This pack contains technical LUTs for transforming Sony S-Log3 / S-Gamut3.Cine footage to Rec. 709 with enhanced color accuracy.
What’s Included:
In this pack, you’ll find separate folders for different cameras. These each have specific tweaks to achieve the best color accuracy for their respective sensors. There’s also a folder called General Purpose, which works well on cameras I haven’t yet customized. But because each sensor does have minor color variations, I’ll continue to create camera-specific LUTs and will send those out to customers of this pack as a free upgrade when they’re complete. In the meantime, for any other Sony camera, simply use the General Purpose S-Log3 LUTs, which will still provide accurate, neutral color.
Contains:
- General Purpose
- α1 II
- α7 IV
- α7C II
- α7R V
- α7C R
- α7S III
- α6700
- FX2
- FX3
- FX30
- ZV-E1
- ZV-E10 II
File Names Explained:
– S-Log3 Undone v2 65: Accurate, fully saturated color with a custom curve to give a finished look with one step. Use in post-production.
– S-Log3 Undone v2 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
– S-Log3 Undone LC v2 65: Accurate neutral color with no changes to curve. Better for high contrast scenes. LC = Low Contrast. Use in post and add contrast to taste.
– S-Log3 Undone LC v2 33 (Monitoring): Same as above, but made compatible for loading into a camera or monitor.
Exposure & Tips:
Expose neutrally. These LUTs are built on correct exposure principles from Canon’s whitepapers, which state that 18% gray should be exposed to 41% (10-bit code value of 420). This also matches the in-camera view assist and exposure tools, so you can rely on them as well.
If you’re applying the LUT to over or underexposed footage, it’s recommended that you adjust the exposure in an earlier step in your color workflow before applying the LUT. In DaVinci Resolve for instance, this would mean putting an exposure adjustment node before the LUT node.
It’s good practice to place this LUT near the end of your color pipeline. This will make adjustments to exposure, white balance, saturation, and other parameters more consistent and allow you to recover more information when compared to attempting to adjust those things after the LUT is applied.
This LUT is intended for converting Log footage to Rec. 709. I have not tested or validated it for use in a workflow that involves intermediary color spaces like DaVinci Wide Gamut.
Comments0