Looking for a professionally created Lut pack for your GoPro MAX 360 Camera?
You are at the right place.
I am going to teach you to set up your GoPro MAX to shoot video from this, to this.
Yes, it is god awful ugly.
But hold on.
Shooting in Native white balance and Flat color helps you to retain the most amount
of information and the highest dynamic range.
With my technical and creative LUTs, simply drag and drop - you get this.
Or from this to this!
If you hate shooting in Native Flat Color, I have LUTs also work directly on top of regular
GoPro Color.
And the best part is, they are free and comes with this color grading tutorial on both Adobe
Premiere and Davinci Resolve.
So what are you waiting for?
Hit the download link in the description and follow along to level up your 360 footage
with Beautiful Colors.
Hey, what's up everybody.
It is your boi Hugh here from CreatorUp, the #1 YouTube channel dedicated to 360 filmmaking,
for everyone.
If you are GoPro MAX users, you probably don't have time to worry about color grading or
dynamic range.
You just want to set your camera, hit recording, capture as much as you can, slap on a LUT
that looks like Sam Kolder or Chris Rogers and ready for Instagram.
So why Native White Balance and Flat Color?
Why is that even there on your GoPro MAX?
Well, GoPro MAX, surprisingly, has a really nice FLAT color profile if you shoot at Native
White Balance.
They don't call it LOG, but it is kinda like a pseudo-log.
After days of technically testing on my end, the Flat color profile really maximizes the
dynamic range of the sensor, which is SONY IMX577.
It has the widest gamut, and raw sensor color without color matrix, very close to DNG or
RAW.
If you shoot in GoPro Color and make a mistake in exposure, the details in highlight and
shadows are gone.
That also affects your white balance.
If your white balance is also off, for example, shooting indoors with poor lighting, the color
is lost.
The second problem of shooting in GoPro Color, which is a bigger problem, is that the image
in the GoPro Color video file is already developed.
So it has enhanced saturation, contrast, and tone mapping.
It is harder to do color correction and apply LUTs on top of it.
Look at this example that shot on GoPro Color.
I apply the official Sam Kolder SK2 Lut, it looks like poo!
But, your Premiere does not support Color Matrix.
So there is no way to color grade Native Flat footage from your GoPro MAX.
That is why no one uses it until now.
Introducing Hugh's Technical LUTs for GoPro MAX.
These LUTs are NOT made in Davinci Resolve BTW.
It is created in a professional coloring software called 3D LUT Creators, with controlled settings
and charted videos.
It costs me a lot of money and time to make those for you so you can save time and money.
Don't forget to give me a thumb up and share this video.
Set up your GoPro MAX
Step one, before filming, set your camera white balance to NATIVE right here and also
set the ProTune color to FLAT.
I like to control my ISO always to be 100 except in low light.
In low light, I set the shutter speed to 60 or even 120, and bump the ISO up accordingly.
I will teach you how to remove sensor noise in this tutorial.
So you never afraid of ISO noise anymore and shoot with confidence in low light.
I want to provide options of my LUTs pack.
As not everyone like me, wants to deal with manual white balance in post.
Here is NATIVE white balance, and here is AUTO GoPro White Balance.
Let's pan to the shadow, the color chart I put under the bushes right here.
There are a lot more details in the NATIVE.
So if you are lazy, at least keep the FLAT color to have a FLAT contrast curve, use AUTO
for white balance.
Look at that.
You still have a pretty good dynamic range, but now you also have the color back.
In Premiere, add the Lumetri color.
For the super lazy viewers, all you need to do is to go to Basic Correction, add my GoProMAX_NativeFlatToGoProColor
Technical LUT then you are done!
Look at that, before, after.
Amazing.
Let's compared it to actual GoPro Color.
If we look at her face, which is terrible lighting b/c she is facing the sun.
I am doing that on purpose to illustrate the point.
Her face is less contrast and looks general better than GoPro Color.
Look at the chart in the shadow - there are a lot more details.
It at least gives you a good starting point to build your own look.
My recommendation tho, is to standardize your GoPro MAX into REC 709 or sRGB.
