And while all of them have their own influences, preferences and working habits, their images have all been governed by the advancements and availability of imaging technology. You’ve probably heard the saying that when you give two directors the same script the resulting films will be completely different. Each director would choose a team of people both behind and in front of the camera to best help him or her materialize their unique vision of the story and inevitably this collective would largely influence the outcome of their production. But if both films were made with the intention to entertain a larger audience, which after all is the premise of most films, they too would be bounded by common denominators such as having an act-structure and a protagonist the audience can identify with. Even though this is a gross oversimplification of what makes films work, they are essentially triggering our deeply embedded sense and understanding of story which has been our main concept of escapism since long before technology allowed us to capture our dreams as images.

You’re sitting at the theater watching the latest Michael Bay film when you realize, “I wish my wedding films had an over-saturated bride and groom fighting giant robots!” Well I have good news for you, I can help with one of those things. And no, its not CGI giant robots, you’ll have to learn Cinema4D for that. What I can help you with is using a Look Up Table, or as it is known on the street – a LUT – to color grade your wedding films and make them look awesome.

I thought I would add this info in a place where I can pass it to clients. Mainly I shoot my Sony FS7 camera using the ‘Slog’ look. This appears very flat and grey when passed into an NLE. How to use SLOG3 LUTs for Sony A7s II footage without visible banding in the highlights When I picked up my A7sII I was really excited to try out SLOG3 but when I did some tests I kept seeing banding in the highlights after applying a LUT, no matter what I tried.

Type To download the LUT set please click the link. I bought one and it’s simply the best you can get for the price! I know the rolling shutter is probably the worst measured to date (in 24P S35 mode), but don’t forget it’s 1 to 1 read from the sensor (1.5x) which is 2.4x up sampled (8.3MP x 2.4x) for a 6K read The detail is a bit better than the a7s ii for the most part when you learn how to use this camera and make the rolling shutter work for you. You can always shoot 30P UHD which is like a 1.9x or 2.3x crop with no binning or skipping just crops part of the sensor and reads 1 to 1 from that crop. Much less rolling shutter issues u can right away see that in the viewfinder. The Auto-focus is fun to work with pretty much does what the a7s ii can do (except in low light situations) it does start to overheat in 24P S35 mode but the camera was still shooting with no artifacts.

But if you use zebras, it’s a convenient place to toggle those on and off as well, since there’s no dedicated button for zebras on this camera. If you go with center crop, this will give you a fast way to reframe the shot by punching in to it for a quick closer angle.

With standard gammas we know not to over expose because the highlight roll-off looks bad. With log gamma it is the opposite, we should never under expose because the shadow roll off will make it look bad. Because there is no highlight roll off, because the amount of data in the shadows doubles (for the same scene information) for every stop you expose brighter, because the signal to noise ratio improves by 6db for each stop brighter you expose, log will almost always look considerably better when exposed brighter by between 1 and 2 stops.

Any time you can open your iris or slow your shutter and let in more light and expose as bright as you can before clipping your highlights, the better you are. (And no,folks, ISO is NOT “exposure” or “sensitively” at all. Its “circuit amplificatiin” of exposed light you already captured) Bringing waveforms DOWN in post can often hide noise. Bringing a waveform UP in post will ALWAYS increase noise. So if post grading is your goal, expose to the right no matter what gamma you are usung. Alister is easily 101% right on this and I have no clue what that other gentleman is trying to say.

10-bit 4K is much better than 8-bit for grading, no doubt. But for me, I don’t shoot much 4K yet, and the few times I do tend to be in carefully controlled lighting, so the 8-bit works fine for me.

Therefore, a creative grade you make on one camera’s footage will yield different results on the other camera’s footage.These two log profiles wouldn’t allow you to easily copy grades from one shot to another while maintaining consistency. Here’s where a LUT can help: You can then use Lattice or LUTCalc to easily create a LUT that transforms Sony’s Slog3 to LogC. Using this method, you can place your conversion LUT as an input LUT (prior to any creative grading) for the Slog3 footage, then view all of your footage under the same output LUT which, in this case would be ARRI’s LogC to Rec709 (K1S1) or another LogC to Rec709 creative LUT.

