I bought the LUMIX L10 with a fairly simple question in mind: could this become my one-camera setup for travel photography and filmmaking? This is my first cinematic video test, filmed in Open Gate at 24fps and graded with ToneLab Chroma.
Partner disclosure: ToneLab has provided me with lifetime access to Chroma Pro as part of our partnership. If you buy through my affiliate links or partner route, I may earn a commission at no extra cost to you.
If you’re a new L10 owner considering Chroma, start with the footage above. Then look at whether its approach to colour fits the way you want to edit.
The settings behind this L10 footage
I shot this test in V-Log, using a variable ND filter, a 1/50-second shutter speed and an aperture of around f/2.8. Those are the settings behind this particular film, rather than a recipe I’d apply to every situation.
- Camera
- Panasonic LUMIX L10
- Recording
- Open Gate · 24fps
- Profile
- V-Log
- Shutter
- 1/50 second
- Aperture
- Approximately f/2.8
- Filter / colour
- Variable ND / ToneLab Chroma
If you’ve just bought an L10 and are starting to explore video, this gives you a finished result to look at before deciding what you want from the colour side of your own workflow.
A promising start for a smaller travel setup
So far, I’m incredibly impressed by the image quality, colour and overall cinematic look. That was the point of taking the camera out: to see whether the result made me want to keep using it for film as well as photography.
I was initially uncertain about relying on lens stabilisation rather than in-body image stabilisation. For this style of filmmaking, the results were more than adequate. I’d keep that judgement attached to this test rather than treating it as a promise about every shooting situation.
Could the L10 replace my existing photography and video cameras? That’s the question I’m exploring. This first film is an encouraging start, rather than a final verdict.
Grade supported LOG footage in one Resolve node
Flat LOG footage can make the first edit feel more complicated than it needs to be. ToneLab Chroma brings the conversion and creative colour controls together, so you can build a straightforward grade inside a single node in DaVinci Resolve.
The examples above show my L10 footage graded with Chroma. The process below explains the wider approach; the video itself is footage examples.
1. Add Chroma to a colour node
On Resolve’s Colour page, add ToneLab Chroma to a serial node. This keeps the Chroma conversion, look and finishing controls together in one place.
2. Match the recorded LOG profile
Select the conversion that matches your source footage and choose the appropriate output for your project. Panasonic V-Log is among Chroma’s supported profile families, alongside options for Sony, Canon, DJI, Fujifilm and others. Check the exact camera and profile in the current compatibility list.
If Resolve or another stage is already converting LOG to your display output, account for that before adding Chroma’s technical conversion. You want the intended transform applied once.
3. Balance, choose a look and refine
Use Chroma’s controls to balance the image, explore a creative look and adjust its strength. Refine contrast, colour and finishing to suit the shot, then check the clips together. A simple setup still leaves room for your own judgement.
That’s the attraction for a new L10 owner: an approachable way into colour without having to build a large node tree for a straightforward grade. More involved corrections can still use additional nodes when the footage needs them.
For L10 owners: I used Chroma to grade these examples. ToneLab lists Panasonic V-Log, although its public camera list does not currently name the L10. Check the exact input and your Resolve/system compatibility before buying specifically for camera conversion.
Try a simpler approach to your next grade
If you want a simpler route from supported LOG footage to a finished look, Chroma is worth exploring. Its conversion, creative looks and finishing tools sit together in the same interface. You can keep the basic Resolve setup to one node and concentrate on the image.
For the broader approach to conversion, balancing and creative colour, read my ToneLab Chroma Pro colour workflow. That’s the next stop if you want more context before buying.
For the still-photography side of your new camera, there’s a separate PhotoLab 10 guide for LUMIX L10 RAW files. It covers a different job from the video colour discussed here.