So you can apply any third-party LUTs that build on sRGB or REC 709 - to match your DSLR.
Most of the time for serious videographers, GoPro MAX is not the only camera they are
using.
Here is how.
In the Basic Correction input LUT, we use GoProMAX_NativeFlatTosRGB.
It gives us a still pretty neutral look.
This technical LUT basically add the Color Matrix of the SONY IMX577 back in a nondestructive
way.
It gives you a starting point to color correct and color grade your footage to build your
own look instead of looking like GoPro.
Again, this is not a color correction or color grading tutorial.
This is a tutorial on how to use my LUT to keep all the color information and details
of your images using NATIVE FLAT color.
So you can start to build your own cinematic look.
REC 709 does not look better than GoPro Color.
That's why, I also provide some free GoPro MAX LUTs for you.
But, let's try the regular LUTs you get from the Internet and understand why they don't
work on 360 camera.
Recently, there is a popular Creator LUTs pack that everyone is getting.
Inside, it has some of my favorite YouTubers like Matt Komo and Sam Kolder.
Let's drop in the SK2 from the Sam Kolder pack on the Creative Lut.
Honestly, not bad.
A lot better than dropping directly on GoPro Color.
The reason why Regular LUTs you bought on the Internet will not work on GoPro is because
they are all based on a Log profile of that creator's camera.
Like SONY S-Log or Pananaonic V-LOG.
We need to remove the LOG contrast curve and build it from ground up for GoPro MAX.
This is exactly what I did.
So now, let's try my recreation of the SK2.
Look at that, it is a lot better.
Just to be fair, we did not do any color correction.
We just drop 2 LUTs in the video.
And this is a 360 video.
Has Sam Kolder made any 360 video?
No.
We just recreate his look in a 360 video with a $400 dollar consumer 360 camera.
This is pretty impressive if you ask me.
Now give this to a professional colorist, like add some contrast back using curve.
Let me just quickly do a Matt Komo style Faded Film look S-curve by kicking the tail up like
so.
Look at that.
We got nice contrast back without crushing the shadow.
That is a really cinematic or film look in 360.
Let's find a video that is more Sam Kolder style.
Here we have me in Taipei, Taiwan shot on a GoPro Fusion, on top of a hotel Sunrise
in 360.
Drop in my LUT, look at that.
Before, after.
Look at it in full 360.
What makes this LUT so cinematic is it reduces the colors into 2 tones.
The sky to teal and the sun to orange.
If you look at me again, my skin tone is protected.
Oh, and yes.
These LUTs also work great with the old GoPro Fusion.
Okay, what if Cinematic is not what you are going for.
You want something action sports.
Here we have me snowboarding.
We are going to drop in a GoProMAX_AutoFlat_Creative_SunnyOutdoor_Snow LUT - also available in the download.
Immediately, we have this Chris Rogers GoPro look but in 360.
Just to compare, here is my Sam Kolder look, and here is the Snow LUT.
The Snow LUT is designed for GoPro FLAT color if you want the best result.
It will also work on top of GoPro Color as well.
Because of the whole Social Distance thing, I still did not get any tropical, beach and
ocean LUT yet.
But that is the next thing I am going to create.
So don't forget to subscribe for my FREE tropical LUT pack.
Just to show you how versatile this SunnyOutdoor Snow LUT can be - not only for SNOW.
Here we have our friend base jumping, filmed on a GoPro MAX and a FPV Drone.
The color is not good.
Drop in the Outdoor LUT, look at that.
The Color of the net is really pop, and the sky is a nice rich teal.
You have to try this magic OUTDOOR lut that I spent hours creating in the Professional
coloring software - the 3D LUT Creator.
This LUT will work in almost all 360 outdoor situations.
What about indoor?
Well, as you see right here, we also use professional lighting and a controlled environment to stress
test our LUTs.
But as the nature of a small sensor 360 camera, you will run into color noise or Chroma Noise
when you apply a creative Lut based on REC 709 from a traditional 2D workflow in low
light area near the stretched point, which is the Nadir and Zenith, top and bottom of
your footage, like right here.
I already make an in-depth tutorial on 360 noise reduction in Adobe Premiere using Neat
Video.