Is there one? I’ve scoured the tiny body and can find nothing that says play or stop or forward etc – i am using the metabones for my zeiss 35mm ef glass (i shoot fashion and dance) they’re all primes manual focus – so i’m trying to work out with the extra stop and the variable nd is it safe now to shoot slog and grade in davinci?

I have use DaVinci to create a LUT and then import it in FCPX. Or I will create correction in Color Finale. Take a look here, they have LUT importer utility and plugins and tutorials. Shirozina wrote: Charles Hull wrote: I'm looking for the best LUTs for the A7RII Slog2 profile. Right now I'd like a good video look, not a film look, with a LUT that gets close enough to minimize color editing. And something that gives good editing control at the top and bottom ends.

Steven Wetrich is a freelance DP and colorist working in the LA Area.

The setup guide is thorough and step by step, making it easy to optimize the camera for shooting video. It is more for a serious video shooter, but also useful for anyone to learn the principles of getting good video from the camera. It also has an alternate profile to Slog2 called CINEFLAT that is more like a Canon flat profile. The guide describes how to set up the camera for this. The LUT pack has Slog2 LUTs and a LUT for CINEFLAT.

In addition the A6300 like most cameras cannot see the full S-Gamut or S-Gamut3 range. So choosing S-Gamut as the recorded colorspace is a waste of data and brings no benefit unless you are attempting to match an F55/F65 and using the same LUT’s (not that they will match anyway). Only the F55/F65 can see and thus record the full S-Gamut or S-Gamut3 color range. S-Gamut3.cine is a better match to the A6300 sensor as is the Pro color matrix. I will often use different profiles for different scenes to maximise what I am recording. This is particularly important with an 8 bit camera.

The main thing to understand is that gamma and color space are linked. A LUT cannot separate one from the other, so a LUT is designed to work with a combination of the two. In addition the A6300 like most cameras cannot see the full S-Gamut or S-Gamut3 range. So choosing S-Gamut as the recorded colorspace is a waste of data and brings no benefit unless you are attempting to match an F55/F65 and using the same LUT’s (not that they will match anyway). Only the F55/F65 can see and thus record the full S-Gamut or S-Gamut3 color range.

Here you can find additional Music. Title used: A huge thank you to Katharina Almer and Cornelia Rimser for allowing me to document a day in their professional life. Please support them in finding a sponsor for their!

Creative looks can be created in just about any color correction software, including Resolve, Baselight and Speedgrade among others. There’s no magic in LUTs.

Even the latest Luminetri colour control in Premier Pro doesn't grade A7s footage very well although you may find that PP is a better editing software but you can 'round trip' between PP and resolve quite easily. I use PP to edit and Resolve to grade. If you must use LUT's check out 'Casey Wilson' Davinci Resolve looks amazing but has a huge learning curve. Can you recommend any good tutorials for it?

To make the image on the viewfinder and backscreen more pleasant to view and easier to focus you can still use the Gamma Display Assist by setting it to SLOG2 or SLOG3. The only thing you need to do to be able to apply a LUT optimized for SLOG3 is changing the exposure of the footage in post before applying the LUT. FCPX is my editor of choice and I add a color correction effect and change the following exposure settings: • Global: +22% • Shadows: +8% • Midtones: +9% • Highlights: -37% I saved these settings to a color correction preset so I can use them over and over again. These settings are by no means scientific or anything, play around with it as much as you like to get the result you want. The point is that you can get your Cine4 footage to look like SLOG3 footage to be able to apply one of the many great SLOG3 specific LUTs.

In the previous nodes, I correct contrast and saturation. For exposure I use the offset knob. Is that the right way to do?

So besides the impeccable craftsmanship and creativity that go into color correction and color grading to get the most out of every frame captured by the cinematographer, it is this look the sophisticated viewer instantly associates with high quality, ‘filmic’ imagery. It’s not the software or plugins that are being used to achieve a certain look and it’s not a particular style like the infamous ‘Teal & Orange” or Bleach Bypass.

Thanks for mentioning that here. I have just created my first custom LUTs!! Gta san andreas download for pc.

This doesn’t mean you can’t do it, but be very careful if you do. Buy better ND filters. A good ND filter should not introduce a noticeable colour shift. If it is then you have to wonder how this is effecting the image, in particular IR contamination etc which is very difficult to grade out. You can use ACES for any material, 8 bit, 10 bit, it will still work.

