![]() ![]() 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! ![]() 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. FREE CINEMATIC LUT SONY A7III - YouTube 0:00 / 0:40 FREE CINEMATIC LUT SONY A7III Nhut DS 12. 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 LUT gives you a specific color look, but depending on your camera settings and picture profile, you may need to change the intensity of the LUT in your editing program to make the LUT fit your footage.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. Set your whitebalance around 5500k (kelvin) when shooting outside. There is a PDF file inside the ZIP folder that explains the Picture Profiles that I use. You need a video editing software like Adobe Premiere Pro, FinalCut Pro or Davinci Resolve.įor Premiere Pro users: Open your Lumetri section and simply apply the LUT to a adjustment layer. These LUTs can be used with any other DSLR/DSLM Camera that gives you a flat picture profile. Each LUT in two versions, one for S-LOG and one for HLG (less strong): Either use S-Log or Cine-2 for these Sony cameras. It will also work for the following cameras: Sony A7RIII / A7RIV / A7C /Īnd SONY A7II / A7RII / A7SII / A6300 / A6500. This is a LUT Bundle which includes 12 LUTs I created for my Sony A7S III / A7III for HLG & S-Log picture profile. ![]()
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