![]() ✓ Inside this pack – CLOG – REC709 LUT, Monitor LUTs and instructions. In today's video, I'll be talking about how to setup your Sony camera for shooting in SLOG-2 and how I approach my color-grading process in Premiere Pro. ✓ Works on most editing programs (scroll down for details) ✓ Over 15 years of experience in color grading ✓ No installation required, just import them Adobe Premiere Pro and Final Cut Pro are supported. You can also adjust it to the way you prefer using your built in color tools. It can be used with most software that supports the LUT cube format. This LUT Pack works well with, Food, Interviews, Scenery, Lifestyle, Events, Weddings, Snow, Parks, City, Fashion, Adventure and many more types of shots.Īs simple as just adding it to your video and done. Here we have designed a LUT that we use ourselves to get that clean polished look without having to go through the trouble of grading. Build your network and sharpen your craft in our community: The Backlotģ.SLOG2/3 to Rec709 Conversion / Clean LUT Pack Free DownloadĬonvert your SLOG2/3 footage to Rec709 without any hassle.Īfter searching for a while ourselves as film makers, we noticed there weren’t any clean LUTs out there that we were completely satisfied with for correcting Sony SLOG 2 and 3 to a standard clean look. 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! 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 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. 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. 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. Your home for professional BMPCC LUTs, RED Camera LUTs, Panasonic LUTs, Sony SLog LUTs, Arri Camera LUTs, Canon’s Log LUTs, DJI Drones LUTs, Photoshop Actions, Capture One Styles, and Lightroom Presets. ![]() 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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