Print Film.
  • Features: Emulates the look of Kodak motion picture print stock, the standard for Hollywood blockbusters, featuring warm colors and higher contrast.

Based on the IPP2 image processing pipeline from RED Digital Cinema cameras.

• REC709_MEDIUM_CONTRAST_Soft_VLog.cube
  • Style: RED IPP2 Medium Contrast / Soft Highlight.
  • Features: One of RED's official Rec.709 conversions, offering medium contrast with a soft highlight roll-off, suitable for a wide range of scenes.

Check out this amazing side-by-side comparison (Fuji X100V vs. Lumix S5IIX) using V-Log Alchemy.

Special thanks to Josef from DIE LICHTFÆNGER ACADEMY for testing the workflow and providing this footage!

Here are some sample images showcasing the LUT effects:

I have included pre-generated 33-Point Cube LUTs in the repo.

1. Download the .cube files.
2. Copy them to your camera's SD card (or use the Lumix Lab App).
3. Load them into the LUT Library.
4. Shoot straight-out-of-camera JPEGs or Video with the Fuji look baked in!

For users without the Studio version who want to apply the look in post-production:

1. Import the provided .cube files to DaVinci Resolve.
2. Workflow: V-Log -> Corrector.
3. Drag and drop your desired LUT onto Corrector node.

Note: This is simpler than the Studio workflow, but slightly less precise since it relies on a standard 33-point LUT rather than the DCTL math.

If you want full control in post:

1. Use the provided .dctl file.
2. Workflow: V-Log -> [CST to ACES (AP0), Linear] -> [My DCTL] -> [Official Fuji LUT].
3. disable Tone Mapping and White Point Adaptation on CST Node.

This gives you the flexibility to swap film simulations after shooting.

Note: DCTL is a feature exclusive to the paid DaVinci Resolve Studio version.

If you can tolerate some color deviation, you can select the V-Log preset from "Profile" > "Camera Matching" in Adobe Camera RAW during import, and then apply the .cube file from this repository.

This approach might introduce a slight color shift, but it won't be drastic and can be fine-tuned later in post-production. Consider this a "workaround," as ACR/LR's support for video LUTs is not as native as dedicated video editing software.

The core of this project is a precise inverse matrix. Taking ACES AP0 to F-Log2C as an example, we calculated the inverse of Fujifilm's official IDT matrix:

// ACES AP0 (Linear) to F-Gamut (Linear) Inverse Matrix
// Calculated based on Fujifilm F-Log2C official IDT v1.00
{
     1.18805632080277f, -0.0526707998586238f, -0.135385520944148f,
     0.000717966415014435f, 0.987967895093181f, 0.0113141384918043f,
     0.0095814146658757f, 0.00504068380666559f, 0.985377901527459f,
};

For detailed DCTL code, please see the DCTL folder.

1. Physical Limitations: While we have mathematically aligned the color spaces, the spectral response of different sensor CFAs (Color Filter Arrays) varies. This phenomenon, known as metamerism, means that under certain extreme lighting conditions (e.g., neon lights), the Panasonic's rendering may still have subtle differences from the original camera.
2. Unofficial: This project is not officially affiliated with Panasonic, Fujifilm, or Leica.