If a LUT name includes “1OVER” this means that the LUT is designed to work with footage that has been exposed 1 stop brighter than the levels given by Sony. My recommendation is to shoot at between 1 and 2 stops bright.

The LUTs you mentioned are the only ones I have found so far. Would love to know some others. Yes, I'm using Resolve, as well as Premiere Pro with Lumetri.

Somebody above mentioned: – cine1 for bright light situations – cine4 for darker situations – slog2 for situations with a high dynamic range Is this correct? Also, does -2 stops of underexposure applies to Cine profiles the same as +2 stops of overexposure for Slog2?

Normal gammas with knee etc do not, there is almost no data in the brightest stop (which is why over exposed standard gammas look bad). Log is the opposite of standard gamma. Log gamma rolls off the shadows, not the highlights. Standard gammas roll off the highlights through the use of a knee or similar.

When I picked up my A7sII I was really excited to try out SLOG3 but when I did some tests I kept seeing banding in the highlights after applying a LUT, no matter what I tried. I had expected it to be usable since Sony decided to add it, but it clearly is designed for a 10-bit or higher codec. The 8-bit codec breaks apart when you start grading it. Initially I hoped that it had something to do with not using a LUT specifically designed for SLOG3, so I upgraded my Impulz LUTs to the 'Ultimate' Package (which includes the SLOG3 LUTs) and I ordered James Miller's set of Deluts for SLOG3. When I applied those SLOG3 specific LUTs however, the problem still existed, under certain conditions you see some nasty banding in the highlights. Finding a solution I tried several things to find a solution for the banding problem: • Use different ways of exposing, have the highlights anywhere between 100% and 70% zebras • In post, using grain to hide it • Changing Knee values in the SLOG3 picture profile • Shoot in SLOG2, convert to SLOG3 with a LUT and then use the SLOG3 LUTs.

Update: Head to our latest reviews: done by Nino and a comprehensive done by Sebastian. Grading is tricky. In fact, it is an artform in itself. I n my, I graded the footage to my liking and although I supplied a link to an (which was downloaded hundreds of times), I kept hearing concerns from some of our followers about the low contrast grade I did. This morning,, a friend and colleague of mine whose I used for grading my original piece stepped in. He sent me 4 which were created specifically for that project and this camera. Please feel free to download those LUTs from and grade the footage to your liking.

A quick way to start your grade with SLOG3 footage is to use a LUT. I’ve found two very good LUTs for this purpose. The first is Sony’s Alexa emulation LUT. It comes in two flavors, one- and two-stop exposure pulls.

From this concert, there is also footage from a Sony F5 shot in Slog3. Even if the two cameras were exposed identically, their encoded images differ.

Hi Alister, I have a question for you regarding your LUT’s as used Premiere Pro CC 2015. You are probably well aware of the new color grading panel in Premiere Pro 2015. There are 2 options for LUT’s now, one is the “Input LUT” in the Basic Corrections panel, and the other is the “Look” in the Creative panel. The problem I am having is this: when I use one of your LUT’s in the “Look” Creative panel, it works perfectly and I can adjust the intensity/gain to my liking, but when I make almost any other minor adjustment, such as a very minor luminance or hue adjustment, it suddenly blows everything out.

Both camera’s sensors are getting the exact same amount of light hitting them. Back in the film days, ISO 200 stock was “chemically” different than ISO 1600.

709 = Vanilla Rec-709, very contrasty, but limited highlight response and hard clip of over exposure. 709(800) = Rec-709 gamma with 800% (high) dynamic range.

Besides, viewing and monitoring S-Log3 is tough as the pictures look even flatter than S-Log3. If you follow the link below you will find a set of LUT’s (Look Up Tables) that can be applied to A6300 footage in post production to give different looks. There are some film-look LUT’s and 709 (normal TV look) LUT’s and in each case there are LUT’s for normal exposure as well as footage exposed 1 stop and 2 stops brighter. If a LUT name includes “1OVER” this means that the LUT is designed to work with footage that has been exposed 1 stop brighter than the levels given by Sony. My recommendation is to shoot at between 1 and 2 stops bright. For both S-Log2 and S-Log3 this would mean setting zebras to 70% and exposing a piece of white paper so that zebras are just starting to appear on the white paper. If you find these LUT’s useful please consider buying me a coffee or a beer.

