![]() Any new LUTs will be added to this new LUT page so do keep it book marked in your browser and check back for updates. Regular readers of the site may have notice that I currently have a couple of new advertisers on board and their financial support should allow me to generate more LUTs going forwards. So, I have created a new fixed page for my S-Log3 LUTs which you can find via the menu bar under the Picture Settings and LUT’s category or by clicking here īut I thought it would also be a big help to have a single page with all of the more popular S-Log3 LUT’s in one place along with samples of how each LUT looks. You can see all the LUT’s that I have included here on XDCAM-USER, whether for S-Log2 or for S-Log3 as well as any articles about LUTs and how to use them by following this link. But they are spread all over the website, so sometimes they can be hard to find. Build your network and sharpen your craft in our community: The Backlotģ.Over the years I have created quite a few different LUTs and made them available here for free download. Make a feature film today: The No-Budget Feature Film BlueprintĢ. When you’re ready, here are 3 ways I can help you:ġ. The difference between my LUT and Sony’s isn’t drastic, but the change is significant enough to save at least one or two steps in the color process when locking in your primary grade.Īs is the case with any LUT, you will still want to fine tune your grade to get it looking perfect, but so far I have found that my new LUT helps me to reach the finish line that much faster.ĭownload the Slog3 LUT through my CINECOLOR platform here.Īnd don’t forget to check out the rest of my color grading LUTs, film grain, and post-production tools! Type of LUTs: Print LUTs that can double as stylistic LUTs. Video still from Ground Control Color FREE Sony S-Log 2 to Rec.709 LUT Pack. I tend to find Sony’s mids/skintones have a tendency to look cool or at times even purple, so one of my primary goals with this LUT was to eliminate that issue.īelow are three screen shots showcasing the different SLog 3 looks: From the Free LUTs page, users can download ten free conversion LUTs and three stylistic color LUTs. From there, I brought down the mids a touch, made a slight contrast adjustment, and warmed up the midtones slightly. The new LUT that I created was based off of a hybrid of Sony’s SLog 3 LUT and the Arri Alexa LUT, the former of which works surprisingly well with SLog 3 footage. cube No installation required, just import them Works on all major editing software. ![]() The goal of course is to save myself a lot of time in the editing room/color suite, and get each shot that much closer to the final look right off the bat. Since I will inevitably be shooting more and more with the A7S II as the months go on, I decided to create a new LUT to use in place of Sony’s standard SLog 3 LUT. With the A7S II on the other hand, I’ve never had perfect results while using Sony’s SLog 3 LUT on any clip that I’ve shot to date. ![]() On my Blackmagic URSA for instance, if I have exposed my shot properly I am able to drop on a LUT in Resolve or FCP X and the image will look fantastic right away. This is the LUT that is/was used in all of my footage prior to creating a Look, essentially bring the LOG footage back to a REC-709 color space. That’s not to say you can’t achieve beautiful color results with Sony’s cameras, but rather that you need to work a little harder to get there. But even though they are ahead of the curve in so many ways, their color science is still far behind companies like Blackmagic Design or Canon. Sony is leading the way in mirrorless innovation at the moment, and I respect what they are doing tremendously. While I’ve really been enjoying the A7S II, my biggest issue with it so far has been the same as my issue with all of Sony’s other cameras – the color science. I’ve been shooting with my new Sony A7S II extensively over the last couple of weeks, and recently developed a LUT that I’ve been using with all of my SLog 3 footage. ![]()
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