# Lumix LUT: V-Log to Rec.709 for a whole Panasonic card

> Which Lumix LUT to use for V-Log and V-Log L, where Panasonic's free V-Log to V-709 LUT lives, in-camera LUTs on newer bodies, and converting a whole card.

Canonical: https://batchtone.com/blog/vlog-to-rec709

22 September 2026 · 4 min read · Updated 20 October 2026

The Lumix LUT to start with is Panasonic's own free V-Log to V-709 conversion. V-Log and V-Log L share the same curve, so the same LUT works on both; V-Log L simply holds less range. Newer bodies such as the S5II can also load .cube LUTs in camera. For a whole card, apply the conversion to every clip at once, then lower it on the clips that were exposed differently.

The Lumix LUT you most likely need is Panasonic's own V-Log to V-709 conversion, and it is free. It turns flat V-Log footage into normal-looking Rec.709, on GH, S and box-camera bodies alike, and it is the base any creative Lumix LUT should sit on.

## Which Lumix or Panasonic LUT do you need?

| What you shot | Bodies, broadly | What to use |
|---|---|---|
| V-Log | S-series, GH6, GH7, box cameras, Varicam | Panasonic's V-Log to V-709 LUT |
| V-Log L | GH4, GH5 and FZ2500 (a paid upgrade on those bodies) | The same LUT |
| A Like709 or standard photo style | Any | No conversion; a creative LUT at most |

Panasonic described V-Log L, when it launched, as having the same characteristic curve as V-Log, so the same LUT applies. The difference is range: V-Log L clips earlier, so there is less highlight room to recover. If your converted GH5 footage looks noisy in the shadows, the cause is usually underexposure, which V-Log L forgives less than full V-Log.

## Where do you get the official Lumix LUT?

Panasonic publishes the V-Log to V-709 LUT free on its LUMIX support site, as a `.cube` file you can load into any editor. The GH6 also ships with a V709 LUT built in for monitoring. Use Panasonic's file before any third-party creative pack, and keep the creative pack for afterwards.

## Can you load a LUT into a Lumix camera?

On newer bodies, yes. Panasonic's Real Time LUT feature, on cameras such as the S5II and S5IIX, applies a `.cube` or `.VLT` LUT on the camera itself, to photos as well as video. The LUMIX Lab phone app lets you make LUTs and send them to the camera. Panasonic lists firmware requirements per model, so check your camera's support page.

A LUT used only for monitoring changes what you see, not the V-Log file on the card. Footage recorded in V-Log still needs the conversion afterwards.

## Why does V-Log need converting at all?

Log stores a wide brightness range in a flat, desaturated, low-contrast image so highlight and shadow survive to the grade. Viewed directly it looks washed out and slightly milky, and that is the format doing its job. [What is log footage](https://batchtone.com/blog/log-footage) and [what is a LUT](https://batchtone.com/blog/what-is-a-lut) explain why getting back to something viewable is a fixed transform, not a taste decision.

Points worth knowing before you convert:

- **Convert first, look second.** A creative LUT stacked straight onto log gives the muddy result people blame on the camera.
- **Expose V-Log a little bright.** It is common practice on these bodies because the shadows are the weak part, so the converted footage may need pulling down slightly rather than up.
- **Check your gamut.** The conversion assumes V-Gamut.

## One clip, then forty

For one clip any editor does this: apply the conversion LUT, then set exposure, in that order, because the LUT expects log input. [Premiere](https://batchtone.com/blog/premiere-pro-luts), [DaVinci Resolve](https://batchtone.com/blog/add-luts-davinci-resolve) and [Final Cut Pro](https://batchtone.com/blog/final-cut-pro-color-grading) each have their own route to the same thing.

Forty clips is a different problem. The conversion is identical every time (the same camera, the same profile, the same transform), so repeating it by hand buys nothing and introduces drift. Adjustment layers help when every clip was exposed the same way, which on a real shoot is rarely true.

## How BatchTone handles it

BatchTone is a Mac app for applying one LUT across a folder. It ships no LUTs, so you import Panasonic's V-709 file once and it stays in the library.

1. Drop the folder of clips in.
2. Pick the V-Log conversion. A frame is pulled from each clip and previewed with it applied, so the judgement happens on your own footage.
3. Pull the strength down on the clips that need less; the rest stay put.
4. Export H.264 MP4 to a folder you choose. Audio is copied untouched, 10-bit footage from the GH and S bodies is read directly, and originals are never written to.