So I created a set of LUT’s that includes compensation for shooting at the nominal correct exposure as well as either 1 or 2 stops over exposed. In all there are 20 LUT’s in two sets. One is Rec-709 based LUT’s and the other Filmic LUT’s to act as starting points for further grading. I am in the process of creating the complete workflow and SLog-2 guide for the A7s which I should be publishing later next week which will have much more information on how to use these LUT’s. But in the mean time here are the LUT’s if anyone want’s to play (and I would like feedback on what you think of them). The LUT naming goes something like this: AC A7S 709(800) ZERO AC (That’s me!).

• 10 Creative LUTs • 8 Utility LUTs • All LUTs in.cube format • Cinematic Hollywood Looks Not only for Rec709 Creative LUTs come not only for Rec709 source footage, but also for: • Arri Alexa LogC • REDlog3G10* • REDlogFilm* • REDgamma4* • Sony SLog / Sony SLog2 /Sony SLog3* • Panasonic V-Log • BMD Film / BMD Film 4K / BMD Film 4.6K • Canon Log / Canon Log 2 • Cineon *REDgamma4 and REDlogFilm profile LUTs suitable for REDcolor4 colorspace source. *RED Log3G10 profile LUT suitable for REDWideGamutRGB colorspace source. *Sony Slog3 profile LUT suitable for S-Gamut3.Cine colorspace source LUTs List and Description click to expand Creative LUTs Hollywood Grade h01 Typical Hollywood color grading. Shifting to memory colors.

Cine 1 is the lowest contrast profile, while Cine 4 is highest, and for that reason, tends to look the best with least grading. Cine 3 is close to 4, just a little lower contrast, which is appropriate for some subjects.

[Note: to view more LUTs that work well in Slog 3 -- and to compare Slog3 footage to identical footage shot in Cinegamma 3 -- check out this test video I shot: ] Shooting in advanced gamma curves like Sony’s Slog3 or Alexa’s Log C provides exceptional dynamic range (up to 14 stops), but produces ungraded footage that appears flat and harsh. 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.

What is your approach to fixing it? Do you just use your LUT and then apply some color correction on top of it? Some people mentioned ACES workflow is the better process to follow, does this apply to a6[35]000 even though this is an 8 bit non raw data?

Re: Sgamut3 vs. Sgamut.cine, I just use cine, since that’s the look I’m generally going for. The SmallHD 502 is definitely the killer monitor for this camera. But any monitor that supports LUTs will take you where you need to go. Shoot pretty, Dan. ↓ • Post author Hi Marko, You’ll get the most information to play with using XAVC HD, so great choice for pulling green screen. I’d be very comfortable shooting in either SLOG or Cinegammas for green screen (slog if subject is high key and brightly lit and one of the cinegammas such as Cinegamma 3 or 4 if low key and more darkly lit).

Type To download the LUT set please click the link. I bought one and it’s simply the best you can get for the price! I know the rolling shutter is probably the worst measured to date (in 24P S35 mode), but don’t forget it’s 1 to 1 read from the sensor (1.5x) which is 2.4x up sampled (8.3MP x 2.4x) for a 6K read The detail is a bit better than the a7s ii for the most part when you learn how to use this camera and make the rolling shutter work for you.

I've tried James Miller's 'Hyde Park' and his other Sony LUTs but they seem too dark and washed out for me. Has anyone found something else they really like and recommend? On A7s S-LOG files forget about LUT's and learn how to use Davinci Resolve. LUT's are OK for a quick way to preview footage but they are generally too crude with 8bit S-LOG footage and or are designed to give you a 'hipster' look. Resolve is quite simply the best grading tool out there for A7s footage as amongst other things it lets you adjust tones just in the luminance ( Y) channel without it effecting the colours which greatly helps in achieving natural looking grades and good skin tones. Even the latest Luminetri colour control in Premier Pro doesn't grade A7s footage very well although you may find that PP is a better editing software but you can 'round trip' between PP and resolve quite easily. I use PP to edit and Resolve to grade.