![]() Build your network and sharpen your craft in our community: The Backlotģ. 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! Convert LOG to Rec.709 and vice versa with LUTs. If you pay with an eCheque through PayPal, your LUTs will not be sent until the eCheque has cleared, which usually takes a few days. 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: Complete pack of LUTs to convert camera profiles (S-Log2, S-Log3, REDLogFilm. 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. With natural colors and great highlight roll-of, this LUT is natural and neutral, lending the most flexibility towards any style 01. Use this SLOG3 LUT as a one click fix, or grade on top of. 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. Overview Compatibility A natural LUT to help you get the most out of your SLOG3 footage. 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. 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. ![]() The Creative LUTs also contain variants which drop the exposure down 1 stop.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. This will help ensure your footage is still balanced and exposed correctly. When used for monitoring, it is recommended to compare your footage with the standard Rec.709 technical LUT. Whether it is to help evoke a rich rainforest vibe, a warm summer day or neon-lit city, these LUTs will help transform your footage to meet your creative intent.ĭepending on your production's needs, these LUTs can be used to monitor on set or even as a primary look for finishing. ![]() This family of LUTs not only provide a conversion from S-LOG3 into Rec.709, but also apply a creative "look" to your footage. There are further variants of both the "standard" and "low contrast" conversions, which drop the exposure from 1, 2 or 3 stops, helping to provide further flexibility for challenging lighting conditions. The package contains both a "standard" conversion and a "low contrast" conversion to help cater for the needs of your production. As the LUT is used only for monitoring, your footage can be recorded in S-LOG3, retaining the full range of information for the final grade. These LUTs can be used on set to monitor the footage accurately, helping to ensure the lighting and exposure is correct. This family of LUTs provide basic colour space conversion from S-LOG3 into Rec.709. ![]()
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