S LOG 3 LUT FULL
S LOG 3 LUT PLUS
S LOG 3 LUT PROFESSIONAL
S LOG 3 LUT FREE

Those programs will give you more pinpoint controls over your grading process, of course, but I wanted to show you whatвЂ™s possible by just using the LUT and simple exposure adjustments in your editor.

My goal was to compare many different LUTs on a head-to-head basis, without requiring an additional grading program like DaVinci Resolve or Color Finale. (Mainly, I pulled the shadows and mids down, while boosting the highlights a bit.) So to help those with Slog3 capability (including Sony A7S II, FS5 & FS7 shooters) discover LUTs that DO play nicely with Slog3, I prepared this simple вЂњLUT Shootout.вЂќ I deliberately overexposed all the footage by 1 to 2 stops (Slog 3 LOVES light) and performed comparable exposure grading to each clip. Many of these LUTs work great on the Slog3 footage I shoot with my FS5, but many do not work well. Just apply the LUT, then adjust exposure and color saturation to taste, and voila! You have nicely graded Slog footage, with great dynamic range, using a super-fast, idiot-simple workflow! Put simply, these LUTs give you a huge head start in the grading process. (I have no affiliation with Color Grading Central or Vision Color, but LOVE this tool!)

S LOG 3 LUT PROFESSIONAL

By applying a given LUT to any clip in my FCPX timeline, it instantly transforms that clip by applying the color correction settings, while emulating a specific professional film stock. To simplify the grading of these more demanding gamma curves, I purchased a LUT Utility for FCPX from Color Grading Central (they make similar utilities for other editors), bundled with a large library of Vision Color LUTs (Look Up Tables), which are pre-set color correction tables for specific cameras and gamma curves.

S LOG 3 LUT PLUS

This was true for me when I replaced my trusty Sony NEX EA50 (which was limited to the AVCHD codec and amateur picture profiles) with the amazing new FS5 (which offers Cinegamma, Slog2 and Slog3 gammas, plus the more advanced XAVC-L codec). So this footage must be color graded, which can seem complex and bewildering to those stepping up from less advanced cameras or codecs for the first time.

S LOG 3 LUT FULL

IвЂ™ll be posting more footage and a full review on the A7S II when I have a chance, so be sure to check back soon.Shooting in advanced gamma curves like SonyвЂ™s Slog3 or AlexaвЂ™s Log C provides exceptional dynamic range (up to 14 stops), but produces ungraded footage that appears flat and harsh.

S LOG 3 LUT FREE

The difference between my LUT and SonyвЂ™s isnвЂ™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.ДЄs 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.Дownload the Free Slog3 LUT through my CINECOLOR platform by clicking here. I tend to find SonyвЂ™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.Д«elow are three screen shots showcasing the different SLog 3 looks: 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 SonyвЂ™s SLog 3 LUT and the Arri Alexa LUT, the former of which works surprisingly well with SLog 3 footage. 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 SonyвЂ™s standard SLog 3 LUT. With the A7S II on the other hand, IвЂ™ve never had perfect results while using SonyвЂ™s SLog 3 LUT on any clip that IвЂ™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.

ThatвЂ™s not to say you canвЂ™t achieve beautiful color results with SonyвЂ™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 IвЂ™ve really been enjoying the A7S II, my biggest issue with it so far has been the same as my issue with all of SonyвЂ™s other cameras вЂ“ the color science. IвЂ™ve been shooting with my new Sony A7S II extensively over the last couple of weeks, and recently developed a LUT that IвЂ™ve been using with all of my SLog 3 footage.

S log 3 lut