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#Sony slog3 lut serial#
#Sony slog3 lut skin#
#Sony slog3 lut software#
#Sony slog3 lut free#

Color Depth: R +1 G +1 B 0 C -1 M -1 Y +1.īest picture profile (IMO) for the free LUTCalc generated lut.

I am using these settings for the picture profile and consider them to give me the best look with LUTCalc lut as well as huge flexibility in color grading in post:.

Based on my tests this method did not crush any color or by any means add any artifacts or noise pollution to the image. I did dozens of tests and found that this is the best way to achieve organic colors and tweaking the saturation, color boost, playing with color or anything else in Davinci simply took too much time for achieving the same look.

I am adding the saturation inside the camera by basically baking it in the picture profile.

Finally I want to explain which picture profile settings I use as they are the key “secret” ingredient here and without using them you won’t have the same results.

I also recommend using zebras, set to 95 level to make sure you are not crushing your highlights, to have a nice highlight roll-off and to be able to tone them down in post.ģ.

Here you can see the comparison between four different color grading methods:

(I really feel sorry for all those who purchased it for 50$ and I was among them as I wanted to see what was so amazing about it because so many people praised it in the Sony A7SIII facebook group). Plot twist: Phantom Lut feels to me just like the free LutCalc generated lut using the method in this video, but with a slight green tint added to it, which actually makes it worse.

#Sony slog3 lut software#

This software allows you to take Slog3, Sony S-Gamut3.cine and convert them to Alexa-X-2 Gamma and Gamut (and not you cannot replicate it with color transform in Davinci, at least I did not find the Alexa-X-2 Gamma and Gamut there).

He used a free software created by Ben Turley (a genius of its kind) called LUTCalc. I found this video on YouTube and I really loved the workflow that Doug Stanford presented there. And make sure to nail white balance in-camera whenever possible.How I ended up finding the perfect solution for me Practice grading and the different tools. Spending time getting that right also makes the use of LUTs a lot easier. For skintones, Jacques recommends boosting the midtones a tad to make them pop.ĭoing this same thing again with another clip shows how big a difference just balancing the color and exposure can make. Combining this with a mask and tracking can get you even better control over certain areas. This way you can make adjustments without impacting the entire image. This allows you to select the highlights, just a single color, or more.

#Sony slog3 lut serial#

On another serial node you can use the qualifier to select a particular part of the image. Taking things even further you’ll want to use the qualifier. Making your small tweak to color to nail the skintones is incredibly helpful.

#Sony slog3 lut skin#

For this masking out the skin and then pulling up the vectorscope with its skintone indicator will be the most helpful. Using the basic color controls and scopes you should balance the color on the footage.įor balancing skin the best option is creating a mask and isolating an area on its own node. Another serial node past that will be your white balance and exposure correction. Opening up a clip in the Color page you will leave the first node empty and then apply the LUT on a new node. Jacques thinks a lot of this comes down to white balance – and the ideal is nailing it in camera. Jacques uses a7S III, FX3, and FX6 footage here and the FX9 should work similarly. Using DaVinci Resolve, step one is to bring in your S-Log3 footage. When you start there the rest of the tuning is a lot easier. The LUTs recommended are the PHANTOM LUTs from Joel Famularo. A lot of this comes to down nailing skintones and creating those “cinematic” colors and it should work with most any camera that uses S-Log3 from the a7S III and up.Īs with many quick grading solutions today, this workflow makes use of some custom-built LUTs that take S-Log3 and transform it into a near-finished look that matches ARRI colors. It is still possible with the right grading to come very close – if not downright match – ARRI colors with other camera systems.Ĭommercial filmmaker Jacques Crafford has his own tips for getting ARRI-like colors using a Sony camera and the S-Log3 picture profile. Unfortunately, unless you have some serious cash or are fortunate enough to work on serious productions, you won’t be working with an ARRI ALECA cinema camera to get those colors. Fabled ARRI colors are what many cinematographers dream to reach with their footage.