The Mac's own hardware encoder does the work, so a card is not an overnight job. It runs on macOS 12 or later on Apple Silicon.

The same problem on other bodies: [Sony LUTs](https://batchtone.com/blog/sony-luts), [Canon LUTs](https://batchtone.com/blog/canon-clog-to-rec709), [DJI LUTs](https://batchtone.com/blog/dji-luts) and [Fujifilm LUTs](https://batchtone.com/blog/fujifilm-luts). The seven-day trial has everything unlocked, so you can run it on a real V-Log card before paying anything.

[Download BatchTone free on the Mac App Store](https://batchtone.com/download)

## Common questions

### What is the best GH5 LUT?

The GH5 shoots V-Log L, so the conversion to start with is the same Panasonic V-Log to V-709 LUT as on any other Lumix body. Apply it in your editor afterwards: Real Time LUT, which applies a LUT on the camera itself, arrived with newer bodies such as the S5II.

### Is V-Log L the same as V-Log?

They share the same curve, so Panasonic's V-Log LUT works on both. V-Log L holds less dynamic range, so it clips highlights sooner and is less forgiving of underexposure.

### Where do I get Panasonic's V-Log LUT?

From Panasonic's LUMIX support site, free, as a `.cube` file. Use it before any third-party creative LUT.

### Should I expose V-Log to the right?

Slightly bright is common practice on these bodies because the shadows are the weak part. It means pulling down after conversion rather than lifting.

### Why is my converted footage noisy?

Usually underexposure, especially on V-Log L. Log is unforgiving about it, and the conversion makes the lifted shadows visible.

### Can I batch this in my editor?

With an adjustment layer, when every clip was exposed identically. The moment they were not, you are unpicking it clip by clip.

**About this article.** Written by the team that builds BatchTone, a macOS app that applies .cube LUTs to whole folders of photos and video. Last checked 20 October 2026. Spotted something wrong or out of date? Write to [support@batchtone.com](mailto:support@batchtone.com).

## Read next

How-to 21 September 2026 · 5 min read

## [Canon LUTs: C-Log3 to Rec.709 for a whole shoot](https://batchtone.com/blog/canon-clog-to-rec709)

The right Canon LUT is Canon's own free conversion for the log you shot: C-Log, C-Log2 or C-Log3, with the matching gamut (usually Cinema Gamut or BT.2020) to BT.709. Canon publishes them per camera on its support site. Most R-series mirrorless footage, the R6 included, is C-Log3. Apply the same conversion to the whole folder, then lower it on the few clips that were exposed differently.

[Read it](https://batchtone.com/blog/canon-clog-to-rec709)

How-to 20 October 2026 · 4 min read

## [Sony LUTs: the official files and which one to use](https://batchtone.com/blog/sony-luts)

Sony's own LUTs come in two groups: conversion LUTs for S-Log3 and S-Gamut3.Cine (s709, LC-709, LC-709TypeA, SLog3 to 709, Cine+709) and a few creative looks. DaVinci Resolve installs the classic Sony conversion LUTs in its LUT folder, and Sony publishes s709 and others on its professional site. For most Sony mirrorless footage, start with s709 or LC-709TypeA and use the same one across the whole shoot.

[Read it](https://batchtone.com/blog/sony-luts)

How-to 18 September 2026 · 5 min read

## [D-Log to Rec.709: converting a whole card at once](https://batchtone.com/blog/dlog-to-rec709)

D-Log is a flat recording profile, not a look: it stores more range than a screen can show, and a Rec.709 conversion LUT maps it back to something that looks right. Converting a card means applying that one LUT to every clip, which is a batch job rather than an editing job.

[Read it](https://batchtone.com/blog/dlog-to-rec709)

Explainers 29 September 2026 · 7 min read

## [Log footage: why it looks grey and what to do with it](https://batchtone.com/blog/log-footage)

Log footage is video recorded with a logarithmic gamma curve, which spreads the sensor's full dynamic range evenly across the file instead of shaping it for a screen. That is why it looks grey and washed out straight off the card: it has not been finished yet. To use it, expose it correctly for the profile (usually at its minimum or native ISO, and slightly bright), then convert it to Rec.709 with the manufacturer's conversion LUT or a colour space transform, and grade on top of that.

[Read it](https://batchtone.com/blog/log-footage)

## One look. A whole shoot.

BatchTone applies your .cube LUTs across photos and video at once, with a strength dial on every file. Seven-day trial, everything unlocked.

[Download for macOS](https://apps.apple.com/app/batchtone/id6821727167)