I highly recommand you watch that, to understand noise, where it comes from, and how to remove
it.
If you switch to Davinci Resolve following my latest series, well you are in luck today.
I am going to show how to use my technical LUTs and remove the nasty Chroma noise with
Resolve FREE without 3rd party plugins.
That is also one of the major reasons why I choose Davinci Resolve as my go-to coloring
solution.
Let me show you.
Davinci Resolve and remove Chroma Noise
So if you are using Davinci Resolve, I assume you are not lazy.
You want to be better than your boy Hugh here - creating your own color and style instead
of just copying big creators or me.
So I am showing you the typical coloring pipeline.
If you have not already, let's install my LUT first.
Go to your LUTs panel right here.
Right click on any folder, open file location.
And here is where you should drop in my LUTs.
Create a folder call GoPro MAX, and drop in all the LUTs you download from me in here.
Now see my Node structure right here.
You never drop any LUT directly on your first node, just standard best practices.
Here is where you correct your white balance and use the max benefit in shooting in NATIVE
Then, we apply my Technical LUT to turn your footage to REC 709 or sRGB.
If you forgot already, it is the GoProMAX Native Flat to sRGB Lut right here.
I am using shortkey Ctrl-D to turn on and off a node.
The third node is where you are going to do your Primary.
And you can continue to add more node to do your secondary to protect her skin tone and
all the good stuff.
This is not a color correcting or color grading tutorial.
But if you want one from me specifically in 360VR.
Comment below and let me know.
Now, the next node is where you add your LOOK.
Your creative Lut like what we learn already in Adobe Premiere.
Here, we are going to add my Sam Kolder Lut with light contrast.
It just looks so beautiful.
Look at her skin color - that muted look just so cinematic.
Can you believe that is shot on a GoPro?
Well, let's play the video.
If you pay attention right here in the shadow, we see noticeable Chroma Noise.
Chroma noise is color noise BTW.
So let's fix it by going to this tap right here - the Motion Effects.
In Temporal NR, we use Frames 3.
It basically means Resolve will look forward and backward 3 frames to identify the noise.
5 will be too much for your computer.
I have a Titan RTX, so I can go 5 on problem.
Motion Estimate Type should always be BETTER.
Motion is Small as our model is barely moving.
In Temporal Threshold, unlink Luma and Chroma.
We have more Chroma noise than Luma here, so just dial in based on your footage and
how much denoising you want.
I am also going to use Spatial NR as small sensor camera is usually very noisey.
I am using Enhanced and medium Radius.
Unlink and only add Chroma here, around half of the Temporal NR value.
We are also going to add Sharpening in POST as we always shoot in Medium Sharpening settings
in our GoPro MAX.
That is what I will recommand at least.
And trust me, it looks a lot better when you add sharpening in post with Davinci Resolve.
We will not have a real-time playback, as this is a pretty extreme setting in a 5.7K
video.
So go ahead just render it and bring it back in Premiere.
Look at that, Premiere version, and here is the Davinci Resolve version.
Now, you will not be afraid to push your creativity and use some of your favorite 2D LUTs in 360.
Thank you for watching another very technical and in-depth tutorial on coloring with your
GoPro MAX.
This workflow will also work with other 360 camera.
I am also releasing Technical LUTs for other cameras and improving what I already made
for GoPro MAX, and providing more creative LUTs to supercharge your workflow.
I have a homework for you.
In order to know what kind of looks you like to achieve so that I can create the exact
LUT for you, comment below and send me the sample links.
Do you want to make your 360 films look like Mad MAX, or Joker.
I need to know.
I spent days, if not weeks, on this.
Because I care about my subscribers.
I truly hope you to learn, to get better in your creative process.
If you want to thank me and support me, give this video a thumb up, share this video on
your social media and spread the love.
If you use my LUTs on your works, please give me a shoutout, tag me on Instagram and let
me know.
You have no idea how much I like to see your works and knowing that my knowledge is helping
you to tell better stories.
Don't forget to subscribe if you are new here and hit the notification bell to stay ahead
of the game.
And I will see you in the next tutorial or see you in Virtual Reality.