If you want to say ‘thanks!’, you can do so by buying Mr. For further tweaking you can use the very handy online tool called LUTCalc. Keep this in mind and try for yourself if these fit your workflow. It’s not for finishing or polishing your footage but to create an instant viewing output for monitoring on set or for a DIT. The original Venice s709 LUT on which these LUTs are based on is intended to create a first pass look. Furthermore, Alister has created some LUTs for use with S-Log2, so users of the original Sony a7s are not left out here. There are LUTs especially desinged for certain monitors such as Atomos or Zacuto ones, too. In order to get closer to that Venice look you should set your camera to S-Log3 and SGamut3.cine. Since that offical LUT has been designed especially for the 15-stop Venice camera it wasn’t the best for all the other 14-stop cameras such the Sony FS-7, FS-5, F5, F55 or the a7 range, anyways. He created those custom LUTs because quite a few users had problems downloading the official LUT by Sony ( link). You can download these bespoke LUTs directly from Alister Chapman’s own site,. Alister Chapman ( ) has created a set of tweaked LUTs to cater for the needs of different Sony cameras and to bring you closer to the Venice look. That’s why the official s709 LUT doesn’t work very well with these lower end cameras (if compared from Venice’s perspective) cameras. The new Venice flagship cinema camera, however, is a different kind of beast. Most of Sony’s prosumer to pro cameras sport a dynamic range of about 14 stops. Want the same look for the more budget-friendly Sony FS7, FS5 or even the a7 series of cameras? Not a problem, Alister Chapman has created a whole bunch of Venice Look LUTs in order to get you closer to that special look. Its (claimed) 15-stop dynamic range and especially its superb highlight roll-off produces beautiful imagery, indeed. The Sony VENICE is a pretty decent piece of high-end filmmaking equipment. keyboard_arrow_rightCameras of the Year.keyboard_arrow_rightGear Guides by Budget.keyboard_arrow_rightGear Guides by Type.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. 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. 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.
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